Translated using Weblate (Norwegian Bokmål)

[text-madewithcc.git] / po / nl / mwcc.po

# MADE WITH CREATIVE COMMONS
# Copyright (C) 2017 by Creative Commons.
# This file is published under a Creative Commons Attribution-ShareAlike license (CC BY-SA), version 4.0
# Authors: Paul Stacey and Sarah Hinchliff Pearson
#
msgid ""
msgstr ""
"Project-Id-Version: Made with Creative Commons\n"
"POT-Creation-Date: 2018-02-25 07:15+0000\n"
"PO-Revision-Date: 2018-02-04 21:35+0000\n"
"Last-Translator: Nathan Follens <nathan@email.is>\n"
"Language-Team: Dutch <https://hosted.weblate.org/projects/madewithcc/"
"translation/nl/>\n"
"Language: nl\n"
"MIME-Version: 1.0\n"
"Content-Type: text/plain; charset=UTF-8\n"
"Content-Transfer-Encoding: 8bit\n"
"Plural-Forms: nplurals=2; plural=n != 1;\n"
"X-Generator: Weblate 2.19-dev\n"

#. type: Attribute 'lang' of: <book>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3
msgid "en"
msgstr "nl"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7
#: MadewithCreativeCommonsmostup-to-dateversion.xml:54
#, fuzzy
#| msgid ""
#| "This book is published under a CC BY-SA license, which means that you can "
#| "copy, redistribute, remix, transform, and build upon the content for any "
#| "purpose, even commercially, as long as you give appropriate credit, "
#| "provide a link to the license, and indicate if changes were made. If you "
#| "remix, transform, or build upon the material, you must distribute your "
#| "contributions under the same license as the original. License details: "
#| "creativecommons.org/licenses/by-sa/4.0/"
msgid ""
"This book is published under a CC BY-SA license, which means that you can "
"copy, redistribute, remix, transform, and build upon the content for any "
"purpose, even commercially, as long as you give appropriate credit, provide "
"a link to the license, and indicate if changes were made. If you remix, "
"transform, or build upon the material, you must distribute your "
"contributions under the same license as the original. License details: "
"<ulink url=\"http://creativecommons.org/licenses/by-sa/4.0/\"/>"
msgstr ""
"Dit boek is uitgegeven onder een CC BY-SA-licentie. Dit betekent dat u het "
"mag kopiëren, verspreiden, wijzigen en verder mag werken aan de inhoud voor "
"welk doel dan ook, zelfs commercieel, zolang u de originele auteurs maar "
"benoemt, een link naar de licentie plaatst en aangeeft of u wijzigingen hebt "
"gedaan. Als u wijzigingen aanbrengt of verder werkt aan het materiaal, dan "
"moet u uw bijdragen uitbrengen onder dezelfde licentie als het origineel. "
"Licentiedetails: creativecommons.org/licenses/by-sa/4.0/"

#. type: Content of: <book><bookinfo><publisher><address>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:24
#, no-wrap
msgid ""
"        <city>Mexico City</city>\n"
"      "
msgstr ""

#. type: Content of: <book><bookinfo>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:17
msgid ""
"<copyright> <year>2017</year> <holder>Creative Commons</holder> </copyright> "
"<publisher> <publishername>Gunnar Wolf</publishername> <placeholder type="
"\"address\" id=\"0\"/> </publisher>"
msgstr ""

#. type: Content of: <book><bookinfo><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:27
msgid "Made with Creative Commons"
msgstr "Gemaakt met Creative Commons"

#. type: Content of: <book><bookinfo><authorgroup><author><firstname>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:30
msgid "Paul"
msgstr ""

#. type: Content of: <book><bookinfo><authorgroup><author><surname>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:31
msgid "Stacey"
msgstr ""

#. type: Content of: <book><bookinfo><authorgroup><author><firstname>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:34
msgid "Sarah Hinchliff"
msgstr ""

#. type: Content of: <book><bookinfo><authorgroup><author><surname>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:35
msgid "Pearson"
msgstr ""

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:41
msgid "Made With Creative Commons"
msgstr "Gemaakt met Creative Commons"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:42
#, fuzzy
#| msgid "by Paul Stacey & Sarah Hinchliff Pearson"
msgid "by Paul Stacey &amp; Sarah Hinchliff Pearson"
msgstr "door Paul Stacey & Sarah Hinchliff Pearson"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:43
#, fuzzy
#| msgid "© 2017, by Creative Commons."
msgid "© 2017 by the Creative Commons Foundation."
msgstr "© 2017, door Creative Commons."

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:44
msgid ""
"Published under a Creative Commons Attribution-ShareAlike license (CC BY-"
"SA), version 4.0."
msgstr ""
"Gepubliceerd onder een Creative Commons Attribution-ShareAlike-licentie (CC "
"BY-SA), versie 4.0."

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:46
msgid ""
"ISBN: YET-TO-BE-DECIDED (PDF), YET-TO-BE-DECIDED (ePub), YET-TO-BE-DECIDED "
"(Paperback)"
msgstr ""

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:48
#, fuzzy
#| msgid "Illustrations by Bryan Mathers, bryanmathers.com"
msgid ""
"Illustrations by Bryan Mathers, <ulink url=\"https://bryanmathers.com/\"/>"
msgstr "Illustraties door Bryan Mathers, bryanmathers.com"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:49
#, fuzzy
#| msgid "Publisher:"
msgid "Publisher: Gunnar Wolf."
msgstr "Uitgever:"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:51
msgid " "
msgstr ""

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:52
#, fuzzy
#| msgid "Downloadable e-book available at madewith.cc"
msgid "Downloadable e-book available at <ulink url=\"https://madewith.cc/\"/>"
msgstr "E-boek beschikbaar voor downloaden op madewith.cc"

#. type: Content of: <book><colophon><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:61
msgid ""
"Made With Creative Commons is published with the kind support of Creative "
"Commons and backers of our crowdfunding-campaign on the Kickstarter.com "
"platform."
msgstr ""
"Gemaakt met Creative Commons wordt uitgegeven met de vriendelijke "
"ondersteuning van Creative Commons en de mensen die bijgedragen hebben aan "
"onze crowdfunding-campagne op Kickstarter.com."

#. type: Content of: <book><dedication><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:69
#, fuzzy
msgid ""
"“I don’t know a whole lot about nonfiction journalism. . . The way that I "
"think about these things, and in terms of what I can do is.  . . essays like "
"this are occasions to watch somebody reasonably bright but also reasonably "
"average pay far closer attention and think at far more length about all "
"sorts of different stuff than most of us have a chance to in our daily "
"lives.”"
msgstr ""
"<span id=\"anchor-4\"></span>\"Ik weet niet veel van niet-fictieve "
"journalistiek. . . De manier waarop ik aan dit soort dingen denk en wat ik "
"ermee kan doen is. . .  essays zoals deze zijn momenten waarop je een helder "
"en redelijk gemiddeld iemand meer aandacht ziet tonen en dieper ziet denken "
"over allerlei soorten dingen dan de meesten van ons in ons dagelijks leven.\""

#. type: Content of: <book><dedication><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:77
#, fuzzy
#| msgid "- David Foster Wallace"
msgid "— <emphasis>David Foster Wallace</emphasis>"
msgstr "- David Foster Wallace"

#. type: Content of: <book><preface><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:82
#, fuzzy
#| msgid "## Foreword"
msgid "Foreword"
msgstr "## Voorwoord"

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:84
msgid ""
"Three years ago, just after I was hired as CEO of Creative Commons, I met "
"with Cory Doctorow in the hotel bar of Toronto’s Gladstone Hotel. As one of "
"CC’s most well-known proponents—one who has also had a successful career as "
"a writer who shares his work using CC—I told him I thought CC had a role in "
"defining and advancing open business models. He kindly disagreed, and called "
"the pursuit of viable business models through CC “a red herring.”"
msgstr ""
"Drie jaar geleden, vlak nadat ik was aangenomen als CEO van Creative "
"Commons, ontmoette ik Cory Doctorow aan de hotelbar van Toronto's Gladstone "
"Hotel. Hij is één van de meeste bekende voorvechters met een succesvolle "
"carrière als schrijver van werk onder de CC. Ik vertelde hem dat ik vond dat "
"CC een rol had in het definiëren en voortduwen van open zakelijke "
"werkwijzen. Hij was het niet met me eens en noemde het voortduwen van "
"zakelijke werkwijzen d.m.v. CC \"een rode haring.\""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:93
msgid ""
"He was, in a way, completely correct—those who make things with Creative "
"Commons have ulterior motives, as Paul Stacey explains in this book: "
"“Regardless of legal status, they all have a social mission. Their primary "
"reason for being is to make the world a better place, not to profit. Money "
"is a means to a social end, not the end itself.”"
msgstr ""
"In een bepaald opzicht had hij het bij het juiste eind. Zij die dingen maken "
"met Creative Commons hebben bijbedoelingen, zoals Paul Stacey ook uitlegt in "
"zijn boek: \"Welke status ze ook hebben, ze hebben allemaal een sociale "
"missie. Hun primaire voorbestaan is om de wereld te verbeteren, niet om "
"ervan te profiteren. Geld is een oplossing voor een sociaal einde, niet het "
"einde zelf.\""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:101
msgid ""
"In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites Cory’s "
"words from his book Information Doesn’t Want to Be Free: “Entering the arts "
"because you want to get rich is like buying lottery tickets because you want "
"to get rich. It might work, but it almost certainly won’t. Though, of "
"course, someone always wins the lottery.”"
msgstr ""
"In de gevallenanalyse over Cory Doctorow, citeert Sarah Hinchliff Cory's "
"woorden uit zijn boek Information Doesn't Want to Be Free: \"Het betreden "
"van de kunstwereld omdat je rijk wilt worden, is net zoals het kopen van "
"loterijtickets omdat je rijk wilt worden. Het kan werken, maar het werkt "
"hoogstwaarschijnlijk niet. Ook al wilt iemand altijd de loterij.\""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:109
#, fuzzy
#| msgid ""
#| "Today, copyright is like a lottery ticket—everyone has one, and almost "
#| "nobody wins. What they don’t tell you is that if you choose to share your "
#| "work, the returns can be significant and long-lasting. This book is "
#| "filled with stories of those who take much greater risks than the two "
#| "dollars we pay for a lottery ticket, and instead reap the rewards that "
#| "come from pursuing their passions and living their values."
msgid ""
"Today, copyright is like a lottery ticket—everyone has one, and almost "
"nobody wins. What they don’t tell you is that if you choose to share your "
"work, the returns can be significant and long-lasting.  This book is filled "
"with stories of those who take much greater risks than the two dollars we "
"pay for a lottery ticket, and instead reap the rewards that come from "
"pursuing their passions and living their values."
msgstr ""
"Vandaag de dag is copyright zoals een loterijticket-iedereen heeft er een en "
"bijna niemand wint. Wat ze niet vertellen is dat als u ervoor kiest om uw "
"werk te delen, de opbrengst significant hoog kan zijn en lang kan aanhouden. "
"Dit boek staat vol met verhalen van zij die veel grotere risico's nemen dan "
"de twee euro die we betalen voor een loterijticket en in plaats daarvan de "
"vruchten oogsten van het volgen van hun passies."

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:118
msgid ""
"So it’s not about the money. Also: it is. Finding the means to continue to "
"create and share often requires some amount of income.  Max Temkin of Cards "
"Against Humanity says it best in their case study: “We don’t make jokes and "
"games to make money—we make money so we can make more jokes and games.”"
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:125
msgid ""
"Creative Commons’ focus is on building a vibrant, usable commons, powered by "
"collaboration and gratitude. Enabling communities of collaboration is at the "
"heart of our strategy. With that in mind, Creative Commons began this book "
"project. Led by Paul and Sarah, the project set out to define and advance "
"the best open business models.  Paul and Sarah were the ideal authors to "
"write Made with Creative Commons."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:134
msgid ""
"Paul dreams of a future where new models of creativity and innovation "
"overpower the inequality and scarcity that today define the worst parts of "
"capitalism. He is driven by the power of human connections between "
"communities of creators. He takes a longer view than most, and it’s made him "
"a better educator, an insightful researcher, and also a skilled gardener. He "
"has a calm, cool voice that conveys a passion that inspires his colleagues "
"and community."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:143
msgid ""
"Sarah is the best kind of lawyer—a true advocate who believes in the good of "
"people, and the power of collective acts to change the world. Over the past "
"year I’ve seen Sarah struggle with the heartbreak that comes from investing "
"so much into a political campaign that didn’t end as she’d hoped. Today, "
"she’s more determined than ever to live with her values right out on her "
"sleeve. I can always count on Sarah to push Creative Commons to focus on our "
"impact—to make the main thing the main thing. She’s practical, detail-"
"oriented, and clever. There’s no one on my team that I enjoy debating more."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:155
msgid ""
"As coauthors, Paul and Sarah complement each other perfectly. They "
"researched, analyzed, argued, and worked as a team, sometimes together and "
"sometimes independently. They dove into the research and writing with "
"passion and curiosity, and a deep respect for what goes into building the "
"commons and sharing with the world. They remained open to new ideas, "
"including the possibility that their initial theories would need refinement "
"or might be completely wrong.  That’s courageous, and it has made for a "
"better book that is insightful, honest, and useful."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:166
msgid ""
"From the beginning, CC wanted to develop this project with the principles "
"and values of open collaboration. The book was funded, developed, "
"researched, and written in the open. It is being shared openly under a CC BY-"
"SA license for anyone to use, remix, or adapt with attribution. It is, in "
"itself, an example of an open business model."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:174
msgid ""
"For 31 days in August of 2015, Sarah took point to organize and execute a "
"Kickstarter campaign to generate the core funding for the book. The "
"remainder was provided by CC’s generous donors and supporters. In the end, "
"it became one of the most successful book projects on Kickstarter, smashing "
"through two stretch goals and engaging over 1,600 donors—the majority of "
"them new supporters of Creative Commons."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:183
msgid ""
"Paul and Sarah worked openly throughout the project, publishing the plans, "
"drafts, case studies, and analysis, early and often, and they engaged "
"communities all over the world to help write this book. As their opinions "
"diverged and their interests came into focus, they divided their voices and "
"decided to keep them separate in the final product. Working in this way "
"requires both humility and self-confidence, and without question it has made "
"Made with Creative Commons a better project."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:193
msgid ""
"Those who work and share in the commons are not typical creators.  They are "
"part of something greater than themselves, and what they offer us all is a "
"profound gift. What they receive in return is gratitude and a community."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:199
msgid ""
"Jonathan Mann, who is profiled in this book, writes a song a day.  When I "
"reached out to ask him to write a song for our Kickstarter (and to offer "
"himself up as a Kickstarter benefit), he agreed immediately. Why would he "
"agree to do that? Because the commons has collaboration at its core, and "
"community as a key value, and because the CC licenses have helped so many to "
"share in the ways that they choose with a global audience."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:208
msgid ""
"Sarah writes, “Endeavors that are Made with Creative Commons thrive when "
"community is built around what they do. This may mean a community "
"collaborating together to create something new, or it may simply be a "
"collection of like-minded people who get to know each other and rally around "
"common interests or beliefs. To a certain extent, simply being Made with "
"Creative Commons automatically brings with it some element of community, by "
"helping connect you to like-minded others who recognize and are drawn to the "
"values symbolized by using CC.” Amanda Palmer, the other musician profiled "
"in the book, would surely add this from her case study: “There is no more "
"satisfying end goal than having someone tell you that what you do is "
"genuinely of value to them.”"
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:222
msgid ""
"This is not a typical business book. For those looking for a recipe or a "
"roadmap, you might be disappointed. But for those looking to pursue a social "
"end, to build something great through collaboration, or to join a powerful "
"and growing global community, they’re sure to be satisfied. Made with "
"Creative Commons offers a world-changing set of clearly articulated values "
"and principles, some essential tools for exploring your own business "
"opportunities, and two dozen doses of pure inspiration."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:232
msgid ""
"In a 1996 Stanford Law Review article “The Zones of Cyberspace”, CC founder "
"Lawrence Lessig wrote, “Cyberspace is a place. People live there. They "
"experience all the sorts of things that they experience in real space, "
"there. For some, they experience more. They experience this not as isolated "
"individuals, playing some high tech computer game; they experience it in "
"groups, in communities, among strangers, among people they come to know, and "
"sometimes like.”"
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:241
msgid ""
"I’m incredibly proud that Creative Commons is able to publish this book for "
"the many communities that we have come to know and like.  I’m grateful to "
"Paul and Sarah for their creativity and insights, and to the global "
"communities that have helped us bring it to you.  As CC board member "
"Johnathan Nightingale often says, “It’s all made of people.”"
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:249
msgid "That’s the true value of things that are Made with Creative Commons."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:252
msgid "<emphasis>Ryan Merkley</emphasis>"
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:255
#, fuzzy
#| msgid "*CEO, Creative Commons*\n"
msgid "<emphasis>CEO, Creative Commons</emphasis>"
msgstr "*CEO, Creative Commons*\n"

#. type: Content of: <book><preface><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:259
#, fuzzy
#| msgid "## Introduction"
msgid "Introduction"
msgstr "## Inleiding"

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:261
msgid ""
"This book shows the world how sharing can be good for business—but with a "
"twist."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:265
msgid ""
"We began the project intending to explore how creators, organizations, and "
"businesses make money to sustain what they do when they share their work "
"using Creative Commons licenses. Our goal was not to identify a formula for "
"business models that use Creative Commons but instead gather fresh ideas and "
"dynamic examples that spark new, innovative models and help others follow "
"suit by building on what already works. At the onset, we framed our "
"investigation in familiar business terms. We created a blank “open business "
"model canvas,” an interactive online tool that would help people design and "
"analyze their business model."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:277
msgid ""
"Through the generous funding of Kickstarter backers, we set about this "
"project first by identifying and selecting a diverse group of creators, "
"organizations, and businesses who use Creative Commons in an integral way—"
"what we call being Made with Creative Commons. We interviewed them and wrote "
"up their stories. We analyzed what we heard and dug deep into the literature."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:285
msgid ""
"But as we did our research, something interesting happened. Our initial way "
"of framing the work did not match the stories we were hearing."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:290
msgid ""
"Those we interviewed were not typical businesses selling to consumers and "
"seeking to maximize profits and the bottom line.  Instead, they were sharing "
"to make the world a better place, creating relationships and community "
"around the works being shared, and generating revenue not for unlimited "
"growth but to sustain the operation."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:298
msgid ""
"They often didn’t like hearing what they do described as an open business "
"model. Their endeavor was something more than that.  Something different. "
"Something that generates not just economic value but social and cultural "
"value. Something that involves human connection. Being Made with Creative "
"Commons is not “business as usual.”"
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:306
msgid ""
"We had to rethink the way we conceived of this project. And it didn’t happen "
"overnight. From the fall of 2015 through 2016, we documented our thoughts in "
"blog posts on Medium and with regular updates to our Kickstarter backers. We "
"shared drafts of case studies and analysis with our Kickstarter cocreators, "
"who provided invaluable edits, feedback, and advice. Our thinking changed "
"dramatically over the course of a year and a half."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:315
msgid ""
"Throughout the process, the two of us have often had very different ways of "
"understanding and describing what we were learning. Learning from each other "
"has been one of the great joys of this work, and, we hope, something that "
"has made the final product much richer than it ever could have been if "
"either of us undertook this project alone.  We have preserved our voices "
"throughout, and you’ll be able to sense our different but complementary "
"approaches as you read through our different sections."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:325
msgid ""
"While we recommend that you read the book from start to finish, each section "
"reads more or less independently. The book is structured into two main parts."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:330
msgid ""
"Part one, the overview, begins with a big-picture framework written by Paul. "
"He provides some historical context for the digital commons, describing the "
"three ways society has managed resources and shared wealth—the commons, the "
"market, and the state. He advocates for thinking beyond business and market "
"terms and eloquently makes the case for sharing and enlarging the digital "
"commons."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:338
msgid ""
"The overview continues with Sarah’s chapter, as she considers what it means "
"to be successfully Made with Creative Commons. While making money is one "
"piece of the pie, there is also a set of public-minded values and the kind "
"of human connections that make sharing truly meaningful. This section "
"outlines the ways the creators, organizations, and businesses we interviewed "
"bring in revenue, how they further the public interest and live out their "
"values, and how they foster connections with the people with whom they share."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:348
msgid ""
"And to end part one, we have a short section that explains the different "
"Creative Commons licenses. We talk about the misconception that the more "
"restrictive licenses—the ones that are closest to the all-rights-reserved "
"model of traditional copyright—are the only ways to make money."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:355
msgid ""
"Part two of the book is made up of the twenty-four stories of the creators, "
"businesses, and organizations we interviewed. While both of us participated "
"in the interviews, we divided up the writing of these profiles."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:361
msgid ""
"Of course, we are pleased to make the book available using a Creative "
"Commons Attribution-ShareAlike license. Please copy, distribute, translate, "
"localize, and build upon this work."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:366
msgid ""
"Writing this book has transformed and inspired us. The way we now look at "
"and think about what it means to be Made with Creative Commons has "
"irrevocably changed. We hope this book inspires you and your enterprise to "
"use Creative Commons and in so doing contribute to the transformation of our "
"economy and world for the better."
msgstr ""

#. type: Content of: <book><preface><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:373
msgid "<emphasis>Paul and Sarah </emphasis>"
msgstr ""

#. type: Content of: <book><part><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:377
msgid "The Big Picture"
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:379
msgid "The New World of Digital Commons"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:381
msgid "Paul Stacey"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:391
msgid ""
"Jonathan Rowe, Our Common Wealth (San Francisco: Berrett-Koehler, 2013), 14."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:384
msgid ""
"Jonathan Rowe eloquently describes the commons as “the air and oceans, the "
"web of species, wilderness and flowing water—all are parts of the commons. "
"So are language and knowledge, sidewalks and public squares, the stories of "
"childhood and the processes of democracy. Some parts of the commons are "
"gifts of nature, others the product of human endeavor. Some are new, such as "
"the Internet; others are as ancient as soil and calligraphy.”<placeholder "
"type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:396
msgid ""
"In Made with Creative Commons, we focus on our current era of digital "
"commons, a commons of human-produced works. This commons cuts across a broad "
"range of areas including cultural heritage, education, research, technology, "
"art, design, literature, entertainment, business, and data. Human-produced "
"works in all these areas are increasingly digital. The Internet is a kind of "
"global, digital commons. The individuals, organizations, and businesses we "
"profile in our case studies use Creative Commons to share their resources "
"online over the Internet."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:411
msgid ""
"David Bollier, Think Like a Commoner: A Short Introduction to the Life of "
"the Commons (Gabriola Island, BC: New Society, 2014), 176."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:419
msgid "Ibid., 15."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:407
msgid ""
"The commons is not just about shared resources, however. It’s also about the "
"social practices and values that manage them. A resource is a noun, but to "
"common—to put the resource into the commons—is a verb.<placeholder type="
"\"footnote\" id=\"0\"/> The creators, organizations, and businesses we "
"profile are all engaged with commoning. Their use of Creative Commons "
"involves them in the social practice of commoning, managing resources in a "
"collective manner with a community of users.<placeholder type=\"footnote\" "
"id=\"1\"/> Commoning is guided by a set of values and norms that balance the "
"costs and benefits of the enterprise with those of the community. Special "
"regard is given to equitable access, use, and sustainability."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:426
msgid "The Commons, the Market, and the State"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:432
msgid "Ibid., 145."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:428
msgid ""
"Historically, there have been three ways to manage resources and share "
"wealth: the commons (managed collectively), the state (i.e., the "
"government), and the market—with the last two being the dominant forms today."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:441
msgid "Ibid., 175."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:436
msgid ""
"The organizations and businesses in our case studies are unique in the way "
"they participate in the commons while still engaging with the market and/or "
"state. The extent of engagement with market or state varies. Some operate "
"primarily as a commons with minimal or no reliance on the market or state."
"<placeholder type=\"footnote\" id=\"0\"/> Others are very much a part of the "
"market or state, depending on them for financial sustainability. All operate "
"as hybrids, blending the norms of the commons with those of the market or "
"state."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:448
msgid ""
"Fig. 1. is a depiction of how an enterprise can have varying levels of "
"engagement with commons, state, and market."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:452
msgid ""
"Some of our case studies are simply commons and market enterprises with "
"little or no engagement with the state. A depiction of those case studies "
"would show the state sphere as tiny or even absent. Other case studies are "
"primarily market-based with only a small engagement with the commons. A "
"depiction of those case studies would show the market sphere as large and "
"the commons sphere as small. The extent to which an enterprise sees itself "
"as being primarily of one type or another affects the balance of norms by "
"which they operate."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:463
msgid ""
"All our case studies generate money as a means of livelihood and "
"sustainability. Money is primarily of the market. Finding ways to generate "
"revenue while holding true to the core values of the commons (usually "
"expressed in mission statements) is challenging. To manage interaction and "
"engagement between the commons and the market requires a deft touch, a "
"strong sense of values, and the ability to blend the best of both."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:472
msgid ""
"The state has an important role to play in fostering the use and adoption of "
"the commons. State programs and funding can deliberately contribute to and "
"build the commons. Beyond money, laws and regulations regarding property, "
"copyright, business, and finance can all be designed to foster the commons."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject><textobject><phrase>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:479
#: MadewithCreativeCommonsmostup-to-dateversion.xml:486
msgid "Enterprise engagement with commons, state and market."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:482
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000008000000045C30360249076453E6.png\" width=\"100.0%\"/> "
"</imageobject>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><figure>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:481
#: MadewithCreativeCommonsmostup-to-dateversion.xml:530
#: MadewithCreativeCommonsmostup-to-dateversion.xml:648
#: MadewithCreativeCommonsmostup-to-dateversion.xml:777
#: MadewithCreativeCommonsmostup-to-dateversion.xml:819
#: MadewithCreativeCommonsmostup-to-dateversion.xml:904
msgid "<placeholder type=\"mediaobject\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:492
msgid ""
"It’s helpful to understand how the commons, market, and state manage "
"resources differently, and not just for those who consider themselves "
"primarily as a commons. For businesses or governmental organizations who "
"want to engage in and use the commons, knowing how the commons operates will "
"help them understand how best to do so. Participating in and using the "
"commons the same way you do the market or state is not a strategy for "
"success."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:503
msgid "The Four Aspects of a Resource"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:508
msgid ""
"Daniel H. Cole, “Learning from Lin: Lessons and Cautions from the Natural "
"Commons for the Knowledge Commons,” in Governing Knowledge Commons, eds. "
"Brett M. Frischmann, Michael J. Madison, and Katherine J. Strandburg (New "
"York: Oxford University Press, 2014), 53."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:505
msgid ""
"As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework "
"for analyzing how natural resources are managed in a commons.<placeholder "
"type=\"footnote\" id=\"0\"/> Her framework considered things like the "
"biophysical characteristics of common resources, the community’s actors and "
"the interactions that take place between them, rules-in-use, and outcomes. "
"That framework has been simplified and generalized to apply to the commons, "
"the market, and the state for this chapter."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:521
msgid ""
"To compare and contrast the ways in which the commons, market, and state "
"work, let’s consider four aspects of resource management: resource "
"characteristics, the people involved and the process they use, the norms and "
"rules they develop to govern use, and finally actual resource use along with "
"outcomes of that use (see Fig. 2)."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject><textobject><phrase>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:529
#: MadewithCreativeCommonsmostup-to-dateversion.xml:535
msgid "Four aspects of resource management"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:531
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png\" width=\"100.0%\"/> "
"</imageobject>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:541
msgid "Characteristics"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:543
msgid ""
"Resources have particular characteristics or attributes that affect the way "
"they can be used. Some resources are natural; others are human produced. And—"
"significantly for today’s commons—resources can be physical or digital, "
"which affects a resource’s inherent potential."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:550
msgid ""
"Physical resources exist in limited supply. If I have a physical resource "
"and give it to you, I no longer have it.  When a resource is removed and "
"used, the supply becomes scarce or depleted. Scarcity can result in "
"competing rivalry for the resource. Made with Creative Commons enterprises "
"are usually digitally based but some of our case studies also produce "
"resources in physical form. The costs of producing and distributing a "
"physical good usually require them to engage with the market."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:561
msgid ""
"Physical resources are depletable, exclusive, and rivalrous.  Digital "
"resources, on the other hand, are nondepletable, nonexclusive, and "
"nonrivalrous. If I share a digital resource with you, we both have the "
"resource. Giving it to you does not mean I no longer have it. Digital "
"resources can be infinitely stored, copied, and distributed without becoming "
"depleted, and at close to zero cost. Abundance rather than scarcity is an "
"inherent characteristic of digital resources."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:571
msgid ""
"The nondepletable, nonexclusive, and nonrivalrous nature of digital "
"resources means the rules and norms for managing them can (and ought to) be "
"different from how physical resources are managed. However, this is not "
"always the case. Digital resources are frequently made artificially scarce. "
"Placing digital resources in the commons makes them free and abundant."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:579
msgid ""
"Our case studies frequently manage hybrid resources, which start out as "
"digital with the possibility of being made into a physical resource. The "
"digital file of a book can be printed on paper and made into a physical "
"book. A computer-rendered design for furniture can be physically "
"manufactured in wood.  This conversion from digital to physical invariably "
"has costs.  Often the digital resources are managed in a free and open way, "
"but money is charged to convert a digital resource into a physical one."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:590
msgid ""
"Beyond this idea of physical versus digital, the commons, market, and state "
"conceive of resources differently (see Fig.  3). The market sees resources "
"as private goods—commodities for sale—from which value is extracted. The "
"state sees resources as public goods that provide value to state citizens. "
"The commons sees resources as common goods, providing a common wealth "
"extending beyond state boundaries, to be passed on in undiminished or "
"enhanced form to future generations."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:601
msgid "People and processes"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:603
msgid ""
"In the commons, the market, and the state, different people and processes "
"are used to manage resources. The processes used define both who has a say "
"and how a resource is managed."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:608
msgid ""
"In the state, a government of elected officials is responsible for managing "
"resources on behalf of the public. The citizens who produce and use those "
"resources are not directly involved; instead, that responsibility is given "
"over to the government.  State ministries and departments staffed with "
"public servants set budgets, implement programs, and manage resources based "
"on government priorities and procedures."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:617
msgid ""
"In the market, the people involved are producers, buyers, sellers, and "
"consumers. Businesses act as intermediaries between those who produce "
"resources and those who consume or use them. Market processes seek to "
"extract as much monetary value from resources as possible. In the market, "
"resources are managed as commodities, frequently mass-produced, and sold to "
"consumers on the basis of a cash transaction."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:628
msgid ""
"Max Haiven, Crises of Imagination, Crises of Power: Capitalism, Creativity "
"and the Commons (New York: Zed Books, 2014), 93."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:626
msgid ""
"In contrast to the state and market, resources in a commons are managed more "
"directly by the people involved.<placeholder type=\"footnote\" id=\"0\"/> "
"Creators of human produced resources can put them in the commons by personal "
"choice. No permission from state or market is required. Anyone can "
"participate in the commons and determine for themselves the extent to which "
"they want to be involved—as a contributor, user, or manager. The people "
"involved include not only those who create and use resources but those "
"affected by outcome of use. Who you are affects your say, actions you can "
"take, and extent of decision making. In the commons, the community as a "
"whole manages the resources.  Resources put into the commons using Creative "
"Commons require users to give the original creator credit. Knowing the "
"person behind a resource makes the commons less anonymous and more personal."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><figure><mediaobject><textobject><phrase>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:646
#: MadewithCreativeCommonsmostup-to-dateversion.xml:653
msgid "How the market, commons and state concieve of resources."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><figure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:649
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png\" width=\"100.0%\"/> "
"</imageobject>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:660
msgid "Norms and rules"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:662
msgid ""
"The social interactions between people, and the processes used by the state, "
"market, and commons, evolve social norms and rules. These norms and rules "
"define permissions, allocate entitlements, and resolve disputes."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:668
msgid ""
"State authority is governed by national constitutions. Norms related to "
"priorities and decision making are defined by elected officials and "
"parliamentary procedures. State rules are expressed through policies, "
"regulations, and laws. The state influences the norms and rules of the "
"market and commons through the rules it passes."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:676
msgid ""
"Market norms are influenced by economics and competition for scarce "
"resources. Market rules follow property, business, and financial laws "
"defined by the state."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:688
msgid "Bollier, Think Like a Commoner, 175."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:681
msgid ""
"As with the market, a commons can be influenced by state policies, "
"regulations, and laws. But the norms and rules of a commons are largely "
"defined by the community. They weigh individual costs and benefits against "
"the costs and benefits to the whole community. Consideration is given not "
"just to economic efficiency but also to equity and sustainability."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:693
msgid "Goals"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:695
msgid ""
"The combination of the aspects we’ve discussed so far—the resource’s "
"inherent characteristics, people and processes, and norms and rules—shape "
"how resources are used. Use is also influenced by the different goals the "
"state, market, and commons have."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:707
msgid ""
"Joshua Farley and Ida Kubiszewski, “The Economics of Information in a Post-"
"Carbon Economy,” in Free Knowledge: Confronting the Commodification of Human "
"Discovery, eds.  Patricia W. Elliott and Daryl H. Hepting (Regina, SK: "
"University of Regina Press, 2015), 201–4."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:702
msgid ""
"In the market, the focus is on maximizing the utility of a resource. What we "
"pay for the goods we consume is seen as an objective measure of the utility "
"they provide. The goal then becomes maximizing total monetary value in the "
"economy.<placeholder type=\"footnote\" id=\"0\"/> Units consumed translates "
"to sales, revenue, profit, and growth, and these are all ways to measure "
"goals of the market."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:717
msgid ""
"The state aims to use and manage resources in a way that balances the "
"economy with the social and cultural needs of its citizens. Health care, "
"education, jobs, the environment, transportation, security, heritage, and "
"justice are all facets of a healthy society, and the state applies its "
"resources toward these aims. State goals are reflected in quality of life "
"measures."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:726
msgid ""
"In the commons, the goal is maximizing access, equity, distribution, "
"participation, innovation, and sustainability.  You can measure success by "
"looking at how many people access and use a resource; how users are "
"distributed across gender, income, and location; if a community to extend "
"and enhance the resources is being formed; and if the resources are being "
"used in innovative ways for personal and social good."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:735
msgid ""
"As hybrid combinations of the commons with the market or state, the success "
"and sustainability of all our case study enterprises depends on their "
"ability to strategically utilize and balance these different aspects of "
"managing resources."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:743
#, fuzzy
msgid "A Short History of the Commons"
msgstr "### Gemaakt met Creative Commons"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:745
msgid ""
"Using the commons to manage resources is part of a long historical "
"continuum. However, in contemporary society, the market and the state "
"dominate the discourse on how resources are best managed. Rarely is the "
"commons even considered as an option. The commons has largely disappeared "
"from consciousness and consideration. There are no news reports or speeches "
"about the commons."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:754
msgid ""
"But the more than 1.1 billion resources licensed with Creative Commons "
"around the world are indications of a grassroots move toward the commons. "
"The commons is making a resurgence. To understand the resilience of the "
"commons and its current renewal, it’s helpful to know something of its "
"history."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:765
msgid ""
"Rowe, Our Common Wealth, 19; and Heather Menzies, Reclaiming the Commons for "
"the Common Good: A Memoir and Manifesto (Gabriola Island, BC: New Society, "
"2014), 42–43."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:761
msgid ""
"For centuries, indigenous people and preindustrialized societies managed "
"resources, including water, food, firewood, irrigation, fish, wild game, and "
"many other things collectively as a commons.<placeholder type=\"footnote\" "
"id=\"0\"/> There was no market, no global economy. The state in the form of "
"rulers influenced the commons but by no means controlled it. Direct social "
"participation in a commons was the primary way in which resources were "
"managed and needs met. (Fig.  4 illustrates the commons in relation to the "
"state and the market.)"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject><textobject><phrase>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:776
#: MadewithCreativeCommonsmostup-to-dateversion.xml:782
msgid "In preindustrialized society."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:778
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000009C4000005153EACBD62F00F6BA9.png\" width=\"100.0%\"/> "
"</imageobject>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:791
msgid "Bollier, Think Like a Commoner, 55–78."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:795
msgid ""
"Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a Legal System in "
"Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57; "
"and Bollier, Think Like a Commoner, 88."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:788
msgid ""
"This is followed by a long history of the state (a monarchy or ruler) taking "
"over the commons for their own purposes. This is called enclosure of the "
"commons.<placeholder type=\"footnote\" id=\"0\"/> In olden days, “commoners” "
"were evicted from the land, fences and hedges erected, laws passed, and "
"security set up to forbid access.<placeholder type=\"footnote\" id=\"1\"/> "
"Gradually, resources became the property of the state and the state became "
"the primary means by which resources were managed. (See Fig. 5)."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:804
msgid ""
"Holdings of land, water, and game were distributed to ruling family and "
"political appointees. Commoners displaced from the land migrated to cities. "
"With the emergence of the industrial revolution, land and resources became "
"commodities sold to businesses to support production. Monarchies evolved "
"into elected parliaments. Commoners became labourers earning money operating "
"the machinery of industry. Financial, business, and property laws were "
"revised by governments to support markets, growth, and productivity. Over "
"time ready access to market produced goods resulted in a rising standard of "
"living, improved health, and education. Fig. 6 shows how today the market is "
"the primary means by which resources are managed."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject><textobject><phrase>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:818
#: MadewithCreativeCommonsmostup-to-dateversion.xml:824
msgid "The commons is gradually superseded by the state."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:820
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000009C4000005150F069409C1CC12F0.png\" width=\"100.0%\"/> "
"</imageobject>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:830
msgid ""
"However, the world today is going through turbulent times. The benefits of "
"the market have been offset by unequal distribution and overexploitation."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:835
msgid ""
"Overexploitation was the topic of Garrett Hardin’s influential essay “The "
"Tragedy of the Commons,” published in Science in 1968. Hardin argues that "
"everyone in a commons seeks to maximize personal gain and will continue to "
"do so even when the limits of the commons are reached. The commons is then "
"tragically depleted to the point where it can no longer support anyone. "
"Hardin’s essay became widely accepted as an economic truism and a "
"justification for private property and free markets."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:862
msgid ""
"Brett M. Frischmann, Michael J. Madison, and Katherine J.  Strandburg, "
"“Governing Knowledge Commons,” in Frischmann, Madison, and Strandburg "
"Governing Knowledge Commons, 12."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:845
msgid ""
"However, there is one serious flaw with Hardin’s “The Tragedy of the "
"Commons”—it’s fiction. Hardin did not actually study how real commons work. "
"Elinor Ostrom won the 2009 Nobel Prize in economics for her work studying "
"different commons all around the world. Ostrom’s work shows that natural "
"resource commons can be successfully managed by local communities without "
"any regulation by central authorities or without privatization. Government "
"and privatization are not the only two choices. There is a third way: "
"management by the people, where those that are directly impacted are "
"directly involved. With natural resources, there is a regional locality. The "
"people in the region are the most familiar with the natural resource, have "
"the most direct relationship and history with it, and are therefore best "
"situated to manage it. Ostrom’s approach to the governance of natural "
"resources broke with convention; she recognized the importance of the "
"commons as an alternative to the market or state for solving problems of "
"collective action.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:868
msgid ""
"Hardin failed to consider the actual social dynamic of the commons. His "
"model assumed that people in the commons act autonomously, out of pure self-"
"interest, without interaction or consideration of others. But as Ostrom "
"found, in reality, managing common resources together forms a community and "
"encourages discourse. This naturally generates norms and rules that help "
"people work collectively and ensure a sustainable commons. Paradoxically, "
"while Hardin’s essay is called The Tragedy of the Commons it might more "
"accurately be titled The Tragedy of the Market."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:884
msgid ""
"Farley and Kubiszewski, “Economics of Information,” in Elliott and Hepting, "
"Free Knowledge, 203."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:880
msgid ""
"Hardin’s story is based on the premise of depletable resources.  Economists "
"have focused almost exclusively on scarcity-based markets. Very little is "
"known about how abundance works.<placeholder type=\"footnote\" id=\"0\"/> "
"The emergence of information technology and the Internet has led to an "
"explosion in digital resources and new means of sharing and distribution. "
"Digital resources can never be depleted. An absence of a theory or model for "
"how abundance works, however, has led the market to make digital resources "
"artificially scarce and makes it possible for the usual market norms and "
"rules to be applied."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:895
msgid ""
"When it comes to use of state funds to create digital goods, however, there "
"is really no justification for artificial scarcity. The norm for state "
"funded digital works should be that they are freely and openly available to "
"the public that paid for them."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject><textobject><phrase>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:902
#: MadewithCreativeCommonsmostup-to-dateversion.xml:909
msgid "How the market, the state and the commons look today."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><figure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:905
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000009C400000515F1CAA15B223F6BAF.png\" width=\"100.0%\"/> "
"</imageobject>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:916
msgid "The Digital Revolution"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:918
msgid ""
"In the early days of computing, programmers and developers learned from each "
"other by sharing software. In the 1980s, the free-software movement codified "
"this practice of sharing into a set of principles and freedoms:"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:926
msgid "The freedom to run a software program as you wish, for any purpose."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:932
msgid ""
"The freedom to study how a software program works (because access to the "
"source code has been freely given), and change it so it does your computing "
"as you wish."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:939
msgid "The freedom to redistribute copies."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><itemizedlist><listitem><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:946
msgid ""
"“What Is Free Software?” GNU Operating System, the Free Software "
"Foundation’s Licensing and Compliance Lab, accessed December 30, 2016, "
"<ulink url=\"http://www.gnu.org/philosophy/free-sw\"/>."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:944
msgid ""
"The freedom to distribute copies of your modified versions to others."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:955
msgid ""
"These principles and freedoms constitute a set of norms and rules that "
"typify a digital commons."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:970
msgid ""
"Wikipedia, s.v. “Open-source software,” last modified November 22, 2016."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:959
msgid ""
"In the late 1990s, to make the sharing of source code and collaboration more "
"appealing to companies, the open-source-software initiative converted these "
"principles into licenses and standards for managing access to and "
"distribution of software. The benefits of open source—such as reliability, "
"scalability, and quality verified by independent peer review—became widely "
"recognized and accepted. Customers liked the way open source gave them "
"control without being locked into a closed, proprietary technology. Free and "
"open-source software also generated a network effect where the value of a "
"product or service increases with the number of people using it.<placeholder "
"type=\"footnote\" id=\"0\"/> The dramatic growth of the Internet itself owes "
"much to the fact that nobody has a proprietary lock on core Internet "
"protocols."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:985
msgid ""
"Eric S. Raymond, “The Magic Cauldron,” in The Cathedral and the Bazaar: "
"Musings on Linux and Open Source by an Accidental Revolutionary, rev. ed. "
"(Sebastopol, CA: O’Reilly Media, 2001), <ulink url=\"http://www.catb.org/esr/"
"writings/cathedral-bazaar/\"/>."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:977
msgid ""
"While open-source software functions as a commons, many businesses and "
"markets did build up around it. Business models based on the licenses and "
"standards of open-source software evolved alongside organizations that "
"managed software code on principles of abundance rather than scarcity. Eric "
"Raymond’s essay “The Magic Cauldron” does a great job of analyzing the "
"economics and business models associated with open-source software."
"<placeholder type=\"footnote\" id=\"0\"/> These models can provide examples "
"of sustainable approaches for those Made with Creative Commons."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:994
msgid ""
"It isn’t just about an abundant availability of digital assets but also "
"about abundance of participation. The growth of personal computing, "
"information technology, and the Internet made it possible for mass "
"participation in producing creative works and distributing them. Photos, "
"books, music, and many other forms of digital content could now be readily "
"created and distributed by almost anyone. Despite this potential for "
"abundance, by default these digital works are governed by copyright laws. "
"Under copyright, a digital work is the property of the creator, and by law "
"others are excluded from accessing and using it without the creator’s "
"permission."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1013
msgid ""
"New York Times Customer Insight Group, The Psychology of Sharing: Why Do "
"People Share Online? (New York: New York Times Customer Insight Group, "
"2011), <ulink url=\"http://www.iab.net/media/file/POSWhitePaper.pdf\"/>."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1007
msgid ""
"But people like to share. One of the ways we define ourselves is by sharing "
"valuable and entertaining content. Doing so grows and nourishes "
"relationships, seeks to change opinions, encourages action, and informs "
"others about who we are and what we care about. Sharing lets us feel more "
"involved with the world.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1021
#, fuzzy
msgid "The Birth of Creative Commons"
msgstr "### Gemaakt met Creative Commons"

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1023
msgid ""
"In 2001, Creative Commons was created as a nonprofit to support all those "
"who wanted to share digital content. A suite of Creative Commons licenses "
"was modeled on those of open-source software but for use with digital "
"content rather than software code. The licenses give everyone from "
"individual creators to large companies and institutions a simple, "
"standardized way to grant copyright permissions to their creative work."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1044
msgid ""
"“Licensing Considerations,” Creative Commons, accessed December 30, 2016, "
"<ulink url=\"http://creativecommons.org/share-your-work/licensing-"
"considerations/\"/>."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1032
msgid ""
"Creative Commons licenses have a three-layer design. The norms and rules of "
"each license are first expressed in full legal language as used by lawyers. "
"This layer is called the legal code. But since most creators and users are "
"not lawyers, the licenses also have a commons deed, expressing the "
"permissions in plain language, which regular people can read and quickly "
"understand. It acts as a user-friendly interface to the legal-code layer "
"beneath. The third layer is the machine-readable one, making it easy for the "
"Web to know a work is Creative Commons–licensed by expressing permissions in "
"a way that software systems, search engines, and other kinds of technology "
"can understand.<placeholder type=\"footnote\" id=\"0\"/> Taken together, "
"these three layers ensure creators, users, and even the Web itself "
"understand the norms and rules associated with digital content in a commons."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1052
msgid ""
"In 2015, there were over one billion Creative Commons licensed works in a "
"global commons. These works were viewed online 136 billion times. People are "
"using Creative Commons licenses all around the world, in thirty-four "
"languages. These resources include photos, artwork, research articles in "
"journals, educational resources, music and other audio tracks, and videos."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1065
msgid ""
"Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative "
"Commons, 2015), <ulink url=\"http://stateof.creativecommons.org/2015/\"/>."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1060
msgid ""
"Individual artists, photographers, musicians, and filmmakers use Creative "
"Commons, but so do museums, governments, creative industries, manufacturers, "
"and publishers. Millions of websites use CC licenses, including major "
"platforms like Wikipedia and Flickr and smaller ones like blogs.<placeholder "
"type=\"footnote\" id=\"0\"/> Users of Creative Commons are diverse and cut "
"across many different sectors. (Our case studies were chosen to reflect that "
"diversity.)"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1073
msgid ""
"Some see Creative Commons as a way to share a gift with others, a way of "
"getting known, or a way to provide social benefit.  Others are simply "
"committed to the norms associated with a commons. And for some, "
"participation has been spurred by the free-culture movement, a social "
"movement that promotes the freedom to distribute and modify creative works. "
"The free-culture movement sees a commons as providing significant benefits "
"compared to restrictive copyright laws. This ethos of free exchange in a "
"commons aligns the free-culture movement with the free and open-source "
"software movement."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1085
msgid ""
"Over time, Creative Commons has spawned a range of open movements, including "
"open educational resources, open access, open science, and open data. The "
"goal in every case has been to democratize participation and share digital "
"resources at no cost, with legal permissions for anyone to freely access, "
"use, and modify."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1098
msgid ""
"Wikipedia, s.v. “Open Government Partnership,” last modified September 24, "
"2016, <ulink url=\"http://en.wikipedia.org/wiki/Open_Government_Partnership"
"\"/>."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1093
msgid ""
"The state is increasingly involved in supporting open movements.  The Open "
"Government Partnership was launched in 2011 to provide an international "
"platform for governments to become more open, accountable, and responsive to "
"citizens. Since then, it has grown from eight participating countries to "
"seventy.<placeholder type=\"footnote\" id=\"0\"/> In all these countries, "
"government and civil society are working together to develop and implement "
"ambitious open-government reforms. Governments are increasingly adopting "
"Creative Commons to ensure works funded with taxpayer dollars are open and "
"free to the public that paid for them."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1109
msgid "The Changing Market"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1117
msgid "Capra and Mattei, Ecology of Law, 114."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1125
msgid "Ibid., 116."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1111
msgid ""
"Today’s market is largely driven by global capitalism. Law and financial "
"systems are structured to support extraction, privatization, and corporate "
"growth. A perception that the market is more efficient than the state has "
"led to continual privatization of many public natural resources, utilities, "
"services, and infrastructures.<placeholder type=\"footnote\" id=\"0\"/> "
"While this system has been highly efficient at generating consumerism and "
"the growth of gross domestic product, the impact on human well-being has "
"been mixed. Offsetting rising living standards and improvements to health "
"and education are ever-increasing wealth inequality, social inequality, "
"poverty, deterioration of our natural environment, and breakdowns of "
"democracy.<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1135
msgid ""
"The Swedish International Development Cooperation Agency, “Stockholm "
"Statement” accessed February 15, 2017, <ulink url=\"http://sida.se/"
"globalassets/sida/eng/press/stockholm-statement.pdf\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1129
msgid ""
"In light of these challenges there is a growing recognition that GDP growth "
"should not be an end in itself, that development needs to be socially and "
"economically inclusive, that environmental sustainability is a requirement "
"not an option, and that we need to better balance the market, state and "
"community.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1146
msgid ""
"City of Bologna, Regulation on Collaboration between Citizens and the City "
"for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory "
"for the GOVernance of Commons) (Bologna, Italy: City of Bologna, 2014), "
"<ulink url=\"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\"/>."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1156
msgid ""
"The Seoul Sharing City website is <ulink url=\"http://english.sharehub.kr\"/"
">; for Amsterdam Sharing City, go to <ulink url=\"http://www.sharenl.nl/"
"amsterdam-sharing-city/\"/>."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1141
msgid ""
"These realizations have led to a resurgence of interest in the commons as a "
"means of enabling that balance. City governments like Bologna, Italy, are "
"collaborating with their citizens to put in place regulations for the care "
"and regeneration of urban commons.<placeholder type=\"footnote\" id=\"0\"/> "
"Seoul and Amsterdam call themselves “sharing cities,” looking to make "
"sustainable and more efficient use of scarce resources. They see sharing as "
"a way to improve the use of public spaces, mobility, social cohesion, and "
"safety.<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1173
msgid ""
"Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR "
"Books, 2015), 42."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1163
msgid ""
"The market itself has taken an interest in the sharing economy, with "
"businesses like Airbnb providing a peer-to-peer marketplace for short-term "
"lodging and Uber providing a platform for ride sharing. However, Airbnb and "
"Uber are still largely operating under the usual norms and rules of the "
"market, making them less like a commons and more like a traditional business "
"seeking financial gain. Much of the sharing economy is not about the commons "
"or building an alternative to a corporate-driven market economy; it’s about "
"extending the deregulated free market into new areas of our lives."
"<placeholder type=\"footnote\" id=\"0\"/> While none of the people we "
"interviewed for our case studies would describe themselves as part of the "
"sharing economy, there are in fact some significant parallels. Both the "
"sharing economy and the commons make better use of asset capacity. The "
"sharing economy sees personal residents and cars as having latent spare "
"capacity with rental value. The equitable access of the commons broadens and "
"diversifies the number of people who can use and derive value from an asset."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1195
msgid ""
"Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving "
"Something for Nothing, Reprint with new preface.  (New York: Hyperion, "
"2010), 78."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1185
msgid ""
"One way Made with Creative Commons case studies differ from those of the "
"sharing economy is their focus on digital resources. Digital resources "
"function under different economic rules than physical ones. In a world where "
"prices always seem to go up, information technology is an anomaly. Computer-"
"processing power, storage, and bandwidth are all rapidly increasing, but "
"rather than costs going up, costs are coming down. Digital technologies are "
"getting faster, better, and cheaper. The cost of anything built on these "
"technologies will always go down until it is close to zero.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1201
msgid ""
"Those that are Made with Creative Commons are looking to leverage the unique "
"inherent characteristics of digital resources, including lowering costs. The "
"use of digital-rights-management technologies in the form of locks, "
"passwords, and controls to prevent digital goods from being accessed, "
"changed, replicated, and distributed is minimal or nonexistent. Instead, "
"Creative Commons licenses are used to put digital content out in the "
"commons, taking advantage of the unique economics associated with being "
"digital. The aim is to see digital resources used as widely and by as many "
"people as possible. Maximizing access and participation is a common goal.  "
"They aim for abundance over scarcity."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1220
msgid ""
"Jeremy Rifkin, The Zero Marginal Cost Society: The Internet of Things, the "
"Collaborative Commons, and the Eclipse of Capitalism (New York: Palgrave "
"Macmillan, 2014), 273."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1215
msgid ""
"The incremental cost of storing, copying, and distributing digital goods is "
"next to zero, making abundance possible. But imagining a market based on "
"abundance rather than scarcity is so alien to the way we conceive of "
"economic theory and practice that we struggle to do so.<placeholder type="
"\"footnote\" id=\"0\"/> Those that are Made with Creative Commons are each "
"pioneering in this new landscape, devising their own economic models and "
"practice."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1228
msgid ""
"Some are looking to minimize their interactions with the market and operate "
"as autonomously as possible. Others are operating largely as a business "
"within the existing rules and norms of the market. And still others are "
"looking to change the norms and rules by which the market operates."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1242
msgid ""
"Gar Alperovitz, What Then Must We Do? Straight Talk about the Next American "
"Revolution: Democratizing Wealth and Building a Community-Sustaining Economy "
"from the Ground Up (White River Junction, VT: Chelsea Green, 2013), 39."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1251
msgid ""
"Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution; "
"Journeys to a Generative Economy (San Francisco: Berrett-Koehler, 2012), 8–9."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1235
msgid ""
"For an ordinary corporation, making social benefit a part of its operations "
"is difficult, as it’s legally required to make decisions that financially "
"benefit stockholders. But new forms of business are emerging. There are "
"benefit corporations and social enterprises, which broaden their business "
"goals from making a profit to making a positive impact on society, workers, "
"the community, and the environment.<placeholder type=\"footnote\" id=\"0\"/> "
"Community-owned businesses, worker-owned businesses, cooperatives, guilds, "
"and other organizational forms offer alternatives to the traditional "
"corporation. Collectively, these alternative market entities are changing "
"the rules and norms of the market.<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1264
msgid ""
"Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ: "
"John Wiley and Sons, 2010). A preview of the book is available at <ulink url="
"\"http://strategyzer.com/books/business-model-generation\"/>."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1257
msgid ""
"“A book on open business models” is how we described it in this book’s "
"Kickstarter campaign. We used a handbook called Business Model Generation as "
"our reference for defining just what a business model is. Developed over "
"nine years using an “open process” involving 470 coauthors from forty-five "
"countries, it is useful as a framework for talking about business models."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1273
msgid ""
"This business model canvas is available to download at <ulink url=\"http://"
"strategyzer.com/canvas/business-model-canvas\"/>."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1281
msgid ""
"We’ve made the “Open Business Model Canvas,” designed by the coauthor Paul "
"Stacey, available online at <ulink url=\"http://docs.google.com/drawings/"
"d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit\"/>.  You can also find "
"the accompanying Open Business Model Canvas Questions at <ulink url=\"http://"
"docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit"
"\"/>."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1271
msgid ""
"It contains a “business model canvas,” which conceives of a business model "
"as having nine building blocks.<placeholder type=\"footnote\" id=\"0\"/> "
"This blank canvas can serve as a tool for anyone to design their own "
"business model. We remixed this business model canvas into an open business "
"model canvas, adding three more building blocks relevant to hybrid market, "
"commons enterprises: social good, Creative Commons license, and “type of "
"open environment that the business fits in.”<placeholder type=\"footnote\" "
"id=\"1\"/> This enhanced canvas proved useful when we analyzed businesses "
"and helped start-ups plan their economic model."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1291
msgid ""
"In our case study interviews, many expressed discomfort over describing "
"themselves as an open business model—the term business model suggested "
"primarily being situated in the market.  Where you sit on the commons-to-"
"market spectrum affects the extent to which you see yourself as a business "
"in the market.  The more central to the mission shared resources and commons "
"values are, the less comfort there is in describing yourself, or depicting "
"what you do, as a business. Not all who have endeavors Made with Creative "
"Commons use business speak; for some the process has been experimental, "
"emergent, and organic rather than carefully planned using a predefined model."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1312
msgid ""
"A more comprehensive list of revenue streams is available in this post I "
"wrote on Medium on March 6, 2016. “What Is an Open Business Model and How "
"Can You Generate Revenue?”, available at <ulink url=\"http://medium.com/made-"
"with-creative-commons/what-is-an-open-business-model-and-how-can-you-"
"generate-revenue-5854d2659b15\"/>."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1304
msgid ""
"The creators, businesses, and organizations we profile all engage with the "
"market to generate revenue in some way. The ways in which this is done vary "
"widely. Donations, pay what you can, memberships, “digital for free but "
"physical for a fee,” crowdfunding, matchmaking, value-add services, "
"patrons . . . the list goes on and on. (Initial description of how to earn "
"revenue available through reference note. For latest thinking see How to "
"Bring In Money in the next section.)<placeholder type=\"footnote\" id=\"0\"/"
"> There is no single magic bullet, and each endeavor has devised ways that "
"work for them. Most make use of more than one way. Diversifying revenue "
"streams lowers risk and provides multiple paths to sustainability."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1324
msgid "Benefits of the Digital Commons"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1326
msgid ""
"While it may be clear why commons-based organizations want to interact and "
"engage with the market (they need money to survive), it may be less obvious "
"why the market would engage with the commons. The digital commons offers "
"many benefits."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1332
msgid ""
"The commons speeds dissemination. The free flow of resources in the commons "
"offers tremendous economies of scale. Distribution is decentralized, with "
"all those in the commons empowered to share the resources they have access "
"to. Those that are Made with Creative Commons have a reduced need for sales "
"or marketing. Decentralized distribution amplifies supply and know-how."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1341
msgid ""
"The commons ensures access to all. The market has traditionally operated by "
"putting resources behind a paywall requiring payment first before access. "
"The commons puts resources in the open, providing access up front without "
"payment. Those that are Made with Creative Commons make little or no use of "
"digital rights management (DRM) to manage resources. Not using DRM frees "
"them of the costs of acquiring DRM technology and staff resources to engage "
"in the punitive practices associated with restricting access. The way the "
"commons provides access to everyone levels the playing field and promotes "
"inclusiveness, equity, and fairness."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1354
msgid ""
"The commons maximizes participation. Resources in the commons can be used "
"and contributed to by everyone. Using the resources of others, contributing "
"your own, and mixing yours with others to create new works are all dynamic "
"forms of participation made possible by the commons. Being Made with "
"Creative Commons means you’re engaging as many users with your resources as "
"possible.  Users are also authoring, editing, remixing, curating, "
"localizing, translating, and distributing. The commons makes it possible for "
"people to directly participate in culture, knowledge building, and even "
"democracy, and many other socially beneficial practices."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1376
msgid ""
"Henry Chesbrough, Open Innovation: The New Imperative for Creating and "
"Profiting from Technology (Boston: Harvard Business Review Press, 2006), 31–"
"44."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1367
msgid ""
"The commons spurs innovation. Resources in the hands of more people who can "
"use them leads to new ideas. The way commons resources can be modified, "
"customized, and improved results in derivative works never imagined by the "
"original creator. Some endeavors that are Made with Creative Commons "
"deliberately encourage users to take the resources being shared and innovate "
"them. Doing so moves research and development (R&amp;D) from being solely "
"inside the organization to being in the community.<placeholder type="
"\"footnote\" id=\"0\"/> Community-based innovation will keep an organization "
"or business on its toes. It must continue to contribute new ideas, absorb "
"and build on top of the innovations of others, and steward the resources and "
"the relationship with the community."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1385
msgid ""
"The commons boosts reach and impact. The digital commons is global. "
"Resources may be created for a local or regional need, but they go far and "
"wide generating a global impact. In the digital world, there are no borders "
"between countries. When you are Made with Creative Commons, you are often "
"local and global at the same time: Digital designs being globally "
"distributed but made and manufactured locally. Digital books or music being "
"globally distributed but readings and concerts performed locally. The "
"digital commons magnifies impact by connecting creators to those who use and "
"build on their work both locally and globally."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1398
msgid ""
"The commons is generative. Instead of extracting value, the commons adds "
"value. Digitized resources persist without becoming depleted, and through "
"use are improved, personalized, and localized. Each use adds value. The "
"market focuses on generating value for the business and the customer. The "
"commons generates value for a broader range of beneficiaries including the "
"business, the customer, the creator, the public, and the commons itself. The "
"generative nature of the commons means that it is more cost-effective and "
"produces a greater return on investment.  Value is not just measured in "
"financial terms. Each new resource added to the commons provides value to "
"the public and contributes to the overall value of the commons."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1412
msgid ""
"The commons brings people together for a common cause. The commons vests "
"people directly with the responsibility to manage the resources for the "
"common good. The costs and benefits for the individual are balanced with the "
"costs and benefits for the community and for future generations. Resources "
"are not anonymous or mass produced. Their provenance is known and "
"acknowledged through attribution and other means. Those that are Made with "
"Creative Commons generate awareness and reputation based on their "
"contributions to the commons. The reach, impact, and sustainability of those "
"contributions rest largely on their ability to forge relationships and "
"connections with those who use and improve them. By functioning on the basis "
"of social engagement, not monetary exchange, the commons unifies people."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1427
msgid ""
"The benefits of the commons are many. When these benefits align with the "
"goals of individuals, communities, businesses in the market, or state "
"enterprises, choosing to manage resources as a commons ought to be the "
"option of choice."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1434
msgid "Our Case Studies"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1436
msgid ""
"The creators, organizations, and businesses in our case studies operate as "
"nonprofits, for-profits, and social enterprises.  Regardless of legal "
"status, they all have a social mission.  Their primary reason for being is "
"to make the world a better place, not to profit. Money is a means to a "
"social end, not the end itself. They factor public interest into decisions, "
"behavior, and practices. Transparency and trust are really important. Impact "
"and success are measured against social aims expressed in mission "
"statements, and are not just about the financial bottom line."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1448
msgid ""
"The case studies are based on the narratives told to us by founders and key "
"staff. Instead of solely using financials as the measure of success and "
"sustainability, they emphasized their mission, practices, and means by which "
"they measure success.  Metrics of success are a blend of how social goals "
"are being met and how sustainable the enterprise is."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1456
msgid ""
"Our case studies are diverse, ranging from publishing to education and "
"manufacturing. All of the organizations, businesses, and creators in the "
"case studies produce digital resources. Those resources exist in many forms "
"including books, designs, songs, research, data, cultural works, education "
"materials, graphic icons, and video. Some are digital representations of "
"physical resources. Others are born digital but can be made into physical "
"resources."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1466
msgid ""
"They are creating new resources, or using the resources of others, or mixing "
"existing resources together to make something new. They, and their audience, "
"all play a direct, participatory role in managing those resources, including "
"their preservation, curation, distribution, and enhancement. Access and "
"participation is open to all regardless of monetary means."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1474
msgid ""
"And as users of Creative Commons licenses, they are automatically part of a "
"global community. The new digital commons is global. Those we profiled come "
"from nearly every continent in the world. To build and interact within this "
"global community is conducive to success."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1481
msgid ""
"Creative Commons licenses may express legal rules around the use of "
"resources in a commons, but success in the commons requires more than "
"following the letter of the law and acquiring financial means. Over and over "
"we heard in our interviews how success and sustainability are tied to a set "
"of beliefs, values, and principles that underlie their actions: Give more "
"than you take. Be open and inclusive. Add value. Make visible what you are "
"using from the commons, what you are adding, and what you are monetizing. "
"Maximize abundance. Give attribution. Express gratitude. Develop trust; "
"don’t exploit. Build relationship and community. Be transparent. Defend the "
"commons."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1494
msgid ""
"The new digital commons is here to stay. Made With Creative Commons case "
"studies show how it’s possible to be part of this commons while still "
"functioning within market and state systems.  The commons generates benefits "
"neither the market nor state can achieve on their own. Rather than the "
"market or state dominating as primary means of resource management, a more "
"balanced alternative is possible."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1503
msgid ""
"Enterprise use of Creative Commons has only just begun. The case studies in "
"this book are merely starting points. Each is changing and evolving over "
"time. Many more are joining and inventing new models. This overview aims to "
"provide a framework and language for thinking and talking about the new "
"digital commons. The remaining sections go deeper providing further guidance "
"and insights on how it works."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1514
#, fuzzy
msgid "How to Be Made with Creative Commons"
msgstr "## Gemaakt met Creative Commons"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1516
msgid "Sarah Hinchliff Pearson"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1519
msgid ""
"When we began this project in August 2015, we set out to write a book about "
"business models that involve Creative Commons licenses in some significant "
"way—what we call being Made with Creative Commons. With the help of our "
"Kickstarter backers, we chose twenty-four endeavors from all around the "
"world that are Made with Creative Commons. The mix is diverse, from an "
"individual musician to a university-textbook publisher to an electronics "
"manufacturer.  Some make their own content and share under Creative Commons "
"licensing. Others are platforms for CC-licensed creative work made by "
"others. Many sit somewhere in between, both using and contributing creative "
"work that’s shared with the public. Like all who use the licenses, these "
"endeavors share their work—whether it’s open data or furniture designs—in a "
"way that enables the public not only to access it but also to make use of it."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1535
msgid ""
"We analyzed the revenue models, customer segments, and value propositions of "
"each endeavor. We searched for ways that putting their content under "
"Creative Commons licenses helped boost sales or increase reach. Using "
"traditional measures of economic success, we tried to map these business "
"models in a way that meaningfully incorporated the impact of Creative "
"Commons. In our interviews, we dug into the motivations, the role of CC "
"licenses, modes of revenue generation, definitions of success."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1545
msgid ""
"In fairly short order, we realized the book we set out to write was quite "
"different from the one that was revealing itself in our interviews and "
"research."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1550
msgid ""
"It isn’t that we were wrong to think you can make money while using Creative "
"Commons licenses. In many instances, CC can help make you more money. Nor "
"were we wrong that there are business models out there that others who want "
"to use CC licensing as part of their livelihood or business could replicate. "
"What we didn’t realize was just how misguided it would be to write a book "
"about being Made with Creative Commons using only a business lens."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1562
msgid ""
"Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ: "
"John Wiley and Sons, 2010), 14. A preview of the book is available at <ulink "
"url=\"http://strategyzer.com/books/business-model-generation\"/>."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1559
msgid ""
"According to the seminal handbook Business Model Generation, a business "
"model “describes the rationale of how an organization creates, delivers, and "
"captures value.”<placeholder type=\"footnote\" id=\"0\"/> Thinking about "
"sharing in terms of creating and capturing value always felt inappropriately "
"transactional and out of place, something we heard time and time again in "
"our interviews. And as Cory Doctorow told us in our interview with him, "
"“Business model can mean anything you want it to mean.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1573
msgid ""
"Eventually, we got it. Being Made with Creative Commons is more than a "
"business model. While we will talk about specific revenue models as one "
"piece of our analysis (and in more detail in the case studies), we scrapped "
"that as our guiding rubric for the book."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1580
msgid ""
"Admittedly, it took me a long time to get there. When Paul and I divided up "
"our writing after finishing the research, my charge was to distill "
"everything we learned from the case studies and write up the practical "
"lessons and takeaways. I spent months trying to jam what we learned into the "
"business-model box, convinced there must be some formula for the way things "
"interacted. But there is no formula. You’ll probably have to discard that "
"way of thinking before you read any further."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1590
msgid ""
"In every interview, we started from the same simple questions.  Amid all the "
"diversity among the creators, organizations, and businesses we profiled, "
"there was one constant. Being Made with Creative Commons may be good for "
"business, but that is not why they do it. Sharing work with Creative Commons "
"is, at its core, a moral decision. The commercial and other self-interested "
"benefits are secondary. Most decided to use CC licenses first and found a "
"revenue model later. This was our first hint that writing a book solely "
"about the impact of sharing on business might be a little off track."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1602
msgid ""
"But we also started to realize something about what it means to be Made with "
"Creative Commons. When people talked to us about how and why they used CC, "
"it was clear that it meant something more than using a copyright license. It "
"also represented a set of values.  There is symbolism behind using CC, and "
"that symbolism has many layers."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1610
msgid ""
"At one level, being Made with Creative Commons expresses an affinity for the "
"value of Creative Commons. While there are many different flavors of CC "
"licenses and nearly infinite ways to be Made with Creative Commons, the "
"basic value system is rooted in a fundamental belief that knowledge and "
"creativity are building blocks of our culture rather than just commodities "
"from which to extract market value. These values reflect a belief that the "
"common good should always be part of the equation when we determine how to "
"regulate our cultural outputs. They reflect a belief that everyone has "
"something to contribute, and that no one can own our shared culture. They "
"reflect a belief in the promise of sharing."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1624
msgid ""
"Whether the public makes use of the opportunity to copy and adapt your work, "
"sharing with a Creative Commons license is a symbol of how you want to "
"interact with the people who consume your work.  Whenever you create "
"something, “all rights reserved” under copyright is automatic, so the "
"copyright symbol (©) on the work does not necessarily come across as a "
"marker of distrust or excessive protectionism. But using a CC license can be "
"a symbol of the opposite—of wanting a real human relationship, rather than "
"an impersonal market transaction. It leaves open the possibility of "
"connection."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1636
msgid ""
"Being Made with Creative Commons not only demonstrates values connected to "
"CC and sharing. It also demonstrates that something other than profit drives "
"what you do. In our interviews, we always asked what success looked like for "
"them. It was stunning how rarely money was mentioned. Most have a deeper "
"purpose and a different vision of success."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1649
msgid ""
"Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet "
"Age (San Francisco, CA: McSweeney’s, 2014) 68."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1644
msgid ""
"The driving motivation varies depending on the type of endeavor.  For "
"individual creators, it is most often about personal inspiration. In some "
"ways, this is nothing new. As Doctorow has written, “Creators usually start "
"doing what they do for love.”<placeholder type=\"footnote\" id=\"0\"/> But "
"when you share your creative work under a CC license, that dynamic is even "
"more pronounced. Similarly, for technological innovators, it is often less "
"about creating a specific new thing that will make you rich and more about "
"solving a specific problem you have. The creators of Arduino told us that "
"the key question when creating something is “Do you as the creator want to "
"use it? It has to have personal use and meaning.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1660
msgid ""
"Many that are Made with Creative Commons have an express social mission that "
"underpins everything they do. In many cases, sharing with Creative Commons "
"expressly advances that social mission, and using the licenses can be the "
"difference between legitimacy and hypocrisy. Noun Project co-founder Edward "
"Boatman told us they could not have stated their social mission of sharing "
"with a straight face if they weren’t willing to show the world that it was "
"OK to share their content using a Creative Commons license."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1670
msgid ""
"This dynamic is probably one reason why there are so many nonprofit examples "
"of being Made with Creative Commons. The content is the result of a labor of "
"love or a tool to drive social change, and money is like gas in the car, "
"something that you need to keep going but not an end in itself. Being Made "
"with Creative Commons is a different vision of a business or livelihood, "
"where profit is not paramount, and producing social good and human "
"connection are integral to success."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1680
msgid ""
"Even if profit isn’t the end goal, you have to bring in money to be "
"successfully Made with Creative Commons. At a bare minimum, you have to make "
"enough money to keep the lights on."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1685
msgid ""
"The costs of doing business vary widely for those made with CC, but there is "
"generally a much lower threshold for sustainability than there used to be "
"for any creative endeavor. Digital technology has made it easier than ever "
"to create, and easier than ever to distribute. As Doctorow put it in his "
"book Information Doesn’t Want to Be Free, “If analog dollars have turned "
"into digital dimes (as the critics of ad-supported media have it), there is "
"the fact that it’s possible to run a business that gets the same amount of "
"advertising as its forebears at a fraction of the price.”"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1702
msgid "Ibid., 55."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1697
msgid ""
"Some creation costs are the same as they always were. It takes the same "
"amount of time and money to write a peer-reviewed journal article or paint a "
"painting. Technology can’t change that. But other costs are dramatically "
"reduced by technology, particularly in production-heavy domains like "
"filmmaking.<placeholder type=\"footnote\" id=\"0\"/> CC-licensed content and "
"content in the public domain, as well as the work of volunteer "
"collaborators, can also dramatically reduce costs if they’re being used as "
"resources to create something new. And, of course, there is the reality that "
"some content would be created whether or not the creator is paid because it "
"is a labor of love."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1714
msgid ""
"Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving "
"Something for Nothing, reprint with new preface (New York: Hyperion, 2010), "
"224."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1711
msgid ""
"Distributing content is almost universally cheaper than ever. Once content "
"is created, the costs to distribute copies digitally are essentially zero."
"<placeholder type=\"footnote\" id=\"0\"/> The costs to distribute physical "
"copies are still significant, but lower than they have been historically. "
"And it is now much easier to print and distribute physical copies on-demand, "
"which also reduces costs. Depending on the endeavor, there can be a whole "
"host of other possible expenses like marketing and promotion, and even "
"expenses associated with the various ways money is being made, like touring "
"or custom training."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1736
msgid "Doctorow, Information Doesn’t Want to Be Free, 44."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1726
msgid ""
"It’s important to recognize that the biggest impact of technology on "
"creative endeavors is that creators can now foot the costs of creation and "
"distribution themselves. People now often have a direct route to their "
"potential public without necessarily needing intermediaries like record "
"labels and book publishers. Doctorow wrote, “If you’re a creator who never "
"got the time of day from one of the great imperial powers, this is your "
"time. Where once you had no means of reaching an audience without the "
"assistance of the industry-dominating megacompanies, now you have hundreds "
"of ways to do it without them.”<placeholder type=\"footnote\" id=\"0\"/> "
"Previously, distribution of creative work involved the costs associated with "
"sustaining a monolithic entity, now creators can do the work themselves. "
"That means the financial needs of creative endeavors can be a lot more "
"modest."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1743
msgid ""
"Whether for an individual creator or a larger endeavor, it usually isn’t "
"enough to break even if you want to make what you’re doing a livelihood. You "
"need to build in some support for the general operation. This extra bit "
"looks different for everyone, but importantly, in nearly all cases for those "
"Made with Creative Commons, the definition of “enough money” looks a lot "
"different than it does in the world of venture capital and stock options. It "
"is more about sustainability and less about unlimited growth and profit. "
"SparkFun founder Nathan Seidle told us, “Business model is a really "
"grandiose word for it. It is really just about keeping the operation going "
"day to day.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1756
msgid ""
"This book is a testament to the notion that it is possible to make money "
"while using CC licenses and CC-licensed content, but we are still very much "
"at an experimental stage. The creators, organizations, and businesses we "
"profile in this book are blazing the trail and adapting in real time as they "
"pursue this new way of operating."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1764
msgid ""
"There are, however, plenty of ways in which CC licensing can be good for "
"business in fairly predictable ways. The first is how it helps solve "
"“problem zero.”"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1769
msgid "Problem Zero: Getting Discovered"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1776
msgid ""
"Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let "
"People Help (New York: Grand Central, 2014), 121."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1790
msgid ""
"Chris Anderson, Makers: The New Industrial Revolution (New York: Signal, "
"2012), 64."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1771
msgid ""
"Once you create or collect your content, the next step is finding users, "
"customers, fans—in other words, your people. As Amanda Palmer wrote, “It has "
"to start with the art. The songs had to touch people initially, and mean "
"something, for anything to work at all.”<placeholder type=\"footnote\" id="
"\"0\"/> There isn’t any magic to finding your people, and there is certainly "
"no formula. Your work has to connect with people and offer them some "
"artistic and/or utilitarian value. In some ways, this is easier than ever. "
"Online we are not limited by shelf space, so there is room for every obscure "
"interest, taste, and need imaginable. This is what Chris Anderson dubbed the "
"Long Tail, where consumption becomes less about mainstream mass “hits” and "
"more about micromarkets for every particular niche. As Anderson wrote, “We "
"are all different, with different wants and needs, and the Internet now has "
"a place for all of them in the way that physical markets did "
"not.”<placeholder type=\"footnote\" id=\"1\"/> We are no longer limited to "
"what appeals to the masses."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1803
msgid ""
"David Bollier, Think Like a Commoner: A Short Introduction to the Life of "
"the Commons (Gabriola Island, BC: New Society, 2014), 70."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1809
msgid "Anderson, Makers, 66."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1813
msgid ""
"Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy (New "
"York: Morgan James, 2016), 10."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1796
msgid ""
"While finding “your people” online is theoretically easier than in the "
"analog world, as a practical matter it can still be difficult to actually "
"get noticed. The Internet is a firehose of content, one that only grows "
"larger by the minute. As a content creator, not only are you competing for "
"attention against more content creators than ever before, you are competing "
"against creativity generated outside the market as well.<placeholder type="
"\"footnote\" id=\"0\"/> Anderson wrote, “The greatest change of the past "
"decade has been the shift in time people spend consuming amateur content "
"instead of professional content.”<placeholder type=\"footnote\" id=\"1\"/> "
"To top it all off, you have to compete against the rest of their lives, too"
"—“friends, family, music playlists, soccer games, and nights on the "
"town.”<placeholder type=\"footnote\" id=\"2\"/> Somehow, some way, you have "
"to get noticed by the right people."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1827
msgid "Anderson, Free, 62."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1819
msgid ""
"When you come to the Internet armed with an all-rights-reserved mentality "
"from the start, you are often restricting access to your work before there "
"is even any demand for it. In many cases, requiring payment for your work is "
"part of the traditional copyright system. Even a tiny cost has a big effect "
"on demand.  It’s called the penny gap—the large difference in demand between "
"something that is available at the price of one cent versus the price of "
"zero.<placeholder type=\"footnote\" id=\"0\"/> That doesn’t mean it is wrong "
"to charge money for your content. It simply means you need to recognize the "
"effect that doing so will have on demand. The same principle applies to "
"restricting access to copy the work. If your problem is how to get "
"discovered and find “your people,” prohibiting people from copying your work "
"and sharing it with others is counterproductive."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1841
msgid "Doctorow, Information Doesn’t Want to Be Free, 38."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1837
msgid ""
"Of course, it’s not that being discovered by people who like your work will "
"make you rich—far from it. But as Cory Doctorow says, “Recognition is one of "
"many necessary preconditions for artistic success.”<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1845
msgid ""
"Choosing not to spend time and energy restricting access to your work and "
"policing infringement also builds goodwill. Lumen Learning, a for-profit "
"company that publishes online educational materials, made an early decision "
"not to prevent students from accessing their content, even in the form of a "
"tiny paywall, because it would negatively impact student success in a way "
"that would undermine the social mission behind what they do. They believe "
"this decision has generated an immense amount of goodwill within the "
"community."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1862
msgid "Bollier, Think Like a Commoner, 68."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1856
msgid ""
"It is not just that restricting access to your work may undermine your "
"social mission. It also may alienate the people who most value your creative "
"work. If people like your work, their natural instinct will be to share it "
"with others. But as David Bollier wrote, “Our natural human impulses to "
"imitate and share—the essence of culture—have been "
"criminalized.”<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1866
msgid ""
"The fact that copying can carry criminal penalties undoubtedly deters "
"copying it, but copying with the click of a button is too easy and "
"convenient to ever fully stop it. Try as the copyright industry might to "
"persuade us otherwise, copying a copyrighted work just doesn’t feel like "
"stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a "
"creative work has no impact on anyone else’s ability to make use of it."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1875
msgid ""
"If you take some amount of copying and sharing your work as a given, you can "
"invest your time and resources elsewhere, rather than wasting them on "
"playing a cat and mouse game with people who want to copy and share your "
"work. Lizzy Jongma from the Rijksmuseum said, “We could spend a lot of money "
"trying to protect works, but people are going to do it anyway. And they will "
"use bad-quality versions.” Instead, they started releasing high-resolution "
"digital copies of their collection into the public domain and making them "
"available for free on their website. For them, sharing was a form of quality "
"control over the copies that were inevitably being shared online. Doing this "
"meant forgoing the revenue they previously got from selling digital images. "
"But Lizzy says that was a small price to pay for all of the opportunities "
"that sharing unlocked for them."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1895
msgid "Anderson, Free, 86."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1891
msgid ""
"Being Made with Creative Commons means you stop thinking about ways to "
"artificially make your content scarce, and instead leverage it as the "
"potentially abundant resource it is.<placeholder type=\"footnote\" id=\"0\"/"
"> When you see information abundance as a feature, not a bug, you start "
"thinking about the ways to use the idling capacity of your content to your "
"advantage. As my friend and colleague Eric Steuer once said, “Using CC "
"licenses shows you get the Internet.”"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1906
msgid "Doctorow, Information Doesn’t Want to Be Free, 144."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1903
msgid ""
"Cory Doctorow says it costs him nothing when other people make copies of his "
"work, and it opens the possibility that he might get something in return."
"<placeholder type=\"footnote\" id=\"0\"/> Similarly, the makers of the "
"Arduino boards knew it was impossible to stop people from copying their "
"hardware, so they decided not to even try and instead look for the benefits "
"of being open. For them, the result is one of the most ubiquitous pieces of "
"hardware in the world, with a thriving online community of tinkerers and "
"innovators that have done things with their work they never could have done "
"otherwise."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1916
msgid ""
"There are all kinds of way to leverage the power of sharing and remix to "
"your benefit. Here are a few."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1920
msgid "Use CC to grow a larger audience"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1922
msgid ""
"Putting a Creative Commons license on your content won’t make it "
"automatically go viral, but eliminating legal barriers to copying the work "
"certainly can’t hurt the chances that your work will be shared. The CC "
"license symbolizes that sharing is welcome. It can act as a little tap on "
"the shoulder to those who come across the work—a nudge to copy the work if "
"they have any inkling of doing so. All things being equal, if one piece of "
"content has a sign that says Share and the other says Don’t Share (which is "
"what “©” means), which do you think people are more likely to share?"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1934
msgid ""
"The Conversation is an online news site with in-depth articles written by "
"academics who are experts on particular topics. All of the articles are CC-"
"licensed, and they are copied and reshared on other sites by design. This "
"proliferating effect, which they track, is a central part of the value to "
"their academic authors who want to reach as many readers as possible."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1950
msgid "Anderson, Free, 123."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1943
msgid ""
"The idea that more eyeballs equates with more success is a form of the max "
"strategy, adopted by Google and other technology companies. According to "
"Google’s Eric Schmidt, the idea is simple: “Take whatever it is you are "
"doing and do it at the max in terms of distribution. The other way of saying "
"this is that since marginal cost of distribution is free, you might as well "
"put things everywhere.”<placeholder type=\"footnote\" id=\"0\"/> This "
"strategy is what often motivates companies to make their products and "
"services free (i.e., no cost), but the same logic applies to making content "
"freely shareable. Because CC-licensed content is free (as in cost) and can "
"be freely copied, CC licensing makes it even more accessible and likely to "
"spread."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1964
msgid "Ibid., 132."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1969
msgid "Ibid., 70."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1959
msgid ""
"If you are successful in reaching more users, readers, listeners, or other "
"consumers of your work, you can start to benefit from the bandwagon effect. "
"The simple fact that there are other people consuming or following your work "
"spurs others to want to do the same.<placeholder type=\"footnote\" id=\"0\"/"
"> This is, in part, because we simply have a tendency to engage in herd "
"behavior, but it is also because a large following is at least a partial "
"indicator of quality or usefulness.<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1974
msgid "Use CC to get attribution and name recognition"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1988
msgid ""
"James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005), 124. "
"Surowiecki says, “The measure of success of laws and contracts is how rarely "
"they are invoked.”"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1976
msgid ""
"Every Creative Commons license requires that credit be given to the author, "
"and that reusers supply a link back to the original source of the material. "
"CC0, not a license but a tool used to put work in the public domain, does "
"not make attribution a legal requirement, but many communities still give "
"credit as a matter of best practices and social norms. In fact, it is social "
"norms, rather than the threat of legal enforcement, that most often motivate "
"people to provide attribution and otherwise comply with the CC license terms "
"anyway. This is the mark of any well-functioning community, within both the "
"marketplace and the society at large.<placeholder type=\"footnote\" id=\"0\"/"
"> CC licenses reflect a set of wishes on the part of creators, and in the "
"vast majority of circumstances, people are naturally inclined to follow "
"those wishes. This is particularly the case for something as straightforward "
"and consistent with basic notions of fairness as providing credit."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:1999
msgid ""
"The fact that the name of the creator follows a CC-licensed work makes the "
"licenses an important means to develop a reputation or, in corporate speak, "
"a brand. The drive to associate your name with your work is not just based "
"on commercial motivations, it is fundamental to authorship.  Knowledge "
"Unlatched is a nonprofit that helps to subsidize the print production of CC-"
"licensed academic texts by pooling contributions from libraries around the "
"United States. The CEO, Frances Pinter, says that the Creative Commons "
"license on the works has a huge value to authors because reputation is the "
"most important currency for academics. Sharing with CC is a way of having "
"the most people see and cite your work."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2013
msgid ""
"Attribution can be about more than just receiving credit. It can also be "
"about establishing provenance. People naturally want to know where content "
"came from—the source of a work is sometimes just as interesting as the work "
"itself. Opendesk is a platform for furniture designers to share their "
"designs.  Consumers who like those designs can then get matched with local "
"makers who turn the designs into real-life furniture.  The fact that I, "
"sitting in the middle of the United States, can pick out a design created by "
"a designer in Tokyo and then use a maker within my own community to "
"transform the design into something tangible is part of the power of their "
"platform. The provenance of the design is a special part of the product."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2028
msgid ""
"Knowing the source of a work is also critical to ensuring its credibility. "
"Just as a trademark is designed to give consumers a way to identify the "
"source and quality of a particular good and service, knowing the author of a "
"work gives the public a way to assess its credibility. In a time when online "
"discourse is plagued with misinformation, being a trusted information source "
"is more valuable than ever."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2038
msgid "Use CC-licensed content as a marketing tool"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2040
msgid ""
"As we will cover in more detail later, many endeavors that are Made with "
"Creative Commons make money by providing a product or service other than the "
"CC-licensed work. Sometimes that other product or service is completely "
"unrelated to the CC content. Other times it’s a physical copy or live "
"performance of the CC content. In all cases, the CC content can attract "
"people to your other product or service."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2062
msgid "Anderson, Free, 44."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2049
msgid ""
"Knowledge Unlatched’s Pinter told us she has seen time and again how "
"offering CC-licensed content—that is, digitally for free—actually increases "
"sales of the printed goods because it functions as a marketing tool. We see "
"this phenomenon regularly with famous artwork. The Mona Lisa is likely the "
"most recognizable painting on the planet. Its ubiquity has the effect of "
"catalyzing interest in seeing the painting in person, and in owning physical "
"goods with the image. Abundant copies of the content often entice more "
"demand, not blunt it.  Another example came with the advent of the radio. "
"Although the music industry did not see it coming (and fought it!), free "
"music on the radio functioned as advertising for the paid version people "
"bought in music stores.<placeholder type=\"footnote\" id=\"0\"/> Free can be "
"a form of promotion."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2066
msgid ""
"In some cases, endeavors that are Made with Creative Commons do not even "
"need dedicated marketing teams or marketing budgets. Cards Against Humanity "
"is a CC-licensed card game available as a free download. And because of this "
"(thanks to the CC license on the game), the creators say it is one of the "
"best-marketed games in the world, and they have never spent a dime on "
"marketing. The textbook publisher OpenStax has also avoided hiring a "
"marketing team. Their products are free, or cheaper to buy in the case of "
"physical copies, which makes them much more attractive to students who then "
"demand them from their universities. They also partner with service "
"providers who build atop the CC-licensed content and, in turn, spend money "
"and resources marketing those services (and by extension, the OpenStax "
"textbooks)."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2083
msgid "Use CC to enable hands-on engagement with your work"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2086
msgid ""
"The great promise of Creative Commons licensing is that it signifies an "
"embrace of remix culture. Indeed, this is the great promise of digital "
"technology. The Internet opened up a whole new world of possibilities for "
"public participation in creative work."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2100
msgid "Osterwalder and Pigneur, Business Model Generation, 23."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2093
msgid ""
"Four of the six CC licenses enable reusers to take apart, build upon, or "
"otherwise adapt the work. Depending on the context, adaptation can mean "
"wildly different things—translating, updating, localizing, improving, "
"transforming. It enables a work to be customized for particular needs, uses, "
"people, and communities, which is another distinct value to offer the public."
"<placeholder type=\"footnote\" id=\"0\"/> Adaptation is more game changing "
"in some contexts than others. With educational materials, the ability to "
"customize and update the content is critically important for its usefulness. "
"For photography, the ability to adapt a photo is less important."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2113
msgid "Anderson, Free, 67."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2118
msgid "Ibid., 58."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2121
msgid "Anderson, Makers, 71."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2126
msgid ""
"Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into "
"Collaborators (London: Penguin Books, 2010), 78."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2108
msgid ""
"This is a way to counteract a potential downside of the abundance of free "
"and open content described above. As Anderson wrote in Free, “People often "
"don’t care as much about things they don’t pay for, and as a result they "
"don’t think as much about how they consume them.”<placeholder type=\"footnote"
"\" id=\"0\"/> If even the tiny act of volition of paying one penny for "
"something changes our perception of that thing, then surely the act of "
"remixing it enhances our perception exponentially.<placeholder type="
"\"footnote\" id=\"1\"/> We know that people will pay more for products they "
"had a part in creating.<placeholder type=\"footnote\" id=\"2\"/> And we know "
"that creating something, no matter what quality, brings with it a type of "
"creative satisfaction that can never be replaced by consuming something "
"created by someone else.<placeholder type=\"footnote\" id=\"3\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2139
msgid "Ibid., 21."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2132
msgid ""
"Actively engaging with the content helps us avoid the type of aimless "
"consumption that anyone who has absentmindedly scrolled through their social-"
"media feeds for an hour knows all too well. In his book, Cognitive Surplus, "
"Clay Shirky says, “To participate is to act as if your presence matters, as "
"if, when you see something or hear something, your response is part of the "
"event.”<placeholder type=\"footnote\" id=\"0\"/> Opening the door to your "
"content can get people more deeply tied to your work."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2145
msgid "Use CC to differentiate yourself"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2154
msgid "Doctorow, Information Doesn’t Want to Be Free, 43."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2147
msgid ""
"Operating under a traditional copyright regime usually means operating under "
"the rules of establishment players in the media. Business strategies that "
"are embedded in the traditional copyright system, like using digital rights "
"management (DRM) and signing exclusivity contracts, can tie the hands of "
"creators, often at the expense of the creator’s best interest.<placeholder "
"type=\"footnote\" id=\"0\"/> Being Made with Creative Commons means you can "
"function without those barriers and, in many cases, use the increased "
"openness as a competitive advantage. David Harris from OpenStax said they "
"specifically pursue strategies they know that traditional publishers cannot. "
"“Don’t go into a market and play by the incumbent rules,” David said. "
"“Change the rules of engagement.”"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2166
msgid "Making Money"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2176
msgid ""
"William Landes Foster, Peter Kim, and Barbara Christiansen, “Ten Nonprofit "
"Funding Models,” Stanford Social Innovation Review, Spring 2009, <ulink url="
"\"http://ssir.org/articles/entry/ten_nonprofit_funding_models\"/>."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2168
msgid ""
"Like any moneymaking endeavor, those that are Made with Creative Commons "
"have to generate some type of value for their audience or customers. "
"Sometimes that value is subsidized by funders who are not actually "
"beneficiaries of that value. Funders, whether philanthropic institutions, "
"governments, or concerned individuals, provide money to the organization out "
"of a sense of pure altruism. This is the way traditional nonprofit funding "
"operates.<placeholder type=\"footnote\" id=\"0\"/> But in many cases, the "
"revenue streams used by endeavors that are Made with Creative Commons are "
"directly tied to the value they generate, where the recipient is paying for "
"the value they receive like any standard market transaction. In still other "
"cases, rather than the quid pro quo exchange of money for value that "
"typically drives market transactions, the recipient gives money out of a "
"sense of reciprocity."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2197
msgid "Shirky, Cognitive Surplus, 111."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2189
msgid ""
"Most who are Made with Creative Commons use a variety of methods to bring in "
"revenue, some market-based and some not. One common strategy is using grant "
"funding for content creation when research-and-development costs are "
"particularly high, and then finding a different revenue stream (or streams) "
"for ongoing expenses. As Shirky wrote, “The trick is in knowing when markets "
"are an optimal way of organizing interactions and when they are "
"not.”<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2201
msgid ""
"Our case studies explore in more detail the various revenue-generating "
"mechanisms used by the creators, organizations, and businesses we "
"interviewed. There is nuance hidden within the specific ways each of them "
"makes money, so it is a bit dangerous to generalize too much about what we "
"learned.  Nonetheless, zooming out and viewing things from a higher level of "
"abstraction can be instructive."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2210
msgid "Market-based revenue streams"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2215
msgid "Osterwalder and Pigneur, Business Model Generation, 30."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2222
msgid ""
"Jim Whitehurst, The Open Organization: Igniting Passion and Performance "
"(Boston: Harvard Business Review Press, 2015), 202."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2212
msgid ""
"In the market, the central question when determining how to bring in revenue "
"is what value people are willing to pay for.<placeholder type=\"footnote\" "
"id=\"0\"/> By definition, if you are Made with Creative Commons, the content "
"you provide is available for free and not a market commodity. Like the "
"ubiquitous freemium business model, any possible market transaction with a "
"consumer of your content has to be based on some added value you provide."
"<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2238
msgid "Anderson, Free, 71."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2228
msgid ""
"In many ways, this is the way of the future for all content-driven "
"endeavors. In the market, value lives in things that are scarce. Because the "
"Internet makes a universe of content available to all of us for free, it is "
"difficult to get people to pay for content online. The struggling newspaper "
"industry is a testament to this fact. This is compounded by the fact that at "
"least some amount of copying is probably inevitable. That means you may end "
"up competing with free versions of your own content, whether you condone it "
"or not.<placeholder type=\"footnote\" id=\"0\"/> If people can easily find "
"your content for free, getting people to buy it will be difficult, "
"particularly in a context where access to content is more important than "
"owning it. In Free, Anderson wrote, “Copyright protection schemes, whether "
"coded into either law or software, are simply holding up a price against the "
"force of gravity.”"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2257
msgid "Ibid., 231."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2247
msgid ""
"Of course, this doesn’t mean that content-driven endeavors have no future in "
"the traditional marketplace. In Free, Anderson explains how when one product "
"or service becomes free, as information and content largely have in the "
"digital age, other things become more valuable. “Every abundance creates a "
"new scarcity,” he wrote. You just have to find some way other than the "
"content to provide value to your audience or customers. As Anderson says, "
"“It’s easy to compete with Free: simply offer something better or at least "
"different from the free version.”<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2261
msgid ""
"In light of this reality, in some ways endeavors that are Made with Creative "
"Commons are at a level playing field with all content-based endeavors in the "
"digital age. In fact, they may even have an advantage because they can use "
"the abundance of content to derive revenue from something scarce. They can "
"also benefit from the goodwill that stems from the values behind being Made "
"with Creative Commons."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2270
msgid ""
"For content creators and distributors, there are nearly infinite ways to "
"provide value to the consumers of your work, above and beyond the value that "
"lives within your free digital content. Often, the CC-licensed content "
"functions as a marketing tool for the paid product or service."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2277
msgid "Here are the most common high-level categories."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2281
msgid ""
"Providing a custom service to consumers of your work <emphasis>[MARKET-"
"BASED]</emphasis>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2291
msgid "Ibid., 97."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2284
msgid ""
"In this age of information abundance, we don’t lack for content. The trick "
"is finding content that matches our needs and wants, so customized services "
"are particularly valuable.  As Anderson wrote, “Commodity information "
"(everybody gets the same version) wants to be free. Customized information "
"(you get something unique and meaningful to you) wants to be "
"expensive.”<placeholder type=\"footnote\" id=\"0\"/> This can be anything "
"from the artistic and cultural consulting services provided by Ártica to the "
"custom-song business of Jonathan “Song-A-Day” Mann."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2298
msgid "Charging for the physical copy <emphasis>[MARKET-BASED]</emphasis>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2305
msgid "Anderson, Makers, 107."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2301
msgid ""
"In his book about maker culture, Anderson characterizes this model as giving "
"away the bits and selling the atoms (where bits refers to digital content "
"and atoms refer to a physical object).<placeholder type=\"footnote\" id="
"\"0\"/> This is particularly successful in domains where the digital version "
"of the content isn’t as valuable as the analog version, like book publishing "
"where a significant subset of people still prefer reading something they can "
"hold in their hands. Or in domains where the content isn’t useful until it "
"is in physical form, like furniture designs. In those situations, a "
"significant portion of consumers will pay for the convenience of having "
"someone else put the physical version together for them. Some endeavors "
"squeeze even more out of this revenue stream by using a Creative Commons "
"license that only allows noncommercial uses, which means no one else can "
"sell physical copies of their work in competition with them. This strategy "
"of reserving commercial rights can be particularly important for items like "
"books, where every printed copy of the same work is likely to be the same "
"quality, so it is harder to differentiate one publishing service from "
"another. On the other hand, for items like furniture or electronics, the "
"provider of the physical goods can compete with other providers of the same "
"works based on quality, service, or other traditional business principles."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2329
msgid "Charging for the in-person version <emphasis>[MARKET-BASED]</emphasis>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2332
msgid ""
"As anyone who has ever gone to a concert will tell you, experiencing "
"creativity in person is a completely different experience from consuming a "
"digital copy on your own. Far from acting as a substitute for face-to-face "
"interaction, CC-licensed content can actually create demand for the in-"
"person version of experience. You can see this effect when people go view "
"original art in person or pay to attend a talk or training course."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2343
msgid "Selling merchandise <emphasis>[MARKET-BASED]</emphasis>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2346
msgid ""
"In many cases, people who like your work will pay for products demonstrating "
"a connection to your work. As a child of the 1980s, I can personally attest "
"to the power of a good concert T-shirt. This can also be an important "
"revenue stream for museums and galleries."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2363
msgid "Osterwalder and Pigneur, Business Model Generation, 89."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2353
msgid ""
"Sometimes the way to find a market-based revenue stream is by providing "
"value to people other than those who consume your CC-licensed content. In "
"these revenue streams, the free content is being subsidized by an entirely "
"different category of people or businesses. Often, those people or "
"businesses are paying to access your main audience. The fact that the "
"content is free increases the size of the audience, which in turn makes the "
"offer more valuable to the paying customers. This is a variation of a "
"traditional business model built on free called multi-sided platforms."
"<placeholder type=\"footnote\" id=\"0\"/> Access to your audience isn’t the "
"only thing people are willing to pay for—there are other services you can "
"provide as well."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2370
msgid "Charging advertisers or sponsors <emphasis>[MARKET-BASED]</emphasis>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2378
msgid "Ibid., 92."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2382
msgid "Anderson, Free, 142."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2373
msgid ""
"The traditional model of subsidizing free content is advertising. In this "
"version of multi-sided platforms, advertisers pay for the opportunity to "
"reach the set of eyeballs the content creators provide in the form of their "
"audience.<placeholder type=\"footnote\" id=\"0\"/> The Internet has made "
"this model more difficult because the number of potential channels available "
"to reach those eyeballs has become essentially infinite.<placeholder type="
"\"footnote\" id=\"1\"/> Nonetheless, it remains a viable revenue stream for "
"many content creators, including those who are Made with Creative Commons. "
"Often, instead of paying to display advertising, the advertiser pays to be "
"an official sponsor of particular content or projects, or of the overall "
"endeavor."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2391
msgid "Charging your content creators <emphasis>[MARKET-BASED]</emphasis>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2394
msgid ""
"Another type of multisided platform is where the content creators themselves "
"pay to be featured on the platform.  Obviously, this revenue stream is only "
"available to those who rely on work created, at least in part, by others. "
"The most well-known version of this model is the “author-processing charge” "
"of open-access journals like those published by the Public Library of "
"Science, but there are other variations. The Conversation is primarily "
"funded by a university-membership model, where universities pay to have "
"their faculties participate as writers of the content on the Conversation "
"website."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2408
msgid "Charging a transaction fee <emphasis>[MARKET-BASED]</emphasis>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2413
msgid "Osterwalder and Pigneur, Business Model Generation, 32."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2411
msgid ""
"This is a version of a traditional business model based on brokering "
"transactions between parties.<placeholder type=\"footnote\" id=\"0\"/> "
"Curation is an important element of this model.  Platforms like the Noun "
"Project add value by wading through CC-licensed content to curate a high-"
"quality set and then derive revenue when creators of that content make "
"transactions with customers. Other platforms make money when service "
"providers transact with their customers; for example, Opendesk makes money "
"every time someone on their site pays a maker to make furniture based on one "
"of the designs on the platform."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2425
msgid ""
"Providing a service to your creators <emphasis>[MARKET-BASED]</emphasis>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2428
msgid ""
"As mentioned above, endeavors can make money by providing customized "
"services to their users. Platforms can undertake a variation of this service "
"model directed at the creators that provide the content they feature. The "
"data platforms Figure.NZ and Figshare both capitalize on this model by "
"providing paid tools to help their users make the data they contribute to "
"the platform more discoverable and reusable."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2438
msgid "Licensing a trademark <emphasis>[MARKET-BASED]</emphasis>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2441
msgid ""
"Finally, some that are Made with Creative Commons make money by selling use "
"of their trademarks. Well known brands that consumers associate with "
"quality, credibility, or even an ethos can license that trademark to "
"companies that want to take advantage of that goodwill. By definition, "
"trademarks are scarce because they represent a particular source of a good "
"or service. Charging for the ability to use that trademark is a way of "
"deriving revenue from something scarce while taking advantage of the "
"abundance of CC content."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2453
msgid "Reciprocity-based revenue streams"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2455
msgid ""
"Even if we set aside grant funding, we found that the traditional economic "
"framework of understanding the market failed to fully capture the ways the "
"endeavors we analyzed were making money. It was not simply about monetizing "
"scarcity."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2462
msgid ""
"Rather than devising a scheme to get people to pay money in exchange for "
"some direct value provided to them, many of the revenue streams were more "
"about providing value, building a relationship, and then eventually finding "
"some money that flows back out of a sense of reciprocity. While some look "
"like traditional nonprofit funding models, they aren’t charity. The endeavor "
"exchange value with people, just not necessarily synchronously or in a way "
"that requires that those values be equal. As David Bollier wrote in Think "
"Like a Commoner, “There is no self-serving calculation of whether the value "
"given and received is strictly equal.”"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2475
msgid ""
"This should be a familiar dynamic—it is the way you deal with your friends "
"and family. We give without regard for what and when we will get back. David "
"Bollier wrote, “Reciprocal social exchange lies at the heart of human "
"identity, community and culture. It is a vital brain function that helps the "
"human species survive and evolve.”"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2485
msgid "Bollier, Think Like a Commoner, 150."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2489
msgid "Ibid., 134."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2483
msgid ""
"What is rare is to incorporate this sort of relationship into an endeavor "
"that also engages with the market.<placeholder type=\"footnote\" id=\"0\"/> "
"We almost can’t help but think of relationships in the market as being "
"centered on an even-steven exchange of value.<placeholder type=\"footnote\" "
"id=\"1\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2494
msgid ""
"Memberships and individual donations <emphasis>[RECIPROCITY-BASED]</emphasis>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2497
msgid ""
"While memberships and donations are traditional nonprofit funding models, in "
"the Made with Creative Commons context, they are directly tied to the "
"reciprocal relationship that is cultivated with the beneficiaries of their "
"work. The bigger the pool of those receiving value from the content, the "
"more likely this strategy will work, given that only a small percentage of "
"people are likely to contribute. Since using CC licenses can grease the "
"wheels for content to reach more people, this strategy can be more effective "
"for endeavors that are Made with Creative Commons. The greater the argument "
"that the content is a public good or that the entire endeavor is furthering "
"a social mission, the more likely this strategy is to succeed."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2513
msgid "The pay-what-you-want model <emphasis>[RECIPROCITY-BASED]</emphasis>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2516
msgid ""
"In the pay-what-you-want model, the beneficiary of Creative Commons content "
"is invited to give—at any amount they can and feel is appropriate, based on "
"the public and personal value they feel is generated by the open content. "
"Critically, these models are not touted as “buying” something free. They are "
"similar to a tip jar. People make financial contributions as an act of "
"gratitude. These models capitalize on the fact that we are naturally "
"inclined to give money for things we value in the marketplace, even in "
"situations where we could find a way to get it for free."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2529
msgid "Crowdfunding <emphasis>[RECIPROCITY-BASED]</emphasis>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2532
msgid ""
"Crowdfunding models are based on recouping the costs of creating and "
"distributing content before the content is created. If the endeavor is Made "
"with Creative Commons, anyone who wants the work in question could simply "
"wait until it’s created and then access it for free. That means, for this "
"model to work, people have to care about more than just receiving the work. "
"They have to want you to succeed. Amanda Palmer credits the success of her "
"crowdfunding on Kickstarter and Patreon to the years she spent building her "
"community and creating a connection with her fans. She wrote in The Art of "
"Asking, “Good art is made, good art is shared, help is offered, ears are "
"bent, emotions are exchanged, the compost of real, deep connection is "
"sprayed all over the fields. Then one day, the artist steps up and asks for "
"something. And if the ground has been fertilized enough, the audience says, "
"without hesitation: of course.”"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2550
msgid ""
"Other types of crowdfunding rely on a sense of responsibility that a "
"particular community may feel. Knowledge Unlatched pools funds from major U."
"S. libraries to subsidize CC-licensed academic work that will be, by "
"definition, available to everyone for free. Libraries with bigger budgets "
"tend to give more out of a sense of commitment to the library community and "
"to the idea of open access generally."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2561
msgid "Making Human Connections"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2563
msgid ""
"Regardless of how they made money, in our interviews, we repeatedly heard "
"language like “persuading people to buy” and “inviting people to pay.” We "
"heard it even in connection with revenue streams that sit squarely within "
"the market. Cory Doctorow told us, “I have to convince my readers that the "
"right thing to do is to pay me.” The founders of the for-profit company "
"Lumen Learning showed us the letter they send to those who opt not to pay "
"for the services they provide in connection with their CC-licensed "
"educational content. It isn’t a cease-and-desist letter; it’s an invitation "
"to pay because it’s the right thing to do. This sort of behavior toward what "
"could be considered nonpaying customers is largely unheard of in the "
"traditional marketplace. But it seems to be part of the fabric of being Made "
"with Creative Commons."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2579
msgid ""
"Nearly every endeavor we profiled relied, at least in part, on people being "
"invested in what they do. The closer the Creative Commons content is to "
"being “the product,” the more pronounced this dynamic has to be. Rather than "
"simply selling a product or service, they are making ideological, personal, "
"and creative connections with the people who value what they do."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2587
msgid ""
"It took me a very long time to see how this avoidance of thinking about what "
"they do in pure market terms was deeply tied to being Made with Creative "
"Commons."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2592
msgid ""
"I came to the research with preconceived notions about what Creative Commons "
"is and what it means to be Made with Creative Commons. It turned out I was "
"wrong on so many counts."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2597
msgid ""
"Obviously, being Made with Creative Commons means using Creative Commons "
"licenses. That much I knew. But in our interviews, people spoke of so much "
"more than copyright permissions when they explained how sharing fit into "
"what they do. I was thinking about sharing too narrowly, and as a result, I "
"was missing vast swaths of the meaning packed within Creative Commons. "
"Rather than parsing the specific and narrow role of the copyright license in "
"the equation, it is important not to disaggregate the rest of what comes "
"with sharing. You have to widen the lens."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2608
msgid ""
"Being Made with Creative Commons is not just about the simple act of "
"licensing a copyrighted work under a set of standardized terms, but also "
"about community, social good, contributing ideas, expressing a value system, "
"working together. These components of sharing are hard to cultivate if you "
"think about what you do in purely market terms. Decent social behavior isn’t "
"as intuitive when we are doing something that involves monetary exchange. It "
"takes a conscious effort to foster the context for real sharing, based not "
"strictly on impersonal market exchange, but on connections with the people "
"with whom you share—connections with you, with your work, with your values, "
"with each other."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2622
msgid ""
"The rest of this section will explore some of the common strategies that "
"creators, companies, and organizations use to remind us that there are "
"humans behind every creative endeavor.  To remind us we have obligations to "
"each other. To remind us what sharing really looks like."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2629
msgid "Be human"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2633
msgid ""
"Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our "
"Decisions, rev. ed. (New York: Harper Perennial, 2010), 109."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2631
msgid ""
"Humans are social animals, which means we are naturally inclined to treat "
"each other well.<placeholder type=\"footnote\" id=\"0\"/> But the further "
"removed we are from the person with whom we are interacting, the less caring "
"our behavior will be. While the Internet has democratized cultural "
"production, increased access to knowledge, and connected us in extraordinary "
"ways, it can also make it easy forget we are dealing with another human."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2657
msgid ""
"Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and Get "
"Discovered (New York: Workman, 2014), 93."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2644
msgid ""
"To counteract the anonymous and impersonal tendencies of how we operate "
"online, individual creators and corporations who use Creative Commons "
"licenses work to demonstrate their humanity. For some, this means pouring "
"their lives out on the page. For others, it means showing their creative "
"process, giving a glimpse into how they do what they do. As writer Austin "
"Kleon wrote, “Our work doesn’t speak for itself. Human beings want to know "
"where things came from, how they were made, and who made them. The stories "
"you tell about the work you do have a huge effect on how people feel and "
"what they understand about your work, and how people feel and what they "
"understand about your work affects how they value it.”<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2663
msgid ""
"A critical component to doing this effectively is not worrying about being a "
"“brand.” That means not being afraid to be vulnerable. Amanda Palmer says, "
"“When you’re afraid of someone’s judgment, you can’t connect with them. "
"You’re too preoccupied with the task of impressing them.” Not everyone is "
"suited to live life as an open book like Palmer, and that’s OK. There are a "
"lot of ways to be human. The trick is just avoiding pretense and the "
"temptation to artificially craft an image. People don’t just want the glossy "
"version of you. They can’t relate to it, at least not in a meaningful way."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2683
msgid "Kramer, Shareology, 76."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2675
msgid ""
"This advice is probably even more important for businesses and organizations "
"because we instinctively conceive of them as nonhuman (though in the United "
"States, corporations are people!). When corporations and organizations make "
"the people behind them more apparent, it reminds people that they are "
"dealing with something other than an anonymous corporate entity. In business-"
"speak, this is about “humanizing your interactions” with the public."
"<placeholder type=\"footnote\" id=\"0\"/> But it can’t be a gimmick. You "
"can’t fake being human."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2689
msgid "Be open and accountable"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2698
msgid "Palmer, Art of Asking, 252."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2703
msgid "Whitehurst, Open Organization, 145."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2691
msgid ""
"Transparency helps people understand who you are and why you do what you do, "
"but it also inspires trust. Max Temkin of Cards Against Humanity told us, "
"“One of the most surprising things you can do in capitalism is just be "
"honest with people.” That means sharing the good and the bad. As Amanda "
"Palmer wrote, “You can fix almost anything by authentically "
"communicating.”<placeholder type=\"footnote\" id=\"0\"/> It isn’t about "
"trying to satisfy everyone or trying to sugarcoat mistakes or bad news, but "
"instead about explaining your rationale and then being prepared to defend it "
"when people are critical.<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2712
msgid "Surowiecki, Wisdom of Crowds, 203."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2719
msgid "Whitehurst, Open Organization, 80."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2707
msgid ""
"Being accountable does not mean operating on consensus.  According to James "
"Surowiecki, consensus-driven groups tend to resort to lowest-common-"
"denominator solutions and avoid the sort of candid exchange of ideas that "
"cultivates healthy collaboration.<placeholder type=\"footnote\" id=\"0\"/> "
"Instead, it can be as simple as asking for input and then giving context and "
"explanation about decisions you make, even if soliciting feedback and "
"inviting discourse is time-consuming. If you don’t go through the effort to "
"actually respond to the input you receive, it can be worse than not inviting "
"input in the first place.<placeholder type=\"footnote\" id=\"1\"/> But when "
"you get it right, it can guarantee the type of diversity of thought that "
"helps endeavors excel. And it is another way to get people involved and "
"invested in what you do."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2727
msgid "Design for the good actors"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2731
msgid "Bollier, Think Like a Commoner, 25."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2736
msgid "Ibid., 31."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2729
msgid ""
"Traditional economics assumes people make decisions based solely on their "
"own economic self-interest.<placeholder type=\"footnote\" id=\"0\"/> Any "
"relatively introspective human knows this is a fiction—we are much more "
"complicated beings with a whole range of needs, emotions, and motivations. "
"In fact, we are hardwired to work together and ensure fairness.<placeholder "
"type=\"footnote\" id=\"1\"/> Being Made with Creative Commons requires an "
"assumption that people will largely act on those social motivations, "
"motivations that would be considered “irrational” in an economic sense. As "
"Knowledge Unlatched’s Pinter told us, “It is best to ignore people who try "
"to scare you about free riding. That fear is based on a very shallow view of "
"what motivates human behavior.” There will always be people who will act in "
"purely selfish ways, but endeavors that are Made with Creative Commons "
"design for the good actors."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2754
msgid "Shirky, Cognitive Surplus, 112."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2748
msgid ""
"The assumption that people will largely do the right thing can be a self-"
"fulfilling prophecy. Shirky wrote in Cognitive Surplus, “Systems that assume "
"people will act in ways that create public goods, and that give them "
"opportunities and rewards for doing so, often let them work together better "
"than neoclassical economics would predict.”<placeholder type=\"footnote\" id="
"\"0\"/> When we acknowledge that people are often motivated by something "
"other than financial self-interest, we design our endeavors in ways that "
"encourage and accentuate our social instincts."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2771
msgid "Surowiecki, Wisdom of Crowds, 124."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2761
msgid ""
"Rather than trying to exert control over people’s behavior, this mode of "
"operating requires a certain level of trust. We might not realize it, but "
"our daily lives are already built on trust. As Surowiecki wrote in The "
"Wisdom of Crowds, “It’s impossible for a society to rely on law alone to "
"make sure citizens act honestly and responsibly. And it’s impossible for any "
"organization to rely on contracts alone to make sure that its managers and "
"workers live up to their obligation.” Instead, we largely trust that people—"
"mostly strangers—will do what they are supposed to do.<placeholder type="
"\"footnote\" id=\"0\"/> And most often, they do."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2776
msgid "Treat humans like, well, humans"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2781
msgid "Kleon, Show Your Work, 127."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2789
msgid "Palmer, Art of Asking, 121."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2778
msgid ""
"For creators, treating people as humans means not treating them like fans. "
"As Kleon says, “If you want fans, you have to be a fan first.”<placeholder "
"type=\"footnote\" id=\"0\"/> Even if you happen to be one of the few to "
"reach celebrity levels of fame, you are better off remembering that the "
"people who follow your work are human, too. Cory Doctorow makes a point to "
"answer every single email someone sends him.  Amanda Palmer spends vast "
"quantities of time going online to communicate with her public, making a "
"point to listen just as much as she talks.<placeholder type=\"footnote\" id="
"\"1\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2793
msgid ""
"The same idea goes for businesses and organizations. Rather than automating "
"its customer service, the music platform Tribe of Noise makes a point to "
"ensure its employees have personal, one-on-one interaction with users."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2804
msgid "Ariely, Predictably Irrational, 87."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2814
msgid "Ibid., 105."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2799
msgid ""
"When we treat people like humans, they typically return the gift in kind. "
"It’s called karma. But social relationships are fragile. It is all too easy "
"to destroy them if you make the mistake of treating people as anonymous "
"customers or free labor.<placeholder type=\"footnote\" id=\"0\"/> Platforms "
"that rely on content from contributors are especially at risk of creating an "
"exploitative dynamic. It is important to find ways to acknowledge and pay "
"back the value that contributors generate. That does not mean you can solve "
"this problem by simply paying contributors for their time or contributions. "
"As soon as we introduce money into a relationship—at least when it takes a "
"form of paying monetary value in exchange for other value—it can "
"dramatically change the dynamic.<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2819
msgid "State your principles and stick to them"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2821
msgid ""
"Being Made with Creative Commons makes a statement about who you are and "
"what you do. The symbolism is powerful. Using Creative Commons licenses "
"demonstrates adherence to a particular belief system, which generates "
"goodwill and connects like-minded people to your work. Sometimes people will "
"be drawn to endeavors that are Made with Creative Commons as a way of "
"demonstrating their own commitment to the Creative Commons value system, "
"akin to a political statement. Other times people will identify and feel "
"connected with an endeavor’s separate social mission. Often both."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2833
msgid ""
"The expression of your values doesn’t have to be implicit. In fact, many of "
"the people we interviewed talked about how important it is to state your "
"guiding principles up front.  Lumen Learning attributes a lot of their "
"success to having been outspoken about the fundamental values that guide "
"what they do. As a for-profit company, they think their expressed commitment "
"to low-income students and open licensing has been critical to their "
"credibility in the OER (open educational resources) community in which they "
"operate."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2848
msgid "Ibid., 36."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2844
msgid ""
"When your end goal is not about making a profit, people trust that you "
"aren’t just trying to extract value for your own gain. People notice when "
"you have a sense of purpose that transcends your own self-interest."
"<placeholder type=\"footnote\" id=\"0\"/> It attracts committed employees, "
"motivates contributors, and builds trust."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2854
msgid "Build a community"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2862
msgid ""
"Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media, "
"2012), 36."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2856
msgid ""
"Endeavors that are Made with Creative Commons thrive when community is built "
"around what they do. This may mean a community collaborating together to "
"create something new, or it may simply be a collection of like-minded people "
"who get to know each other and rally around common interests or beliefs."
"<placeholder type=\"footnote\" id=\"0\"/> To a certain extent, simply being "
"Made with Creative Commons automatically brings with it some element of "
"community, by helping connect you to like-minded others who recognize and "
"are drawn to the values symbolized by using CC."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2878
msgid "Palmer, Art of Asking, 98."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2885
msgid "Whitehurst, Open Organization, 34."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2870
msgid ""
"To be sustainable, though, you have to work to nurture community. People "
"have to care—about you and each other. One critical piece to this is "
"fostering a sense of belonging. As Jono Bacon writes in The Art of "
"Community, “If there is no belonging, there is no community.” For Amanda "
"Palmer and her band, that meant creating an accepting and inclusive "
"environment where people felt a part of their “weird little "
"family.”<placeholder type=\"footnote\" id=\"0\"/> For organizations like Red "
"Hat, that means connecting around common beliefs or goals. As the CEO Jim "
"Whitehurst wrote in The Open Organization, “Tapping into passion is "
"especially important in building the kinds of participative communities that "
"drive open organizations.”<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2897
msgid "Surowiecki, Wisdom of Crowds, 200."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2901
msgid "Bollier, Think Like a Commoner, 29."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2889
msgid ""
"Communities that collaborate together take deliberate planning. Surowiecki "
"wrote, “It takes a lot of work to put the group together. It’s difficult to "
"ensure that people are working in the group’s interest and not in their own. "
"And when there’s a lack of trust between the members of the group (which "
"isn’t surprising given that they don’t really know each other), considerable "
"energy is wasted trying to determine each other’s bona fides.”<placeholder "
"type=\"footnote\" id=\"0\"/> Building true community requires giving people "
"within the community the power to create or influence the rules that govern "
"the community.<placeholder type=\"footnote\" id=\"1\"/> If the rules are "
"created and imposed in a top-down manner, people feel like they don’t have a "
"voice, which in turn leads to disengagement."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2907
msgid ""
"Community takes work, but working together, or even simply being connected "
"around common interests or values, is in many ways what sharing is about."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2913
msgid "Give more to the commons than you take"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2924
msgid ""
"Giana Eckhardt and Fleura Bardhi, “The Sharing Economy Isn’t about Sharing "
"at All,” Harvard Business Review (website), January 28, 2015, <ulink url="
"\"http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all\"/>."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2932
msgid ""
"Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with "
"new epilogue (New York: Portfolio, 2012)."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2915
msgid ""
"Conventional wisdom in the marketplace dictates that people should try to "
"extract as much money as possible from resources. This is essentially what "
"defines so much of the so-called sharing economy. In an article on the "
"Harvard Business Review website called “The Sharing Economy Isn’t about "
"Sharing at All,” authors Giana Eckhardt and Fleura Bardhi explained how the "
"anonymous market-driven trans-actions in most sharing-economy businesses are "
"purely about monetizing access.<placeholder type=\"footnote\" id=\"0\"/> As "
"Lisa Gansky put it in her book The Mesh, the primary strategy of the sharing "
"economy is to sell the same product multiple times, by selling access rather "
"than ownership.<placeholder type=\"footnote\" id=\"1\"/> That is not sharing."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2948
msgid ""
"David Lee, “Inside Medium: An Attempt to Bring Civility to the Internet,” "
"BBC News, March 3, 2016, <ulink url=\"http://www.bbc.com/news/"
"technology-35709680\"/>."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2938
msgid ""
"Sharing requires adding as much or more value to the ecosystem than you "
"take. You can’t simply treat open content as a free pool of resources from "
"which to extract value. Part of giving back to the ecosystem is contributing "
"content back to the public under CC licenses. But it doesn’t have to just be "
"about creating content; it can be about adding value in other ways.  The "
"social blogging platform Medium provides value to its community by "
"incentivizing good behavior, and the result is an online space with "
"remarkably high-quality user-generated content and limited trolling."
"<placeholder type=\"footnote\" id=\"0\"/> Opendesk contributes to its "
"community by committing to help its designers make money, in part by "
"actively curating and displaying their work on its platform effectively."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2957
msgid ""
"In all cases, it is important to openly acknowledge the amount of value you "
"add versus that which you draw on that was created by others. Being "
"transparent about this builds credibility and shows you are a contributing "
"player in the commons. When your endeavor is making money, that also means "
"apportioning financial compensation in a way that reflects the value "
"contributed by others, providing more to contributors when the value they "
"add outweighs the value provided by you."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2968
msgid "Involve people in what you do"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2973
msgid "Anderson, Makers, 148."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2977
msgid "Shirky, Cognitive Surplus, 164."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2984
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3048
msgid "Whitehurst, foreword to Open Organization."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2970
msgid ""
"Thanks to the Internet, we can tap into the talents and expertise of people "
"around the globe. Chris Anderson calls it the Long Tail of talent."
"<placeholder type=\"footnote\" id=\"0\"/> But to make collaboration work, "
"the group has to be effective at what it is doing, and the people within the "
"group have to find satisfaction from being involved.<placeholder type="
"\"footnote\" id=\"1\"/> This is easier to facilitate for some types of "
"creative work than it is for others. Groups tied together online collaborate "
"best when people can work independently and asynchronously, and particularly "
"for larger groups with loose ties, when contributors can make simple "
"improvements without a particularly heavy time commitment.<placeholder type="
"\"footnote\" id=\"2\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2997
msgid "Shirky, Cognitive Surplus, 144."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:2988
msgid ""
"As the success of Wikipedia demonstrates, editing an online encyclopedia is "
"exactly the sort of activity that is perfect for massive co-creation because "
"small, incremental edits made by a diverse range of people acting on their "
"own are immensely valuable in the aggregate. Those same sorts of small "
"contributions would be less useful for many other types of creative work, "
"and people are inherently less motivated to contribute when it doesn’t "
"appear that their efforts will make much of a difference.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3009
msgid "Ibid., 154."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3021
msgid "Palmer, Art of Asking, 163."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3001
msgid ""
"It is easy to romanticize the opportunities for global cocreation made "
"possible by the Internet, and, indeed, the successful examples of it are "
"truly incredible and inspiring.  But in a wide range of circumstances—"
"perhaps more often than not—community cocreation is not part of the "
"equation, even within endeavors built on CC content. Shirky wrote, "
"“Sometimes the value of professional work trumps the value of amateur "
"sharing or a feeling of belonging.<placeholder type=\"footnote\" id=\"0\"/> "
"The textbook publisher OpenStax, which distributes all of its material for "
"free under CC licensing, is an example of this dynamic. Rather than tapping "
"the community to help cocreate their college textbooks, they invest a "
"significant amount of time and money to develop professional content. For "
"individual creators, where the creative work is the basis for what they do, "
"community cocreation is only rarely a part of the picture. Even musician "
"Amanda Palmer, who is famous for her openness and involvement with her fans, "
"said, “The only department where I wasn’t open to input was the writing, the "
"music itself.”<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3032
msgid "Anderson, Makers, 173."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3039
msgid ""
"Tom Kelley and David Kelley, Creative Confidence: Unleashing the Potential "
"within Us All (New York: Crown, 2013), 82."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3025
msgid ""
"While we tend to immediately think of cocreation and remixing when we hear "
"the word collaboration, you can also involve others in your creative process "
"in more informal ways, by sharing half-baked ideas and early drafts, and "
"interacting with the public to incubate ideas and get feedback. So-called "
"“making in public” opens the door to letting people feel more invested in "
"your creative work.<placeholder type=\"footnote\" id=\"0\"/> And it shows a "
"nonterritorial approach to ideas and information. Stephen Covey (of The 7 "
"Habits of Highly Effective People fame) calls this the abundance mentality—"
"treating ideas like something plentiful—and it can create an environment "
"where collaboration flourishes.<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3056
msgid ""
"Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of "
"Collaborative Consumption (New York: Harper Business, 2010), 188."
msgstr ""

#. type: Content of: <book><part><chapter><sect1><sect2><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3045
msgid ""
"There is no one way to involve people in what you do. They key is finding a "
"way for people to contribute on their terms, compelled by their own "
"motivations.<placeholder type=\"footnote\" id=\"0\"/> What that looks like "
"varies wildly depending on the project. Not every endeavor that is Made with "
"Creative Commons can be Wikipedia, but every endeavor can find ways to "
"invite the public into what they do. The goal for any form of collaboration "
"is to move away from thinking of consumers as passive recipients of your "
"content and transition them into active participants.<placeholder type="
"\"footnote\" id=\"1\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3065
#, fuzzy
msgid "The Creative Commons Licenses"
msgstr "## Gemaakt met Creative Commons"

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3067
msgid ""
"All of the Creative Commons licenses grant a basic set of permissions. At a "
"minimum, a CC- licensed work can be copied and shared in its original form "
"for noncommercial purposes so long as attribution is given to the creator. "
"There are six licenses in the CC license suite that build on that basic set "
"of permissions, ranging from the most restrictive (allowing only those basic "
"permissions to share unmodified copies for noncommercial purposes)  to the "
"most permissive (reusers can do anything they want with the work, even for "
"commercial purposes, as long as they give the creator credit). The licenses "
"are built on copyright and do not cover other types of rights that creators "
"might have in their works, like patents or trademarks."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3081
msgid "Here are the six licenses:"
msgstr ""

#. type: Content of: <book><part><chapter><informalfigure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3085
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001930000008D83BF99FC0821C489.png\" width=\"40.0%\"/> "
"</imageobject>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3094
msgid ""
"The Attribution license (CC BY) lets others distribute, remix, tweak, and "
"build upon your work, even commercially, as long as they credit you for the "
"original creation. This is the most accommodating of licenses offered. "
"Recommended for maximum dissemination and use of licensed materials."
msgstr ""

#. type: Content of: <book><part><chapter><informalfigure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3102
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001930000008DFD3592CB17C4EC38.png\" width=\"40.0%\"/> "
"</imageobject>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3111
msgid ""
"The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak, and "
"build upon your work, even for commercial purposes, as long as they credit "
"you and license their new creations under identical terms. This license is "
"often compared to “copyleft” free and open source software licenses. All new "
"works based on yours will carry the same license, so any derivatives will "
"also allow commercial use."
msgstr ""

#. type: Content of: <book><part><chapter><informalfigure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3121
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001930000008D254882DE24793FEA.png\" width=\"40.0%\"/> "
"</imageobject>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3130
msgid ""
"The Attribution-NoDerivs license (CC BY-ND) allows for redistribution, "
"commercial and noncommercial, as long as it is passed along unchanged with "
"credit to you."
msgstr ""

#. type: Content of: <book><part><chapter><informalfigure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3136
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png\" width=\"40.0%\"/> "
"</imageobject>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3145
msgid ""
"The Attribution-NonCommercial license (CC BY-NC) lets others remix, tweak, "
"and build upon your work noncommercially. Although their new works must also "
"acknowledge you, they don’t have to license their derivative works on the "
"same terms."
msgstr ""

#. type: Content of: <book><part><chapter><informalfigure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3152
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001930000008D16DA603376395620.png\" width=\"40.0%\"/> "
"</imageobject>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3161
msgid ""
"The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA)  lets others "
"remix, tweak, and build upon your work noncommercially, as long as they "
"credit you and license their new creations under the same terms."
msgstr ""

#. type: Content of: <book><part><chapter><informalfigure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3168
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001930000008DC3FEF92B21310965.png\" width=\"40.0%\"/> "
"</imageobject>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3177
msgid ""
"The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most "
"restrictive of our six main licenses, only allowing others to download your "
"works and share them with others as long as they credit you, but they can’t "
"change them or use them commercially."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3184
msgid ""
"In addition to these six licenses, Creative Commons has two public-domain "
"tools—one for creators and the other for those who manage collections of "
"existing works by authors whose terms of copyright have expired:"
msgstr ""

#. type: Content of: <book><part><chapter><informalfigure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3191
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001900000008DBE3414994CD27786.png\" width=\"40.0%\"/> "
"</imageobject>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3200
msgid ""
"CC0 enables authors and copyright owners to dedicate their works to the "
"worldwide public domain (“no rights reserved”)."
msgstr ""

#. type: Content of: <book><part><chapter><informalfigure><mediaobject>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3205
msgid ""
"<imageobject> <imagedata fileref="
"\"Pictures/10000201000001900000008D36DCD649C5B1411F.png\" width=\"40.0%\"/> "
"</imageobject>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3214
msgid ""
"The Creative Commons Public Domain Mark facilitates the labeling and "
"discovery of works that are already free of known copyright restrictions."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3219
msgid ""
"In our case studies, some use just one Creative Commons license, others use "
"several. Attribution (found in thirteen case studies)  and Attribution-"
"ShareAlike (found in eight studies) were the most common, with the other "
"licenses coming up in four or so case studies, including the public-domain "
"tool CC0. Some of the organizations we profiled offer both digital content "
"and software: by using open-source-software licenses for the software code "
"and Creative Commons licenses for digital content, they amplify their "
"involvement with and commitment to sharing."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3230
msgid ""
"There is a popular misconception that the three NonCommercial licenses "
"offered by CC are the only options for those who want to make money off "
"their work. As we hope this book makes clear, there are many ways to make "
"endeavors that are Made with Creative Commons sustainable. Reserving "
"commercial rights is only one of those ways. It is certainly true that a "
"license that allows others to make commercial use of your work (CC BY, CC BY-"
"SA, and CC BY-ND) forecloses some traditional revenue streams. If you apply "
"an Attribution (CC BY) license to your book, you can’t force a film company "
"to pay you royalties if they turn your book into a feature-length film, or "
"prevent another company from selling physical copies of your work."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3244
msgid ""
"The decision to choose a NonCommercial and/or NoDerivs license comes down to "
"how much you need to retain control over the creative work. The "
"NonCommercial and NoDerivs licenses are ways of reserving some significant "
"portion of the exclusive bundle of rights that copyright grants to creators. "
"In some cases, reserving those rights is important to how you bring in "
"revenue. In other cases, creators use a NonCommercial or NoDerivs license "
"because they can’t give up on the dream of hitting the creative jackpot.  "
"The music platform Tribe of Noise told us the NonCommercial licenses were "
"popular among their users because people still held out the dream of having "
"a major record label discover their work."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3257
msgid ""
"Other times the decision to use a more restrictive license is due to a "
"concern about the integrity of the work. For example, the nonprofit "
"TeachAIDS uses a NoDerivs license for its educational materials because the "
"medical subject matter is particularly important to get right."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3264
msgid ""
"There is no one right way. The NonCommercial and NoDerivs restrictions "
"reflect the values and preferences of creators about how their creative work "
"should be reused, just as the ShareAlike license reflects a different set of "
"values, one that is less about controlling access to their own work and more "
"about ensuring that whatever gets created with their work is available to "
"all on the same terms. Since the beginning of the commons, people have been "
"setting up structures that helped regulate the way in which shared resources "
"were used. The CC licenses are an attempt to standardize norms across all "
"domains."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3276
msgid "Note"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3279
msgid ""
"For more about the licenses including examples and tips on sharing your work "
"in the digital commons, start with the Creative Commons page called “Share "
"Your Work” at <ulink url=\"http://creativecommons.org/share-your-work/\"/>."
msgstr ""

#. type: Content of: <book><part><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3287
msgid "The Case Studies"
msgstr ""

#. type: Content of: <book><part><partintro><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3290
msgid ""
"The twenty-four case studies in this section were chosen from hundreds of "
"nominations received from Kickstarter backers, Creative Commons staff, and "
"the global Creative Commons community. We selected eighty potential "
"candidates that represented a mix of industries, content types, revenue "
"streams, and parts of the world.  Twelve of the case studies were selected "
"from that group based on votes cast by Kickstarter backers, and the other "
"twelve were selected by us."
msgstr ""

#. type: Content of: <book><part><partintro><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3300
msgid ""
"We did background research and conducted interviews for each case study, "
"based on the same set of basic questions about the endeavor.  The idea for "
"each case study is to tell the story about the endeavor and the role sharing "
"plays within it, largely the way in which it was told to us by those we "
"interviewed."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3308
msgid "Arduino"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3311
msgid ""
"Arduino is a for-profit open-source electronics platform and computer "
"hardware and software company. Founded in 2005 in Italy."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3316
msgid "<ulink url=\"http://www.arduino.cc\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3318
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for physical "
"copies (sales of boards, modules, shields, and kits), licensing a trademark "
"(fees paid by those who want to sell Arduino products using their name)"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3323
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4164
msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 4, 2016"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3326
msgid ""
"<emphasis role=\"strong\">Interviewees</emphasis>: David Cuartielles and Tom "
"Igoe, cofounders"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3330
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4171
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4602
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4843
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5124
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5433
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5943
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6196
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6517
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6868
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7408
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7692
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8156
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8932
msgid "Profile written by Paul Stacey"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3334
msgid ""
"In 2005, at the Interaction Design Institute Ivrea in northern Italy, "
"teachers and students needed an easy way to use electronics and programming "
"to quickly prototype design ideas. As musicians, artists, and designers, "
"they needed a platform that didn’t require engineering expertise. A group of "
"teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe, "
"Gianluca Martino, and David Mellis, built a platform that combined different "
"open technologies. They called it Arduino. The platform integrated software, "
"hardware, microcontrollers, and electronics. All aspects of the platform "
"were openly licensed: hardware designs and documentation with the "
"Attribution-Share-Alike license (CC BY-SA), and software with the GNU "
"General Public License."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3348
msgid ""
"Arduino boards are able to read inputs—light on a sensor, a finger on a "
"button, or a Twitter message—and turn it into outputs—activating a motor, "
"turning on an LED, publishing something online. You send a set of "
"instructions to the microcontroller on the board by using the Arduino "
"programming language and Arduino software (based on a piece of open-source "
"software called Processing, a programming tool used to make visual art)."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3358
msgid ""
"“The reasons for making Arduino open source are complicated,” Tom says. "
"Partly it was about supporting flexibility. The open-source nature of "
"Arduino empowers users to modify it and create a lot of different "
"variations, adding on top of what the founders build.  David says this "
"“ended up strengthening the platform far beyond what we had even thought of "
"building.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3366
msgid ""
"For Tom another factor was the impending closure of the Ivrea design school. "
"He’d seen other organizations close their doors and all their work and "
"research just disappear. Open-sourcing ensured that Arduino would outlive "
"the Ivrea closure. Persistence is one thing Tom really likes about open "
"source. If key people leave, or a company shuts down, an open-source product "
"lives on. In Tom’s view, “Open sourcing makes it easier to trust a product.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3375
msgid ""
"With the school closing, David and some of the other Arduino founders "
"started a consulting firm and multidisciplinary design studio they called "
"Tinker, in London. Tinker designed products and services that bridged the "
"digital and the physical, and they taught people how to use new technologies "
"in creative ways.  Revenue from Tinker was invested in sustaining and "
"enhancing Arduino."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3384
msgid ""
"For Tom, part of Arduino’s success is because the founders made themselves "
"the first customer of their product. They made products they themselves "
"personally wanted. It was a matter of “I need this thing,” not “If we make "
"this, we’ll make a lot of money.” Tom notes that being your own first "
"customer makes you more confident and convincing at selling your product."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3392
msgid ""
"Arduino’s business model has evolved over time—and Tom says model is a "
"grandiose term for it. Originally, they just wanted to make a few boards and "
"get them out into the world. They started out with two hundred boards, sold "
"them, and made a little profit. They used that to make another thousand, "
"which generated enough revenue to make five thousand. In the early days, "
"they simply tried to generate enough funding to keep the venture going day "
"to day. When they hit the ten thousand mark, they started to think about "
"Arduino as a company. By then it was clear you can open-source the design "
"but still manufacture the physical product. As long as it’s a quality "
"product and sold at a reasonable price, people will buy it."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3406
msgid ""
"Arduino now has a worldwide community of makers—students, hobbyists, "
"artists, programmers, and professionals. Arduino provides a wiki called "
"Playground (a wiki is where all users can edit and add pages, contributing "
"to and benefiting from collective research). People share code, circuit "
"diagrams, tutorials, DIY instructions, and tips and tricks, and show off "
"their projects. In addition, there’s a multilanguage discussion forum where "
"users can get help using Arduino, discuss topics like robotics, and make "
"suggestions for new Arduino product designs. As of January 2017, 324,928 "
"members had made 2,989,489 posts on 379,044 topics. The worldwide community "
"of makers has contributed an incredible amount of accessible knowledge "
"helpful to novices and experts alike."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3420
msgid ""
"Transitioning Arduino from a project to a company was a big step.  Other "
"businesses who made boards were charging a lot of money for them. Arduino "
"wanted to make theirs available at a low price to people across a wide range "
"of industries. As with any business, pricing was key. They wanted prices "
"that would get lots of customers but were also high enough to sustain the "
"business."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3428
msgid ""
"For a business, getting to the end of the year and not being in the red is a "
"success. Arduino may have an open-licensing strategy, but they are still a "
"business, and all the things needed to successfully run one still apply. "
"David says, “If you do those other things well, sharing things in an open-"
"source way can only help you.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3436
msgid ""
"While openly licensing the designs, documentation, and software ensures "
"longevity, it does have risks. There’s a possibility that others will create "
"knockoffs, clones, and copies. The CC BY-SA license means anyone can produce "
"copies of their boards, redesign them, and even sell boards that copy the "
"design. They don’t have to pay a license fee to Arduino or even ask "
"permission. However, if they republish the design of the board, they have to "
"give attribution to Arduino. If they change the design, they must release "
"the new design using the same Creative Commons license to ensure that the "
"new version is equally free and open."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3448
msgid ""
"Tom and David say that a lot of people have built companies off of Arduino, "
"with dozens of Arduino derivatives out there. But in contrast to closed "
"business models that can wring money out of the system over many years "
"because there is no competition, Arduino founders saw competition as keeping "
"them honest, and aimed for an environment of collaboration. A benefit of "
"open over closed is the many new ideas and designs others have contributed "
"back to the Arduino ecosystem, ideas and designs that Arduino and the "
"Arduino community use and incorporate into new products."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3468
msgid "<ulink url=\"http://www.arduino.cc/en/Main/Products\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3459
msgid ""
"Over time, the range of Arduino products has diversified, changing and "
"adapting to new needs and challenges. In addition to simple entry level "
"boards, new products have been added ranging from enhanced boards that "
"provide advanced functionality and faster performance, to boards for "
"creating Internet of Things applications, wearables, and 3-D printing. The "
"full range of official Arduino products includes boards, modules (a smaller "
"form-factor of classic boards), shields (elements that can be plugged onto a "
"board to give it extra features), and kits.<placeholder type=\"footnote\" id="
"\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3471
msgid ""
"Arduino’s focus is on high-quality boards, well-designed support materials, "
"and the building of community; this focus is one of the keys to their "
"success. And being open lets you build a real community. David says "
"Arduino’s community is a big strength and something that really does matter—"
"in his words, “It’s good business.” When they started, the Arduino team had "
"almost entirely no idea how to build a community. They started by conducting "
"numerous workshops, working directly with people using the platform to make "
"sure the hardware and software worked the way it was meant to work and "
"solved people’s problems. The community grew organically from there."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3484
msgid ""
"A key decision for Arduino was trademarking the name. The founders needed a "
"way to guarantee to people that they were buying a quality product from a "
"company committed to open-source values and knowledge sharing. Trademarking "
"the Arduino name and logo expresses that guarantee and helps customers "
"easily identify their products, and the products sanctioned by them. If "
"others want to sell boards using the Arduino name and logo, they have to pay "
"a small fee to Arduino. This allows Arduino to scale up manufacturing and "
"distribution while at the same time ensuring the Arduino brand isn’t hurt by "
"low-quality copies."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3496
msgid ""
"Current official manufacturers are Smart Projects in Italy, SparkFun in the "
"United States, and Dog Hunter in Taiwan/China.  These are the only "
"manufacturers that are allowed to use the Arduino logo on their boards. "
"Trademarking their brand provided the founders with a way to protect "
"Arduino, build it out further, and fund software and tutorial development. "
"The trademark-licensing fee for the brand became Arduino’s revenue-"
"generating model."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3506
msgid ""
"How far to open things up wasn’t always something the founders perfectly "
"agreed on. David, who was always one to advocate for opening things up more, "
"had some fears about protecting the Arduino name, thinking people would be "
"mad if they policed their brand. There was some early backlash with a "
"project called Freeduino, but overall, trademarking and branding has been a "
"critical tool for Arduino."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3527
msgid "<ulink url=\"http://blog.arduino.cc/2013/07/10/send-in-the-clones/\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3515
msgid ""
"David encourages people and businesses to start by sharing everything as a "
"default strategy, and then think about whether there is anything that really "
"needs to be protected and why. There are lots of good reasons to not open up "
"certain elements. This strategy of sharing everything is certainly the "
"complete opposite of how today’s world operates, where nothing is shared. "
"Tom suggests a business formalize which elements are based on open sharing "
"and which are closed. An Arduino blog post from 2013 entitled “Send In the "
"Clones,” by one of the founders Massimo Banzi, does a great job of "
"explaining the full complexities of how trademarking their brand has played "
"out, distinguishing between official boards and those that are clones, "
"derivatives, compatibles, and counterfeits.<placeholder type=\"footnote\" id="
"\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3530
msgid ""
"For David, an exciting aspect of Arduino is the way lots of people can use "
"it to adapt technology in many different ways. Technology is always making "
"more things possible but doesn’t always focus on making it easy to use and "
"adapt. This is where Arduino steps in.  Arduino’s goal is “making things "
"that help other people make things.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3538
msgid ""
"Arduino has been hugely successful in making technology and electronics "
"reach a larger audience. For Tom, Arduino has been about “the "
"democratization of technology.” Tom sees Arduino’s open-source strategy as "
"helping the world get over the idea that technology has to be protected. Tom "
"says, “Technology is a literacy everyone should learn.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3546
msgid ""
"Ultimately, for Arduino, going open has been good business—good for product "
"development, good for distribution, good for pricing, and good for "
"manufacturing."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3552
msgid "Ártica"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3555
msgid ""
"Ártica provides online courses and consulting services focused on how to use "
"digital technology to share knowledge and enable collaboration in arts and "
"culture. Founded in 2011 in Uruguay."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3560
msgid "<ulink url=\"http://www.articaonline.com\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3562
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for custom "
"services"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3565
msgid "<emphasis role=\"strong\">Interview date</emphasis>: March 9, 2016"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3567
msgid ""
"<emphasis role=\"strong\">Interviewees</emphasis>: Mariana Fossatti and "
"Jorge Gemetto, cofounders"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3571
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3758
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3950
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4369
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5735
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7179
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7960
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8482
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8703
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9169
msgid "Profile written by Sarah Hinchliff Pearson"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3575
msgid ""
"The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the "
"ultimate example of DIY. Not only are they successful entrepreneurs, the "
"niche in which their small business operates is essentially one they built "
"themselves."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3581
msgid "Their dream jobs didn’t exist, so they created them."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3584
msgid ""
"In 2011, Mariana was a sociologist working for an international organization "
"to develop research and online education about rural-development issues. "
"Jorge was a psychologist, also working in online education. Both were "
"bloggers and heavy users of social media, and both had a passion for arts "
"and culture. They decided to take their skills in digital technology and "
"online learning and apply them to a topic area they loved. They launched "
"Ártica, an online business that provides education and consulting for people "
"and institutions creating artistic and cultural projects on the Internet."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3596
msgid ""
"Ártica feels like a uniquely twenty-first century business. The small "
"company has a global online presence with no physical offices. Jorge and "
"Mariana live in Uruguay, and the other two full-time employees, who Jorge "
"and Mariana have never actually met in person, live in Spain. They started "
"by creating a MOOC (massive open online course) about remix culture and "
"collaboration in the arts, which gave them a direct way to reach an "
"international audience, attracting students from across Latin America and "
"Spain.  In other words, it is the classic Internet story of being able to "
"directly tap into an audience without relying upon gatekeepers or "
"intermediaries."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3609
msgid ""
"Ártica offers personalized education and consulting services, and helps "
"clients implement projects. All of these services are customized. They call "
"it an “artisan” process because of the time and effort it takes to adapt "
"their work for the particular needs of students and clients. “Each student "
"or client is paying for a specific solution to his or her problems and "
"questions,” Mariana said. Rather than sell access to their content, they "
"provide it for free and charge for the personalized services."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3619
msgid ""
"When they started, they offered a smaller number of courses designed to "
"attract large audiences. “Over the years, we realized that online "
"communities are more specific than we thought,” Mariana said. Ártica now "
"provides more options for classes and has lower enrollment in each course. "
"This means they can provide more attention to individual students and offer "
"classes on more specialized topics."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3628
msgid ""
"Online courses are their biggest revenue stream, but they also do more than "
"a dozen consulting projects each year, ranging from digitization to event "
"planning to marketing campaigns. Some are significant in scope, particularly "
"when they work with cultural institutions, and some are smaller projects "
"commissioned by individual artists."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3636
msgid ""
"Ártica also seeks out public and private funding for specific projects. "
"Sometimes, even if they are unsuccessful in subsidizing a project like a new "
"course or e-book, they will go ahead because they believe in it. They take "
"the stance that every new project leads them to something new, every new "
"resource they create opens new doors."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3644
msgid ""
"Ártica relies heavily on their free Creative Commons–licensed content to "
"attract new students and clients. Everything they create—online education, "
"blog posts, videos—is published under an Attribution-ShareAlike license (CC "
"BY-SA). “We use a ShareAlike license because we want to give the greatest "
"freedom to our students and readers, and we also want that freedom to be "
"viral,” Jorge said. For them, giving others the right to reuse and remix "
"their content is a fundamental value. “How can you offer an online "
"educational service without giving permission to download, make and keep "
"copies, or print the educational resources?” Jorge said.  “If we want to do "
"the best for our students—those who trust in us to the point that they are "
"willing to pay online without face-to-face contact—we have to offer them a "
"fair and ethical agreement.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3660
msgid ""
"They also believe sharing their ideas and expertise openly helps them build "
"their reputation and visibility. People often share and cite their work. A "
"few years ago, a publisher even picked up one of their e-books and "
"distributed printed copies. Ártica views reuse of their work as a way to "
"open up new opportunities for their business."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3668
msgid ""
"This belief that openness creates new opportunities reflects another belief—"
"in serendipity. When describing their process for creating content, they "
"spoke of all of the spontaneous and organic ways they find inspiration. "
"“Sometimes, the collaborative process starts with a conversation between us, "
"or with friends from other projects,” Jorge said. “That can be the first "
"step for a new blog post or another simple piece of content, which can "
"evolve to a more complex product in the future, like a course or a book.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3678
msgid ""
"Rather than planning their work in advance, they let their creative process "
"be dynamic. “This doesn’t mean that we don’t need to work hard in order to "
"get good professional results, but the design process is more flexible,” "
"Jorge said. They share early and often, and they adjust based on what they "
"learn, always exploring and testing new ideas and ways of operating. In many "
"ways, for them, the process is just as important as the final product."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3687
msgid ""
"People and relationships are also just as important, sometimes more. “In the "
"educational and cultural business, it is more important to pay attention to "
"people and process, rather than content or specific formats or materials,” "
"Mariana said.  “Materials and content are fluid. The important thing is the "
"relationships.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3695
msgid ""
"Ártica believes in the power of the network. They seek to make connections "
"with people and institutions across the globe so they can learn from them "
"and share their knowledge."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3700
msgid ""
"At the core of everything Ártica does is a set of values. “Good content is "
"not enough,” Jorge said. “We also think that it is very important to take a "
"stand for some things in the cultural sector.” Mariana and Jorge are "
"activists. They defend free culture (the movement promoting the freedom to "
"modify and distribute creative work) and work to demonstrate the "
"intersection between free culture and other social-justice movements. Their "
"efforts to involve people in their work and enable artists and cultural "
"institutions to better use technology are all tied closely to their belief "
"system. Ultimately, what drives their work is a mission to democratize art "
"and culture."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3713
msgid ""
"Of course, Ártica also has to make enough money to cover its expenses. Human "
"resources are, by far, their biggest expense. They tap a network of "
"collaborators on a case-by-case basis and hire contractors for specific "
"projects. Whenever possible, they draw from artistic and cultural resources "
"in the commons, and they rely on free software. Their operation is small, "
"efficient, and sustainable, and because of that, it is a success."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3722
msgid ""
"“There are lots of people offering online courses,” Jorge said.  “But it is "
"easy to differentiate us. We have an approach that is very specific and "
"personal.” Ártica’s model is rooted in the personal at every level. For "
"Mariana and Jorge, success means doing what brings them personal meaning and "
"purpose, and doing it sustainably and collaboratively."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3730
msgid ""
"In their work with younger artists, Mariana and Jorge try to emphasize that "
"this model of success is just as valuable as the picture of success we get "
"from the media. “If they seek only the traditional type of success, they "
"will get frustrated,” Mariana said. “We try to show them another image of "
"what it looks like.”"
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3738
msgid "Blender Institute"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3741
msgid ""
"The Blender Institute is an animation studio that creates 3-D films using "
"Blender software. Founded in 2006 in the Netherlands."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3746
msgid "<ulink url=\"http://www.blender.org\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3748
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: crowdfunding "
"(subscription-based), charging for physical copies, selling merchandise"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3752
msgid "<emphasis role=\"strong\">Interview date</emphasis>: March 8, 2016"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3754
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Francesco Siddi, "
"production coordinator"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3762
msgid ""
"For Ton Roosendaal, the creator of Blender software and its related "
"entities, sharing is practical. Making their 3-D content creation software "
"available under a free software license has been integral to its development "
"and popularity. Using that software to make movies that were licensed with "
"Creative Commons pushed that development even further. Sharing enables "
"people to participate and to interact with and build upon the technology and "
"content they create in a way that benefits Blender and its community in "
"concrete ways."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3773
msgid ""
"Each open-movie project Blender runs produces a host of openly licensed "
"outputs, not just the final film itself but all of the source material as "
"well. The creative process also enhances the development of the Blender "
"software because the technical team responds directly to the needs of the "
"film production team, creating tools and features that make their lives "
"easier. And, of course, each project involves a long, rewarding process for "
"the creative and technical community working together."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3783
msgid ""
"Rather than just talking about the theoretical benefits of sharing and free "
"culture, Ton is very much about doing and making free culture. Blender’s "
"production coordinator Francesco Siddi told us, “Ton believes if you don’t "
"make content using your tools, then you’re not doing anything.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3790
msgid ""
"Blender’s history begins in the late 1990s, when Ton created the Blender "
"software. Originally, the software was an in-house resource for his "
"animation studio based in the Netherlands.  Investors became interested in "
"the software, so he began marketing the software to the public, offering a "
"free version in addition to a paid version. Sales were disappointing, and "
"his investors gave up on the endeavor in the early 2000s. He made a deal "
"with investors—if he could raise enough money, he could then make the "
"Blender software available under the GNU General Public License."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3801
msgid ""
"This was long before Kickstarter and other online crowdfunding sites "
"existed, but Ton ran his own version of a crowdfunding campaign and quickly "
"raised the money he needed. The Blender software became freely available for "
"anyone to use. Simply applying the General Public License to the software, "
"however, was not enough to create a thriving community around it. Francesco "
"told us, “Software of this complexity relies on people and their vision of "
"how people work together. Ton is a fantastic community builder and manager, "
"and he put a lot of work into fostering a community of developers so that "
"the project could live.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3813
msgid ""
"Like any successful free and open-source software project, Blender developed "
"quickly because the community could make fixes and improvements. “Software "
"should be free and open to hack,” Francesco said. “Otherwise, everyone is "
"doing the same thing in the dark for ten years.” Ton set up the Blender "
"Foundation to oversee and steward the software development and maintenance."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3821
msgid ""
"After a few years, Ton began looking for new ways to push development of the "
"software. He came up with the idea of creating CC-licensed films using the "
"Blender software. Ton put a call online for all interested and skilled "
"artists. Francesco said the idea was to get the best artists available, put "
"them in a building together with the best developers, and have them work "
"together.  They would not only produce high-quality openly licensed content, "
"they would improve the Blender software in the process."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3831
msgid ""
"They turned to crowdfunding to subsidize the costs of the project.  They had "
"about twenty people working full-time for six to ten months, so the costs "
"were significant. Francesco said that when their crowdfunding campaign "
"succeeded, people were astounded. “The idea that making money was possible "
"by producing CC-licensed material was mind-blowing to people,” he said. "
"“They were like, ‘I have to see it to believe it.’”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3840
msgid ""
"The first film, which was released in 2006, was an experiment. It was so "
"successful that Ton decided to set up the Blender Institute, an entity "
"dedicated to hosting open-movie projects. The Blender Institute’s next "
"project was an even bigger success. The film, Big Buck Bunny, went viral, "
"and its animated characters were picked up by marketers."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3848
msgid ""
"Francesco said that, over time, the Blender Institute projects have gotten "
"bigger and more prominent. That means the filmmaking process has become more "
"complex, combining technical experts and artists who focus on storytelling. "
"Francesco says the process is almost on an industrial scale because of the "
"number of moving parts. This requires a lot of specialized assistance, but "
"the Blender Institute has no problem finding the talent it needs to help on "
"projects. “Blender hardly does any recruiting for film projects because the "
"talent emerges naturally,” Francesco said.  “So many people want to work "
"with us, and we can’t always hire them because of budget constraints.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3861
msgid ""
"Blender has had a lot of success raising money from its community over the "
"years. In many ways, the pitch has gotten easier to make.  Not only is "
"crowdfunding simply more familiar to the public, but people know and trust "
"Blender to deliver, and Ton has developed a reputation as an effective "
"community leader and visionary for their work. “There is a whole community "
"who sees and understands the benefit of these projects,” Francesco said."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3870
msgid ""
"While these benefits of each open-movie project make a compelling pitch for "
"crowdfunding campaigns, Francesco told us the Blender Institute has found "
"some limitations in the standard crowdfunding model where you propose a "
"specific project and ask for funding.  “Once a project is over, everyone "
"goes home,” he said. “It is great fun, but then it ends. That is a problem.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3878
msgid ""
"To make their work more sustainable, they needed a way to receive ongoing "
"support rather than on a project-by-project basis. Their solution is Blender "
"Cloud, a subscription-style crowdfunding model akin to the online "
"crowdfunding platform, Patreon. For about ten euros each month, subscribers "
"get access to download everything the Blender Institute produces—software, "
"art, training, and more.  All of the assets are available under an "
"Attribution license (CC BY) or placed in the public domain (CC0), but they "
"are initially made available only to subscribers. Blender Cloud enables "
"subscribers to follow Blender’s movie projects as they develop, sharing "
"detailed information and content used in the creative process. Blender Cloud "
"also has extensive training materials and libraries of characters and other "
"assets used in various projects."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3893
msgid ""
"The continuous financial support provided by Blender Cloud subsidizes five "
"to six full-time employees at the Blender Institute. Francesco says their "
"goal is to grow their subscriber base. “This is our freedom,” he told us, "
"“and for artists, freedom is everything.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3900
msgid ""
"Blender Cloud is the primary revenue stream of the Blender Institute. The "
"Blender Foundation is funded primarily by donations, and that money goes "
"toward software development and maintenance. The revenue streams of the "
"Institute and Foundation are deliberately kept separate. Blender also has "
"other revenue streams, such as the Blender Store, where people can purchase "
"DVDs, T-shirts, and other Blender products."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3909
msgid ""
"Ton has worked on projects relating to his Blender software for nearly "
"twenty years. Throughout most of that time, he has been committed to making "
"the software and the content produced with the software free and open. "
"Selling a license has never been part of the business model."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3916
msgid ""
"Since 2006, he has been making films available along with all of their "
"source material. He says he has hardly ever seen people stepping into "
"Blender’s shoes and trying to make money off of their content. Ton believes "
"this is because the true value of what they do is in the creative and "
"production process. “Even when you share everything, all your original "
"sources, it still takes a lot of talent, skills, time, and budget to "
"reproduce what you did,” Ton said."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3926
msgid "For Ton and Blender, it all comes back to doing."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3930
msgid "Cards Against Humanity"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3933
msgid ""
"Cards Against Humanity is a private, for-profit company that makes a popular "
"party game by the same name. Founded in 2011 in the U.S."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3938
msgid "<ulink url=\"http://www.cardsagainsthumanity.com\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3940
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for physical "
"copies"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3943
msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 3, 2016"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3946
msgid "<emphasis role=\"strong\">Interviewee</emphasis>: Max Temkin, cofounder"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3954
msgid ""
"If you ask cofounder Max Temkin, there is nothing particularly interesting "
"about the Cards Against Humanity business model. “We make a product. We sell "
"it for money. Then we spend less money than we make,” Max said."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3960
msgid ""
"He is right. Cards Against Humanity is a simple party game, modeled after "
"the game Apples to Apples. To play, one player asks a question or fill-in-"
"the-blank statement from a black card, and the other players submit their "
"funniest white card in response.  The catch is that all of the cards are "
"filled with crude, gruesome, and otherwise awful things. For the right kind "
"of people (“horrible people,” according to Cards Against Humanity "
"advertising), this makes for a hilarious and fun game."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3970
msgid ""
"The revenue model is simple. Physical copies of the game are sold for a "
"profit. And it works. At the time of this writing, Cards Against Humanity is "
"the number-one best-selling item out of all toys and games on Amazon. There "
"are official expansion packs available, and several official themed packs "
"and international editions as well."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3978
msgid ""
"But Cards Against Humanity is also available for free. Anyone can download a "
"digital version of the game on the Cards Against Humanity website. More than "
"one million people have downloaded the game since the company began tracking "
"the numbers."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3984
msgid ""
"The game is available under an Attribution-NonCommercial-ShareAlike license "
"(CC BY-NC-SA). That means, in addition to copying the game, anyone can "
"create new versions of the game as long as they make it available under the "
"same noncommercial terms. The ability to adapt the game is like an entire "
"new game unto itself."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3992
msgid ""
"All together, these factors—the crass tone of the game and company, the free "
"download, the openness to fans remixing the game—give the game a massive "
"cult following."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:3997
msgid ""
"Their success is not the result of a grand plan. Instead, Cards Against "
"Humanity was the last in a long line of games and comedy projects that Max "
"Temkin and his friends put together for their own amusement. As Max tells "
"the story, they made the game so they could play it themselves on New Year’s "
"Eve because they were too nerdy to be invited to other parties. The game was "
"a hit, so they decided to put it up online as a free PDF. People started "
"asking if they could pay to have the game printed for them, and eventually "
"they decided to run a Kickstarter to fund the printing.  They set their "
"Kickstarter goal at $4,000—and raised $15,000. The game was officially "
"released in May 2011."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4010
msgid ""
"The game caught on quickly, and it has only grown more popular over time. "
"Max says the eight founders never had a meeting where they decided to make "
"it an ongoing business. “It kind of just happened,” he said."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4016
msgid ""
"But this tale of a “happy accident” belies marketing genius. Just like the "
"game, the Cards Against Humanity brand is irreverent and memorable. It is "
"hard to forget a company that calls the FAQ on their website “Your dumb "
"questions.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4022
msgid ""
"Like most quality satire, however, there is more to the joke than vulgarity "
"and shock value. The company’s marketing efforts around Black Friday "
"illustrate this particularly well. For those outside the United States, "
"Black Friday is the term for the day after the Thanksgiving holiday, the "
"biggest shopping day of the year. It is an incredibly important day for "
"Cards Against Humanity, like it is for all U.S. retailers. Max said they "
"struggled with what to do on Black Friday because they didn’t want to "
"support what he called the “orgy of consumerism” the day has become, "
"particularly since it follows a day that is about being grateful for what "
"you have.  In 2013, after deliberating, they decided to have an Everything "
"Costs $5 More sale."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4036
msgid ""
"“We sweated it out the night before Black Friday, wondering if our fans were "
"going to hate us for it,” he said. “But it made us laugh so we went with it. "
"People totally caught the joke.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4041
msgid ""
"This sort of bold transparency delights the media, but more importantly, it "
"engages their fans. “One of the most surprising things you can do in "
"capitalism is just be honest with people,” Max said. “It shocks people that "
"there is transparency about what you are doing.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4048
msgid ""
"Max also likened it to a grand improv scene. “If we do something a little "
"subversive and unexpected, the public wants to be a part of the joke.” One "
"year they did a Give Cards Against Humanity $5 event, where people literally "
"paid them five dollars for no reason. Their fans wanted to make the joke "
"funnier by making it successful. They made $70,000 in a single day."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4056
msgid ""
"This remarkable trust they have in their customers is what inspired their "
"decision to apply a Creative Commons license to the game. Trusting your "
"customers to reuse and remix your work requires a leap of faith. Cards "
"Against Humanity obviously isn’t afraid of doing the unexpected, but there "
"are lines even they do not want to cross. Before applying the license, Max "
"said they worried that some fans would adapt the game to include all of the "
"jokes they intentionally never made because they crossed that line. “It "
"happened, and the world didn’t end,” Max said. “If that is the worst cost of "
"using CC, I’d pay that a hundred times over because there are so many "
"benefits.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4069
msgid ""
"Any successful product inspires its biggest fans to create remixes of it, "
"but unsanctioned adaptations are more likely to fly under the radar. The "
"Creative Commons license gives fans of Cards Against Humanity the freedom to "
"run with the game and copy, adapt, and promote their creations openly. Today "
"there are thousands of fan expansions of the game."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4077
msgid ""
"Max said, “CC was a no-brainer for us because it gets the most people "
"involved. Making the game free and available under a CC license led to the "
"unbelievable situation where we are one of the best-marketed games in the "
"world, and we have never spent a dime on marketing.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4084
msgid ""
"Of course, there are limits to what the company allows its customers to do "
"with the game. They chose the Attribution-NonCommercial-ShareAlike license "
"because it restricts people from using the game to make money. It also "
"requires that adaptations of the game be made available under the same "
"licensing terms if they are shared publicly. Cards Against Humanity also "
"polices its brand. “We feel like we’re the only ones who can use our brand "
"and our game and make money off of it,” Max said. About 99.9 percent of the "
"time, they just send an email to those making commercial use of the game, "
"and that is the end of it. There have only been a handful of instances where "
"they had to get a lawyer involved."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4098
msgid ""
"Just as there is more than meets the eye to the Cards Against Humanity "
"business model, the same can be said of the game itself.  To be playable, "
"every white card has to work syntactically with enough black cards. The "
"eight creators invest an incredible amount of work into creating new cards "
"for the game. “We have daylong arguments about commas,” Max said. “The "
"slacker tone of the cards gives people the impression that it is easy to "
"write them, but it is actually a lot of work and quibbling.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4108
msgid ""
"That means cocreation with their fans really doesn’t work. The company has a "
"submission mechanism on their website, and they get thousands of "
"suggestions, but it is very rare that a submitted card is adopted. Instead, "
"the eight initial creators remain the primary authors of expansion decks and "
"other new products released by the company. Interestingly, the creativity of "
"their customer base is really only an asset to the company once their "
"original work is created and published when people make their own "
"adaptations of the game."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4119
msgid ""
"For all of their success, the creators of Cards Against Humanity are only "
"partially motivated by money. Max says they have always been interested in "
"the Walt Disney philosophy of financial success. “We don’t make jokes and "
"games to make money—we make money so we can make more jokes and games,” he "
"said."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4126
msgid ""
"In fact, the company has given more than $4 million to various charities and "
"causes. “Cards is not our life plan,” Max said. “We all have other interests "
"and hobbies. We are passionate about other things going on in our lives. A "
"lot of the activism we have done comes out of us taking things from the rest "
"of our lives and channeling some of the excitement from the game into it.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4134
msgid ""
"Seeing money as fuel rather than the ultimate goal is what has enabled them "
"to embrace Creative Commons licensing without reservation. CC licensing "
"ended up being a savvy marketing move for the company, but nonetheless, "
"giving up exclusive control of your work necessarily means giving up some "
"opportunities to extract more money from customers."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4142
msgid ""
"“It’s not right for everyone to release everything under CC licensing,” Max "
"said. “If your only goal is to make a lot of money, then CC is not best "
"strategy. This kind of business model, though, speaks to your values, and "
"who you are and why you’re making things.”"
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4150
msgid "The Conversation"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4153
msgid ""
"The Conversation is an independent source of news, sourced from the academic "
"and research community and delivered direct to the public over the Internet. "
"Founded in 2011 in Australia."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4158
msgid "<ulink url=\"http://theconversation.com\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4160
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging content "
"creators (universities pay membership fees to have their faculties serve as "
"writers), grant funding"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4167
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Andrew Jaspan, founder"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4175
msgid ""
"Andrew Jaspan spent years as an editor of major newspapers including the "
"Observer in London, the Sunday Herald in Glasgow, and the Age in Melbourne, "
"Australia. He experienced firsthand the decline of newspapers, including the "
"collapse of revenues, layoffs, and the constant pressure to reduce costs. "
"After he left the Age in 2005, his concern for the future journalism didn’t "
"go away. Andrew made a commitment to come up with an alternative model."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4185
msgid ""
"Around the time he left his job as editor of the Melbourne Age, Andrew "
"wondered where citizens would get news grounded in fact and evidence rather "
"than opinion or ideology. He believed there was still an appetite for "
"journalism with depth and substance but was concerned about the increasing "
"focus on the sensational and sexy."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4192
msgid ""
"While at the Age, he’d become friends with a vice-chancellor of a university "
"in Melbourne who encouraged him to talk to smart people across campus—an "
"astrophysicist, a Nobel laureate, earth scientists, economists . . . These "
"were the kind of smart people he wished were more involved in informing the "
"world about what is going on and correcting the errors that appear in media. "
"However, they were reluctant to engage with mass media. Often, journalists "
"didn’t understand what they said, or unilaterally chose what aspect of a "
"story to tell, putting out a version that these people felt was wrong or "
"mischaracterized. Newspapers want to attract a mass audience. Scholars want "
"to communicate serious news, findings, and insights. It’s not a perfect "
"match. Universities are massive repositories of knowledge, research, wisdom, "
"and expertise. But a lot of that stays behind a wall of their own making—"
"there are the walled garden and ivory tower metaphors, and in more literal "
"terms, the paywall. Broadly speaking, universities are part of society but "
"disconnected from it. They are an enormous public resource but not that good "
"at presenting their expertise to the wider public."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4213
msgid ""
"Andrew believed he could to help connect academics back into the public "
"arena, and maybe help society find solutions to big problems. He thought "
"about pairing professional editors with university and research experts, "
"working one-on-one to refine everything from story structure to headline, "
"captions, and quotes.  The editors could help turn something that is "
"academic into something understandable and readable. And this would be a key "
"difference from traditional journalism—the subject matter expert would get a "
"chance to check the article and give final approval before it is published. "
"Compare this with reporters just picking and choosing the quotes and writing "
"whatever they want."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4226
msgid ""
"The people he spoke to liked this idea, and Andrew embarked on raising money "
"and support with the help of the Commonwealth Scientific and Industrial "
"Research Organisation (CSIRO), the University of Melbourne, Monash "
"University, the University of Technology Sydney, and the University of "
"Western Australia. These founding partners saw the value of an independent "
"information channel that would also showcase the talent and knowledge of the "
"university and research sector. With their help, in 2011, the Conversation, "
"was launched as an independent news site in Australia. Everything published "
"in the Conversation is openly licensed with Creative Commons."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4239
msgid ""
"The Conversation is founded on the belief that underpinning a functioning "
"democracy is access to independent, high-quality, informative journalism. "
"The Conversation’s aim is for people to have a better understanding of "
"current affairs and complex issues—and hopefully a better quality of public "
"discourse. The Conversation sees itself as a source of trusted information "
"dedicated to the public good. Their core mission is simple: to provide "
"readers with a reliable source of evidence-based information."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4252
msgid "<ulink url=\"http://theconversation.com/us/charter\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4250
msgid ""
"Andrew worked hard to reinvent a methodology for creating reliable, credible "
"content. He introduced strict new working practices, a charter, and codes of "
"conduct.<placeholder type=\"footnote\" id=\"0\"/> These include fully "
"disclosing who every author is (with their relevant expertise); who is "
"funding their research; and if there are any potential or real conflicts of "
"interest. Also important is where the content originates, and even though it "
"comes from the university and research community, it still needs to be fully "
"disclosed. The Conversation does not sit behind a paywall. Andrew believes "
"access to information is an issue of equality—everyone should have access, "
"like access to clean water.  The Conversation is committed to an open and "
"free Internet.  Everyone should have free access to their content, and be "
"able to share it or republish it."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4265
msgid ""
"Creative Commons help with these goals; articles are published with the "
"Attribution- NoDerivs license (CC BY-ND). They’re freely available for "
"others to republish elsewhere as long as attribution is given and the "
"content is not edited. Over five years, more than twenty-two thousand sites "
"have republished their content. The Conversation website gets about 2.9 "
"million unique views per month, but through republication they have thirty-"
"five million readers. This couldn’t have been done without the Creative "
"Commons license, and in Andrew’s view, Creative Commons is central to "
"everything the Conversation does."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4277
msgid ""
"When readers come across the Conversation, they seem to like what they find "
"and recommend it to their friends, peers, and networks.  Readership has "
"grown primarily through word of mouth. While they don’t have sales and "
"marketing, they do promote their work through social media (including "
"Twitter and Facebook), and by being an accredited supplier to Google News."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4285
msgid ""
"It’s usual for the founders of any company to ask themselves what kind of "
"company it should be. It quickly became clear to the founders of the "
"Conversation that they wanted to create a public good rather than make money "
"off of information. Most media companies are working to aggregate as many "
"eyeballs as possible and sell ads. The Conversation founders didn’t want "
"this model. It takes no advertising and is a not-for-profit venture."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4294
msgid ""
"There are now different editions of the Conversation for Africa, the United "
"Kingdom, France, and the United States, in addition to the one for "
"Australia. All five editions have their own editorial mastheads, advisory "
"boards, and content. The Conversation’s global virtual newsroom has roughly "
"ninety staff working with thirty-five thousand academics from over sixteen "
"hundred universities around the world. The Conversation would like to be "
"working with university scholars from even more parts of the world."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4304
msgid ""
"Additionally, each edition has its own set of founding partners, strategic "
"partners, and funders. They’ve received funding from foundations, "
"corporates, institutions, and individual donations, but the Conversation is "
"shifting toward paid memberships by universities and research institutions "
"to sustain operations. This would safeguard the current service and help "
"improve coverage and features."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4313
msgid ""
"When professors from member universities write an article, there is some "
"branding of the university associated with the article. On the Conversation "
"website, paying university members are listed as “members and funders.” "
"Early participants may be designated as “founding members,” with seats on "
"the editorial advisory board."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4320
msgid ""
"Academics are not paid for their contributions, but they get free editing "
"from a professional (four to five hours per piece, on average). They also "
"get access to a large audience. Every author and member university has "
"access to a special analytics dashboard where they can check the reach of an "
"article. The metrics include what people are tweeting, the comments, "
"countries the readership represents, where the article is being republished, "
"and the number of readers per article."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4330
msgid ""
"The Conversation plans to expand the dashboard to show not just reach but "
"impact. This tracks activities, behaviors, and events that occurred as a "
"result of publication, including things like a scholar being asked to go on "
"a show to discuss their piece, give a talk at a conference, collaborate, "
"submit a journal paper, and consult a company on a topic."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4338
msgid ""
"These reach and impact metrics show the benefits of membership.  With the "
"Conversation, universities can engage with the public and show why they’re "
"of value."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4343
msgid ""
"With its tagline, “Academic Rigor, Journalistic Flair,” the Conversation "
"represents a new form of journalism that contributes to a more informed "
"citizenry and improved democracy around the world. Its open business model "
"and use of Creative Commons show how it’s possible to generate both a public "
"good and operational revenue at the same time."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4352
msgid "Cory Doctorow"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4355
msgid ""
"Cory Doctorow is a science fiction writer, activist, blogger, and "
"journalist. Based in the U.S."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4358
msgid ""
"<ulink url=\"http://craphound.com\"/> and <ulink url=\"http://boingboing.net"
"\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4361
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for physical "
"copies (book sales), pay-what-you-want, selling translation rights to books"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4365
msgid "<emphasis role=\"strong\">Interview date</emphasis>: January 12, 2016"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4373
msgid ""
"Cory Doctorow hates the term “business model,” and he is adamant that he is "
"not a brand. “To me, branding is the idea that you can take a thing that has "
"certain qualities, remove the qualities, and go on selling it,” he said. "
"“I’m not out there trying to figure out how to be a brand. I’m doing this "
"thing that animates me to work crazy insane hours because it’s the most "
"important thing I know how to do.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4382
msgid ""
"Cory calls himself an entrepreneur. He likes to say his success came from "
"making stuff people happened to like and then getting out of the way of them "
"sharing it."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4387
msgid ""
"He is a science fiction writer, activist, blogger, and journalist.  "
"Beginning with his first novel, Down and Out in the Magic Kingdom, in 2003, "
"his work has been published under a Creative Commons license. Cory is "
"coeditor of the popular CC-licensed site Boing Boing, where he writes about "
"technology, politics, and intellectual property. He has also written several "
"nonfiction books, including the most recent Information Doesn’t Want to Be "
"Free, about the ways in which creators can make a living in the Internet age."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4398
msgid ""
"Cory primarily makes money by selling physical books, but he also takes on "
"paid speaking gigs and is experimenting with pay-what-you-want models for "
"his work."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4403
msgid ""
"While Cory’s extensive body of fiction work has a large following, he is "
"just as well known for his activism. He is an outspoken opponent of "
"restrictive copyright and digital-rights-management (DRM) technology used to "
"lock up content because he thinks both undermine creators and the public "
"interest. He is currently a special adviser at the Electronic Frontier "
"Foundation, where he is involved in a lawsuit challenging the U.S. law that "
"protects DRM.  Cory says his political work doesn’t directly make him money, "
"but if he gave it up, he thinks he would lose credibility and, more "
"importantly, lose the drive that propels him to create. “My political work "
"is a different expression of the same artistic-political urge,” he said. “I "
"have this suspicion that if I gave up the things that didn’t make me money, "
"the genuineness would leach out of what I do, and the quality that causes "
"people to like what I do would be gone.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4420
msgid ""
"Cory has been financially successful, but money is not his primary "
"motivation. At the start of his book Information Doesn’t Want to Be Free, he "
"stresses how important it is not to become an artist if your goal is to get "
"rich. “Entering the arts because you want to get rich is like buying lottery "
"tickets because you want to get rich,” he wrote. “It might work, but it "
"almost certainly won’t.  Though, of course, someone always wins the "
"lottery.” He acknowledges that he is one of the lucky few to “make it,” but "
"he says he would be writing no matter what. “I am compelled to write,” he "
"wrote. “Long before I wrote to keep myself fed and sheltered, I was writing "
"to keep myself sane.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4433
msgid ""
"Just as money is not his primary motivation to create, money is not his "
"primary motivation to share. For Cory, sharing his work with Creative "
"Commons is a moral imperative. “It felt morally right,” he said of his "
"decision to adopt Creative Commons licenses. “I felt like I wasn’t "
"contributing to the culture of surveillance and censorship that has been "
"created to try to stop copying.” In other words, using CC licenses "
"symbolizes his worldview."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4443
msgid ""
"He also feels like there is a solid commercial basis for licensing his work "
"with Creative Commons. While he acknowledges he hasn’t been able to do a "
"controlled experiment to compare the commercial benefits of licensing with "
"CC against reserving all rights, he thinks he has sold more books using a CC "
"license than he would have without it. Cory says his goal is to convince "
"people they should pay him for his work. “I started by not calling them "
"thieves,” he said."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4453
msgid ""
"Cory started using CC licenses soon after they were first created.  At the "
"time his first novel came out, he says the science fiction genre was overrun "
"with people scanning and downloading books without permission. When he and "
"his publisher took a closer look at who was doing that sort of thing online, "
"they realized it looked a lot like book promotion. “I knew there was a "
"relationship between having enthusiastic readers and having a successful "
"career as a writer,” he said. “At the time, it took eighty hours to OCR a "
"book, which is a big effort. I decided to spare them the time and energy, "
"and give them the book for free in a format destined to spread.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4466
msgid ""
"Cory admits the stakes were pretty low for him when he first adopted "
"Creative Commons licenses. He only had to sell two thousand copies of his "
"book to break even. People often said he was only able to use CC licenses "
"successfully at that time because he was just starting out. Now they say he "
"can only do it because he is an established author."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4474
msgid ""
"The bottom line, Cory says, is that no one has found a way to prevent people "
"from copying the stuff they like. Rather than fighting the tide, Cory makes "
"his work intrinsically shareable.  “Getting the hell out of the way for "
"people who want to share their love of you with other people sounds obvious, "
"but it’s remarkable how many people don’t do it,” he said."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4482
msgid ""
"Making his work available under Creative Commons licenses enables him to "
"view his biggest fans as his ambassadors. “Being open to fan activity makes "
"you part of the conversation about what fans do with your work and how they "
"interact with it,” he said. Cory’s own website routinely highlights cool "
"things his audience has done with his work. Unlike corporations like Disney "
"that tend to have a hands-off relationship with their fan activity, he has a "
"symbiotic relationship with his audience. “Engaging with your audience can’t "
"guarantee you success,” he said. “And Disney is an example of being able to "
"remain aloof and still being the most successful company in the creative "
"industry in history. But I figure my likelihood of being Disney is pretty "
"slim, so I should take all the help I can get.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4497
msgid ""
"His first book was published under the most restrictive Creative Commons "
"license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND).  It allows only "
"verbatim copying for noncommercial purposes. His later work is published "
"under the Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA), which "
"gives people the right to adapt his work for noncommercial purposes but only "
"if they share it back under the same license terms. Before releasing his "
"work under a CC license that allows adaptations, he always sells the right "
"to translate the book to other languages to a commercial publisher first. He "
"wants to reach new potential buyers in other parts of the world, and he "
"thinks it is more difficult to get people to pay for translations if there "
"are fan translations already available for free."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4512
msgid ""
"In his book Information Doesn’t Want to Be Free, Cory likens his philosophy "
"to thinking like a dandelion. Dandelions produce thousands of seeds each "
"spring, and they are blown into the air going in every direction. The "
"strategy is to maximize the number of blind chances the dandelion has for "
"continuing its genetic line. Similarly, he says there are lots of people out "
"there who may want to buy creative work or compensate authors for it in some "
"other way. “The more places your work can find itself, the greater the "
"likelihood that it will find one of those would-be customers in some "
"unsuspected crack in the metaphorical pavement,” he wrote.  “The copies that "
"others make of my work cost me nothing, and present the possibility that "
"I’ll get something.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4526
msgid ""
"Applying a CC license to his work increases the chances it will be shared "
"more widely around the Web. He avoids DRM—and openly opposes the practice—"
"for similar reasons. DRM has the effect of tying a work to a particular "
"platform. This digital lock, in turn, strips the authors of control over "
"their own work and hands that control over to the platform. He calls it "
"Cory’s First Law: “Anytime someone puts a lock on something that belongs to "
"you and won’t give you the key, that lock isn’t there for your benefit.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4536
msgid ""
"Cory operates under the premise that artists benefit when there are more, "
"rather than fewer, places where people can access their work. The Internet "
"has opened up those avenues, but DRM is designed to limit them. “On the one "
"hand, we can credibly make our work available to a widely dispersed "
"audience,” he said. “On the other hand, the intermediaries we historically "
"sold to are making it harder to go around them.” Cory continually looks for "
"ways to reach his audience without relying upon major platforms that will "
"try to take control over his work."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4547
msgid ""
"Cory says his e-book sales have been lower than those of his competitors, "
"and he attributes some of that to the CC license making the work available "
"for free. But he believes people are willing to pay for content they like, "
"even when it is available for free, as long as it is easy to do. He was "
"extremely successful using Humble Bundle, a platform that allows people to "
"pay what they want for DRM-free versions of a bundle of a particular "
"creator’s work. He is planning to try his own pay-what-you-want experiment "
"soon."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4558
msgid ""
"Fans are particularly willing to pay when they feel personally connected to "
"the artist. Cory works hard to create that personal connection. One way he "
"does this is by personally answering every single email he gets. “If you "
"look at the history of artists, most die in penury,” he said. “That reality "
"means that for artists, we have to find ways to support ourselves when "
"public tastes shift, when copyright stops producing. Future-proofing your "
"artistic career in many ways means figuring out how to stay connected to "
"those people who have been touched by your work.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4569
msgid ""
"Cory’s realism about the difficulty of making a living in the arts does not "
"reflect pessimism about the Internet age. Instead, he says the fact that it "
"is hard to make a living as an artist is nothing new. What is new, he writes "
"in his book, “is how many ways there are to make things, and to get them "
"into other people’s hands and minds.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4577
msgid "It has never been easier to think like a dandelion."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4581
msgid "Figshare"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4584
msgid ""
"Figshare is a for-profit company offering an online repository where "
"researchers can preserve and share the output of their research, including "
"figures, data sets, images, and videos.  Founded in 2011 in the UK."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4590
msgid "<ulink url=\"http://figshare.com\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4592
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: platform providing paid "
"services to creators"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4595
msgid "<emphasis role=\"strong\">Interview date</emphasis>: January 28, 2016"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4598
msgid "<emphasis role=\"strong\">Interviewee</emphasis>: Mark Hahnel, founder"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4606
msgid ""
"Figshare’s mission is to change the face of academic publishing through "
"improved dissemination, discoverability, and reusability of scholarly "
"research. Figshare is a repository where users can make all the output of "
"their research available—from posters and presentations to data sets and code"
"—in a way that’s easy to discover, cite, and share. Users can upload any "
"file format, which can then be previewed in a Web browser. Research output "
"is disseminated in a way that the current scholarly-publishing model does "
"not allow."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4617
msgid ""
"Figshare founder Mark Hahnel often gets asked: How do you make money? How do "
"we know you’ll be here in five years? Can you, as a for-profit venture, be "
"trusted? Answers have evolved over time."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4622
msgid ""
"Mark traces the origins of Figshare back to when he was a graduate student "
"getting his PhD in stem cell biology. His research involved working with "
"videos of stem cells in motion. However, when he went to publish his "
"research, there was no way for him to also publish the videos, figures, "
"graphs, and data sets. This was frustrating. Mark believed publishing his "
"complete research would lead to more citations and be better for his career."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4631
msgid ""
"Mark does not consider himself an advanced software programmer.  "
"Fortunately, things like cloud-based computing and wikis had become "
"mainstream, and he believed it ought to be possible to put all his research "
"online and share it with anyone. So he began working on a solution."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4638
msgid ""
"There were two key needs: licenses to make the data citable, and persistent "
"identifiers— URL links that always point back to the original object "
"ensuring the research is citable for the long term."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4644
msgid ""
"Mark chose Digital Object Identifiers (DOIs) to meet the need for a "
"persistent identifier. In the DOI system, an object’s metadata is stored as "
"a series of numbers in the DOI name. Referring to an object by its DOI is "
"more stable than referring to it by its URL, because the location of an "
"object (the web page or URL) can often change. Mark partnered with DataCite "
"for the provision of DOIs for research data."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4653
msgid ""
"As for licenses, Mark chose Creative Commons. The open-access and open-"
"science communities were already using and recommending Creative Commons. "
"Based on what was happening in those communities and Mark’s dialogue with "
"peers, he went with CC0 (in the public domain) for data sets and CC BY "
"(Attribution) for figures, videos, and data sets."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4661
msgid ""
"So Mark began using DOIs and Creative Commons for his own research work. He "
"had a science blog where he wrote about it and made all his data open. "
"People started commenting on his blog that they wanted to do the same. So he "
"opened it up for them to use, too."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4667
msgid ""
"People liked the interface and simple upload process. People started asking "
"if they could also share theses, grant proposals, and code. Inclusion of "
"code raised new licensing issues, as Creative Commons licenses are not used "
"for software. To allow the sharing of software code, Mark chose the MIT "
"license, but GNU and Apache licenses can also be used."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4675
msgid ""
"Mark sought investment to make this into a scalable product. After a few "
"unsuccessful funding pitches, UK-based Digital Science expressed interest "
"but insisted on a more viable business model.  They made an initial "
"investment, and together they came up with a freemium-like business model."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4682
msgid ""
"Under the freemium model, academics upload their research to Figshare for "
"storage and sharing for free. Each research object is licensed with Creative "
"Commons and receives a DOI link. The premium option charges researchers a "
"fee for gigabytes of private storage space, and for private online space "
"designed for a set number of research collaborators, which is ideal for "
"larger teams and geographically dispersed research groups. Figshare sums up "
"its value proposition to researchers as “You retain ownership. You license "
"it. You get credit. We just make sure it persists.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4693
msgid ""
"In January 2012, Figshare was launched. (The fig in Figshare stands for "
"figures.) Using investment funds, Mark made significant improvements to "
"Figshare. For example, researchers could quickly preview their research "
"files within a browser without having to download them first or require "
"third-party software. Journals who were still largely publishing articles as "
"static noninteractive PDFs became interested in having Figshare provide that "
"functionality for them."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4703
msgid ""
"Figshare diversified its business model to include services for journals. "
"Figshare began hosting large amounts of data for the journals’ online "
"articles. This additional data improved the quality of the articles. "
"Outsourcing this service to Figshare freed publishers from having to develop "
"this functionality as part of their own infrastructure. Figshare-hosted data "
"also provides a link back to the article, generating additional click-"
"through and readership—a benefit to both journal publishers and "
"researchers.  Figshare now provides research-data infrastructure for a wide "
"variety of publishers including Wiley, Springer Nature, PLOS, and Taylor and "
"Francis, to name a few, and has convinced them to use Creative Commons "
"licenses for the data."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4717
msgid ""
"Governments allocate significant public funds to research. In parallel with "
"the launch of Figshare, governments around the world began requesting the "
"research they fund be open and accessible.  They mandated that researchers "
"and academic institutions better manage and disseminate their research "
"outputs. Institutions looking to comply with this new mandate became "
"interested in Figshare. Figshare once again diversified its business model, "
"adding services for institutions."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4727
msgid ""
"Figshare now offers a range of fee-based services to institutions, including "
"their own minibranded Figshare space (called Figshare for Institutions) that "
"securely hosts research data of institutions in the cloud. Services include "
"not just hosting but data metrics, data dissemination, and user-group "
"administration.  Figshare’s workflow, and the services they offer for "
"institutions, take into account the needs of librarians and administrators, "
"as well as of the researchers."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4737
msgid ""
"As with researchers and publishers, Fig-share encouraged institutions to "
"share their research with CC BY (Attribution) and their data with CC0 (into "
"the public domain). Funders who require researchers and institutions to use "
"open licensing believe in the social responsibilities and benefits of making "
"research accessible to all. Publishing research in this open way has come to "
"be called open access. But not all funders specify CC BY; some institutions "
"want to offer their researchers a choice, including less permissive licenses "
"like CC BY-NC (Attribution-NonCommercial), CC BY-SA (Attribution-"
"ShareAlike), or CC BY-ND (Attribution-NoDerivs)."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4750
msgid ""
"For Mark this created a conflict. On the one hand, the principles and "
"benefits of open science are at the heart of Figshare, and Mark believes CC "
"BY is the best license for this. On the other hand, institutions were saying "
"they wouldn’t use Figshare unless it offered a choice in licenses. He "
"initially refused to offer anything beyond CC0 and CC BY, but after seeing "
"an open-source CERN project offer all Creative Commons licenses without any "
"negative repercussions, he decided to follow suit."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4760
msgid ""
"Mark is thinking of doing a Figshare study that tracks research "
"dissemination according to Creative Commons license, and gathering metrics "
"on views, citations, and downloads. You could see which license generates "
"the biggest impact. If the data showed that CC BY is more impactful, Mark "
"believes more and more researchers and institutions will make it their "
"license of choice."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4773
msgid ""
"<ulink url=\"http://figshare.com/articles/"
"Journal_subscription_costs_FOIs_to_UK_universities/1186832\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4776
msgid ""
"<ulink url=\"http://retr0.shinyapps.io/journal_costs/?year=2014&amp;"
"inst=19,22,38,42,59,64,80,95,136\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4768
msgid ""
"Figshare has an Application Programming Interface (API) that makes it "
"possible for data to be pulled from Figshare and used in other applications. "
"As an example, Mark shared a Figshare data set showing the journal "
"subscriptions that higher-education institutions in the United Kingdom paid "
"to ten major publishers.<placeholder type=\"footnote\" id=\"0\"/> Figshare’s "
"API enables that data to be pulled into an app developed by a completely "
"different researcher that converts the data into a visually interesting "
"graph, which any viewer can alter by changing any of the variables."
"<placeholder type=\"footnote\" id=\"1\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4779
msgid ""
"The free version of Figshare has built a community of academics, who through "
"word of mouth and presentations have promoted and spread awareness of "
"Figshare. To amplify and reward the community, Figshare established an "
"Advisor program, providing those who promoted Figshare with hoodies and T-"
"shirts, early access to new features, and travel expenses when they gave "
"presentations outside of their area. These Advisors also helped Mark on what "
"license to use for software code and whether to offer universities an option "
"of using Creative Commons licenses."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4794
msgid "<ulink url=\"http://figshare.com/features\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4790
msgid ""
"Mark says his success is partly about being in the right place at the right "
"time. He also believes that the diversification of Figshare’s model over "
"time has been key to success. Figshare now offers a comprehensive set of "
"services to researchers, publishers, and institutions.<placeholder type="
"\"footnote\" id=\"0\"/> If he had relied solely on revenue from premium "
"subscriptions, he believes Figshare would have struggled. In Figshare’s "
"early days, their primary users were early-career and late-career academics. "
"It has only been because funders mandated open licensing that Figshare is "
"now being used by the mainstream."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4801
msgid ""
"Today Figshare has 26 million–plus page views, 7.5 million–plus downloads, "
"800,000–plus user uploads, 2 million–plus articles, 500,000-plus "
"collections, and 5,000–plus projects. Sixty percent of their traffic comes "
"from Google. A sister company called Altmetric tracks the use of Figshare by "
"others, including Wikipedia and news sources."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4809
msgid ""
"Figshare uses the revenue it generates from the premium subscribers, journal "
"publishers, and institutions to fund and expand what it can offer to "
"researchers for free. Figshare has publicly stuck to its principles—keeping "
"the free service free and requiring the use of CC BY and CC0 from the start—"
"and from Mark’s perspective, this is why people trust Figshare. Mark sees "
"new competitors coming forward who are just in it for money. If Figshare was "
"only in it for the money, they wouldn’t care about offering a free version. "
"Figshare’s principles and advocacy for openness are a key differentiator. "
"Going forward, Mark sees Figshare not only as supporting open access to "
"research but also enabling people to collaborate and make new discoveries."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4824
msgid "Figure.NZ"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4827
msgid ""
"Figure.NZ is a nonprofit charity that makes an online data platform designed "
"to make data reusable and easy to understand.  Founded in 2012 in New "
"Zealand."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4832
msgid "<ulink url=\"http://figure.nz\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4834
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: platform providing paid "
"services to creators, donations, sponsorships"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4837
msgid "<emphasis role=\"strong\">Interview date</emphasis>: May 3, 2016"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4839
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Lillian Grace, founder"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4848
msgid ""
"<ulink url=\"http://www.nzdatafutures.org.nz/sites/default/files/"
"NZDFF_harness-the-power.pdf\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4847
msgid ""
"In the paper Harnessing the Economic and Social Power of Data presented at "
"the New Zealand Data Futures Forum in 2014,<placeholder type=\"footnote\" id="
"\"0\"/> Figure.NZ founder Lillian Grace said there are thousands of valuable "
"and relevant data sets freely available to us right now, but most people "
"don’t use them. She used to think this meant people didn’t care about being "
"informed, but she’s come to see that she was wrong. Almost everyone wants to "
"be informed about issues that matter—not only to them, but also to their "
"families, their communities, their businesses, and their country.  But "
"there’s a big difference between availability and accessibility of "
"information. Data is spread across thousands of sites and is held within "
"databases and spreadsheets that require both time and skill to engage with. "
"To use data when making a decision, you have to know what specific question "
"to ask, identify a source that has collected the data, and manipulate "
"complex tools to extract and visualize the information within the data set.  "
"Lillian established Figure.NZ to make data truly accessible to all, with a "
"specific focus on New Zealand."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4866
msgid ""
"Lillian had the idea for Figure.NZ in February 2012 while working for the "
"New Zealand Institute, a think tank concerned with improving economic "
"prosperity, social well-being, environmental quality, and environmental "
"productivity for New Zealand and New Zealanders. While giving talks to "
"community and business groups, Lillian realized “every single issue we "
"addressed would have been easier to deal with if more people understood the "
"basic facts.” But understanding the basic facts sometimes requires data and "
"research that you often have to pay for."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4877
msgid ""
"Lillian began to imagine a website that lifted data up to a visual form that "
"could be easily understood and freely accessed.  Initially launched as Wiki "
"New Zealand, the original idea was that people could contribute their data "
"and visuals via a wiki.  However, few people had graphs that could be used "
"and shared, and there were no standards or consistency around the data and "
"the visuals. Realizing the wiki model wasn’t working, Lillian brought the "
"process of data aggregation, curation, and visual presentation in-house, and "
"invested in the technology to help automate some of it. Wiki New Zealand "
"became Figure.NZ, and efforts were reoriented toward providing services to "
"those wanting to open their data and present it visually."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4891
msgid ""
"Here’s how it works. Figure.NZ sources data from other organizations, "
"including corporations, public repositories, government departments, and "
"academics. Figure.NZ imports and extracts that data, and then validates and "
"standardizes it—all with a strong eye on what will be best for users. They "
"then make the data available in a series of standardized forms, both human- "
"and machine-readable, with rich metadata about the sources, the licenses, "
"and data types. Figure.NZ has a chart-designing tool that makes simple bar, "
"line, and area graphs from any data source.  The graphs are posted to the "
"Figure.NZ website, and they can also be exported in a variety of formats for "
"print or online use.  Figure.NZ makes its data and graphs available using "
"the Attribution (CC BY) license. This allows others to reuse, revise, remix, "
"and redistribute Figure.NZ data and graphs as long as they give attribution "
"to the original source and to Figure.NZ."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4917
msgid ""
"<ulink url=\"http://www.ict.govt.nz/guidance-and-resources/open-government/"
"new-zealand-government-open-access-and-licensing-nzgoal-framework/\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4908
msgid ""
"Lillian characterizes the initial decision to use Creative Commons as "
"naively fortunate. It was first recommended to her by a colleague. Lillian "
"spent time looking at what Creative Commons offered and thought it looked "
"good, was clear, and made common sense. It was easy to use and easy for "
"others to understand. Over time, she’s come to realize just how fortunate "
"and important that decision turned out to be. New Zealand’s government has "
"an open-access and licensing framework called NZGOAL, which provides "
"guidance for agencies when they release copyrighted and noncopyrighted work "
"and material.<placeholder type=\"footnote\" id=\"0\"/> It aims to "
"standardize the licensing of works with government copyright and how they "
"can be reused, and it does this with Creative Commons licenses. As a result, "
"98 percent of all government-agency data is Creative Commons licensed, "
"fitting in nicely with Figure.NZ’s decision."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4924
msgid ""
"Lillian thinks current ideas of what a business is are relatively new, only "
"a hundred years old or so. She’s convinced that twenty years from now, we "
"will see new and different models for business.  Figure.NZ is set up as a "
"nonprofit charity. It is purpose-driven but also strives to pay people well "
"and thinks like a business.  Lillian sees the charity-nonprofit status as an "
"essential element for the mission and purpose of Figure.NZ. She believes "
"Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s "
"nonprofit status assures people who have data and people who want to use it "
"that they can rely on Figure.NZ’s motives. People see them as a trusted "
"wrangler and source."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4937
msgid ""
"Although Figure.NZ is a social enterprise that openly licenses their data "
"and graphs for everyone to use for free, they have taken care not to be "
"perceived as a free service all around the table. Lillian believes hundreds "
"of millions of dollars are spent by the government and organizations to "
"collect data. However, very little money is spent on taking that data and "
"making it accessible, understandable, and useful for decision making.  "
"Government uses some of the data for policy, but Lillian believes that it is "
"underutilized and the potential value is much larger.  Figure.NZ is focused "
"on solving that problem. They believe a portion of money allocated to "
"collecting data should go into making sure that data is useful and generates "
"value. If the government wants citizens to understand why certain decisions "
"are being made and to be more aware about what the government is doing, why "
"not transform the data it collects into easily understood visuals? It could "
"even become a way for a government or any organization to differentiate, "
"market, and brand itself."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4956
msgid ""
"Figure.NZ spends a lot of time seeking to understand the motivations of data "
"collectors and to identify the channels where it can provide value. Every "
"part of their business model has been focused on who is going to get value "
"from the data and visuals."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4962
msgid ""
"Figure.NZ has multiple lines of business. They provide commercial services "
"to organizations that want their data publicly available and want to use "
"Figure.NZ as their publishing platform. People who want to publish open data "
"appreciate Figure.NZ’s ability to do it faster, more easily, and better than "
"they can. Customers are encouraged to help their users find, use, and make "
"things from the data they make available on Figure.NZ’s website. Customers "
"control what is released and the license terms (although Figure.NZ "
"encourages Creative Commons licensing). Figure.NZ also serves customers who "
"want a specific collection of charts created—for example, for their website "
"or annual report. Charging the organizations that want to make their data "
"available enables Figure.NZ to provide their site free to all users, to "
"truly democratize data."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4978
msgid ""
"Lillian notes that the current state of most data is terrible and often not "
"well understood by the people who have it. This sometimes makes it difficult "
"for customers and Figure.NZ to figure out what it would cost to import, "
"standardize, and display that data in a useful way. To deal with this, "
"Figure.NZ uses “high-trust contracts,” where customers allocate a certain "
"budget to the task that Figure.NZ is then free to draw from, as long as "
"Figure.NZ frequently reports on what they’ve produced so the customer can "
"determine the value for money. This strategy has helped build trust and "
"transparency about the level of effort associated with doing work that has "
"never been done before."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4996
msgid "<ulink url=\"http://figure.nz/business/\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4991
msgid ""
"A second line of business is what Figure.NZ calls partners. ASB Bank and "
"Statistics New Zealand are partners who back Figure.NZ’s efforts. As one "
"example, with their support Figure.NZ has been able to create Business "
"Figures, a special way for businesses to find useful data without having to "
"know what questions to ask.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4999
msgid "<ulink url=\"http://figure.nz/patrons/\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:4999
msgid ""
"Figure.NZ also has patrons.<placeholder type=\"footnote\" id=\"0\"/> Patrons "
"donate to topic areas they care about, directly enabling Figure.NZ to get "
"data together to flesh out those areas. Patrons do not direct what data is "
"included or excluded."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5005
msgid ""
"Figure.NZ also accepts philanthropic donations, which are used to provide "
"more content, extend technology, and improve services, or are targeted to "
"fund a specific effort or provide in-kind support.  As a charity, donations "
"are tax deductible."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5011
msgid ""
"Figure.NZ has morphed and grown over time. With data aggregation, curation, "
"and visualizing services all in-house, Figure.NZ has developed a deep "
"expertise in taking random styles of data, standardizing it, and making it "
"useful. Lillian realized that Figure.NZ could easily become a warehouse of "
"seventy people doing data. But for Lillian, growth isn’t always good. In her "
"view, bigger often means less effective. Lillian set artificial constraints "
"on growth, forcing the organization to think differently and be more "
"efficient. Rather than in-house growth, they are growing and building "
"external relationships."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5023
msgid ""
"Figure.NZ’s website displays visuals and data associated with a wide range "
"of categories including crime, economy, education, employment, energy, "
"environment, health, information and communications technology, industry, "
"tourism, and many others. A search function helps users find tables and "
"graphs. Figure.NZ does not provide analysis or interpretation of the data or "
"visuals.  Their goal is to teach people how to think, not think for them.  "
"Figure.NZ wants to create intuitive experiences, not user manuals."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5033
msgid ""
"Figure.NZ believes data and visuals should be useful. They provide their "
"customers with a data collection template and teach them why it’s important "
"and how to use it. They’ve begun putting more emphasis on tracking what "
"users of their website want. They also get requests from social media and "
"through email for them to share data for a specific topic—for example, can "
"you share data for water quality? If they have the data, they respond "
"quickly; if they don’t, they try and identify the organizations that would "
"have that data and forge a relationship so they can be included on Figure."
"NZ’s site. Overall, Figure.NZ is seeking to provide a place for people to be "
"curious about, access, and interpret data on topics they are interested in."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5047
msgid ""
"Lillian has a deep and profound vision for Figure.NZ that goes well beyond "
"simply providing open-data services. She says things are different now. “We "
"used to live in a world where it was really hard to share information "
"widely. And in that world, the best future was created by having a few great "
"leaders who essentially had access to the information and made decisions on "
"behalf of others, whether it was on behalf of a country or companies."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5056
msgid ""
"“But now we live in a world where it’s really easy to share information "
"widely and also to communicate widely. In the world we live in now, the best "
"future is the one where everyone can make well-informed decisions."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5062
msgid ""
"“The use of numbers and data as a way of making well-informed decisions is "
"one of the areas where there is the biggest gaps. We don’t really use "
"numbers as a part of our thinking and part of our understanding yet."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5068
msgid ""
"“Part of the reason is the way data is spread across hundreds of sites. In "
"addition, for the most part, deep thinking based on data is constrained to "
"experts because most people don’t have data literacy. There once was a time "
"when many citizens in society couldn’t read or write. However, as a society, "
"we’ve now come to believe that reading and writing skills should be "
"something all citizens have. We haven’t yet adopted a similar belief around "
"numbers and data literacy. We largely still believe that only a few "
"specially trained people can analyze and think with numbers."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5079
msgid ""
"“Figure.NZ may be the first organization to assert that everyone can use "
"numbers in their thinking, and it’s built a technological platform along "
"with trust and a network of relationships to make that possible. What you "
"can see on Figure.NZ are tens of thousands of graphs, maps, and data."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5086
msgid ""
"“Figure.NZ sees this as a new kind of alphabet that can help people analyze "
"what they see around them. A way to be thoughtful and informed about "
"society. A means of engaging in conversation and shaping decision making "
"that transcends personal experience.  The long-term value and impact is "
"almost impossible to measure, but the goal is to help citizens gain "
"understanding and work together in more informed ways to shape the future.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5095
msgid ""
"Lillian sees Figure.NZ’s model as having global potential. But for now, "
"their focus is completely on making Figure.NZ work in New Zealand and to get "
"the “network effect”— users dramatically increasing value for themselves and "
"for others through use of their service. Creative Commons is core to making "
"the network effect possible."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5104
msgid "Knowledge Unlatched"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5107
msgid ""
"Knowledge Unlatched is a not-for-profit community interest company that "
"brings libraries together to pool funds to publish open-access books. "
"Founded in 2012 in the UK."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5112
msgid "<ulink url=\"http://knowledgeunlatched.org\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5114
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: crowdfunding "
"(specialized)"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5117
msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 26, 2016"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5120
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Frances Pinter, founder"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5128
msgid ""
"The serial entrepreneur Dr. Frances Pinter has been at the forefront of "
"innovation in the publishing industry for nearly forty years. She founded "
"the UK-based Knowledge Unlatched with a mission to enable open access to "
"scholarly books. For Frances, the current scholarly- book-publishing system "
"is not working for anyone, and especially not for monographs in the "
"humanities and social sciences. Knowledge Unlatched is committed to changing "
"this and has been working with libraries to create a sustainable alternative "
"model for publishing scholarly books, sharing the cost of making monographs "
"(released under a Creative Commons license)  and savings costs over the long "
"term. Since its launch, Knowledge Unlatched has received several awards, "
"including the IFLA/Brill Open Access award in 2014 and a Curtin University "
"Commercial Innovation Award for Innovation in Education in 2015."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5144
msgid ""
"Dr. Pinter has been in academic publishing most of her career.  About ten "
"years ago, she became acquainted with the Creative Commons founder Lawrence "
"Lessig and got interested in Creative Commons as a tool for both protecting "
"content online and distributing it free to users."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5151
msgid ""
"Not long after, she ran a project in Africa convincing publishers in Uganda "
"and South Africa to put some of their content online for free using a "
"Creative Commons license and to see what happened to print sales. Sales went "
"up, not down."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5157
msgid ""
"In 2008, Bloomsbury Academic, a new imprint of Bloomsbury Publishing in the "
"United Kingdom, appointed her its founding publisher in London. As part of "
"the launch, Frances convinced Bloomsbury to differentiate themselves by "
"putting out monographs for free online under a Creative Commons license (BY-"
"NC or BY-NC-ND, i.e., Attribution-NonCommercial or Attribution-NonCommercial-"
"NoDerivs). This was seen as risky, as the biggest cost for publishers is "
"getting a book to the stage where it can be printed. If everyone read the "
"online book for free, there would be no print-book sales at all, and the "
"costs associated with getting the book to print would be lost.  "
"Surprisingly, Bloomsbury found that sales of the print versions of these "
"books were 10 to 20 percent higher than normal. Frances found it intriguing "
"that the Creative Commons–licensed free online book acts as a marketing "
"vehicle for the print format."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5174
msgid ""
"Frances began to look at customer interest in the three forms of the book: "
"1) the Creative Commons–licensed free online book in PDF form, 2) the "
"printed book, and 3) a digital version of the book on an aggregator platform "
"with enhanced features. She thought of this as the “ice cream model”: the "
"free PDF was vanilla ice cream, the printed book was an ice cream cone, and "
"the enhanced e-book was an ice cream sundae."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5183
msgid ""
"After a while, Frances had an epiphany—what if there was a way to get "
"libraries to underwrite the costs of making these books up until they’re "
"ready be printed, in other words, cover the fixed costs of getting to the "
"first digital copy? Then you could either bring down the cost of the printed "
"book, or do a whole bunch of interesting things with the printed book and e-"
"book—the ice cream cone or sundae part of the model."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5192
msgid ""
"This idea is similar to the article-processing charge some open-access "
"journals charge researchers to cover publishing costs.  Frances began to "
"imagine a coalition of libraries paying for the prepress costs—a “book-"
"processing charge”—and providing everyone in the world with an open-access "
"version of the books released under a Creative Commons license."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5200
msgid ""
"This idea really took hold in her mind. She didn’t really have a name for it "
"but began talking about it and making presentations to see if there was "
"interest. The more she talked about it, the more people agreed it had "
"appeal. She offered a bottle of champagne to anyone who could come up with a "
"good name for the idea. Her husband came up with Knowledge Unlatched, and "
"after two years of generating interest, she decided to move forward and "
"launch a community interest company (a UK term for not-for-profit social "
"enterprises) in 2012."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5211
msgid ""
"She describes the business model in a paper called Knowledge Unlatched: "
"Toward an Open and Networked Future for Academic Publishing:"
msgstr ""

#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5218
msgid ""
"Publishers offer titles for sale reflecting origination costs only via "
"Knowledge Unlatched."
msgstr ""

#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5224
msgid ""
"Individual libraries select titles either as individual titles or as "
"collections (as they do from library suppliers now)."
msgstr ""

#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5230
msgid ""
"Their selections are sent to Knowledge Unlatched specifying the titles to be "
"purchased at the stated price(s)."
msgstr ""

#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5236
msgid ""
"The price, called a Title Fee (set by publishers and negotiated by Knowledge "
"Unlatched), is paid to publishers to cover the fixed costs of publishing "
"each of the titles that were selected by a minimum number of libraries to "
"cover the Title Fee."
msgstr ""

#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5245
msgid ""
"Publishers make the selected titles available Open Access (on a Creative "
"Commons or similar open license) and are then paid the Title Fee which is "
"the total collected from the libraries."
msgstr ""

#. type: Content of: <book><part><chapter><orderedlist><listitem><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5255
msgid "<ulink url=\"http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5252
msgid ""
"Publishers make print copies, e-Pub, and other digital versions of selected "
"titles available to member libraries at a discount that reflects their "
"contribution to the Title Fee and incentivizes membership.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5260
msgid ""
"The first round of this model resulted in a collection of twenty-eight "
"current titles from thirteen recognized scholarly publishers being "
"unlatched. The target was to have two hundred libraries participate. The "
"cost of the package per library was capped at $1,680, which was an average "
"price of sixty dollars per book, but in the end they had nearly three "
"hundred libraries sharing the costs, and the price per book came in at just "
"under forty-three dollars."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5271
msgid ""
"<ulink url=\"http://collections.knowledgeunlatched.org/collection-"
"availability-1/\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5270
msgid ""
"The open-access, Creative Commons versions of these twenty-eight books are "
"still available online.<placeholder type=\"footnote\" id=\"0\"/> Most books "
"have been licensed with CC BY-NC or CC BY-NC-ND. Authors are the copyright "
"holder, not the publisher, and negotiate choice of license as part of the "
"publishing agreement.  Frances has found that most authors want to retain "
"control over the commercial and remix use of their work. Publishers list the "
"book in their catalogs, and the noncommercial restriction in the Creative "
"Commons license ensures authors continue to get royalties on sales of "
"physical copies."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5281
msgid ""
"There are three cost variables to consider for each round: the overall cost "
"incurred by the publishers, total cost for each library to acquire all the "
"books, and the individual price per book. The fee publishers charge for each "
"title is a fixed charge, and Knowledge Unlatched calculates the total amount "
"for all the books being unlatched at a time. The cost of an order for each "
"library is capped at a maximum based on a minimum number of libraries "
"participating. If the number of participating libraries exceeds the minimum, "
"then the cost of the order and the price per book go down for each library."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5293
msgid ""
"The second round, recently completed, unlatched seventy-eight books from "
"twenty-six publishers. For this round, Frances was experimenting with the "
"size and shape of the offerings. Books were being bundled into eight small "
"packages separated by subject (including Anthropology, History, Literature, "
"Media and Communications, and Politics), of around ten books per package.  "
"Three hundred libraries around the world have to commit to at least six of "
"the eight packages to enable unlatching. The average cost per book was just "
"under fifty dollars. The unlatching process took roughly ten months. It "
"started with a call to publishers for titles, followed by having a library "
"task force select the titles, getting authors’ permissions, getting the "
"libraries to pledge, billing the libraries, and finally, unlatching."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5308
msgid ""
"The longest part of the whole process is getting libraries to pledge and "
"commit funds. It takes about five months, as library buy-in has to fit "
"within acquisition cycles, budget cycles, and library-committee meetings."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5314
msgid ""
"Knowledge Unlatched informs and recruits libraries through social media, "
"mailing lists, listservs, and library associations. Of the three hundred "
"libraries that participated in the first round, 80 percent are also "
"participating in the second round, and there are an additional eighty new "
"libraries taking part. Knowledge Unlatched is also working not just with "
"individual libraries but also library consortia, which has been getting even "
"more libraries involved."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5324
msgid ""
"Knowledge Unlatched is scaling up, offering 150 new titles in the second "
"half of 2016. It will also offer backlist titles, and in 2017 will start to "
"make journals open access too."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5329
msgid ""
"Knowledge Unlatched deliberately chose monographs as the initial type of "
"book to unlatch. Monographs are foundational and important, but also "
"problematic to keep going in the standard closed publishing model."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5335
msgid ""
"The cost for the publisher to get to a first digital copy of a monograph is "
"$5,000 to $50,000. A good one costs in the $10,000 to $15,000 range. "
"Monographs typically don’t sell a lot of copies. A publisher who in the past "
"sold three thousand copies now typically sells only three hundred. That "
"makes unlatching monographs a low risk for publishers. For the first round, "
"it took five months to get thirteen publishers. For the second round, it "
"took one month to get twenty-six."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5352
msgid ""
"<ulink url=\"http://www.knowledgeunlatched.org/featured-authors-section/\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5345
msgid ""
"Authors don’t generally make a lot of royalties from monographs.  Royalties "
"range from zero dollars to 5 to 10 percent of receipts.  The value to the "
"author is the awareness it brings to them; when their book is being read, it "
"increases their reputation. Open access through unlatching generates many "
"more downloads and therefore awareness. (On the Knowledge Unlatched website, "
"you can find interviews with the twenty-eight round-one authors describing "
"their experience and the benefits of taking part.)<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5355
msgid ""
"Library budgets are constantly being squeezed, partly due to the inflation "
"of journal subscriptions. But even without budget constraints, academic "
"libraries are moving away from buying physical copies. An academic library "
"catalog entry is typically a URL to wherever the book is hosted. Or if they "
"have enough electronic storage space, they may download the digital file "
"into their digital repository. Only secondarily do they consider getting a "
"print book, and if they do, they buy it separately from the digital version."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5366
msgid ""
"Knowledge Unlatched offers libraries a compelling economic argument. Many of "
"the participating libraries would have bought a copy of the monograph "
"anyway, but instead of paying $95 for a print copy or $150 for a digital "
"multiple-use copy, they pay $50 to unlatch. It costs them less, and it opens "
"the book to not just the participating libraries, but to the world."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5374
msgid ""
"Not only do the economics make sense, but there is very strong alignment "
"with library mandates. The participating libraries pay less than they would "
"have in the closed model, and the open-access book is available to all "
"libraries. While this means nonparticipating libraries could be seen as free "
"riders, in the library world, wealthy libraries are used to paying more than "
"poor libraries and accept that part of their money should be spent to "
"support open access. “Free ride” is more like community responsibility. By "
"the end of March 2016, the round-one books had been downloaded nearly eighty "
"thousand times in 175 countries."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5386
msgid ""
"For publishers, authors, and librarians, the Knowledge Unlatched model for "
"monographs is a win-win-win."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5390
msgid ""
"In the first round, Knowledge Unlatched’s overheads were covered by grants. "
"In the second round, they aim to demonstrate the model is sustainable. "
"Libraries and publishers will each pay a 7.5 percent service charge that "
"will go toward Knowledge Unlatched’s running costs. With plans to scale up "
"in future rounds, Frances figures they can fully recover costs when they are "
"unlatching two hundred books at a time. Moving forward, Knowledge Unlatched "
"is making investments in technology and processes. Future plans include "
"unlatching journals and older books."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5401
msgid ""
"Frances believes that Knowledge Unlatched is tapping into new ways of "
"valuing academic content. It’s about considering how many people can find, "
"access, and use your content without pay barriers. Knowledge Unlatched taps "
"into the new possibilities and behaviors of the digital world. In the "
"Knowledge Unlatched model, the content-creation process is exactly the same "
"as it always has been, but the economics are different. For Frances, "
"Knowledge Unlatched is connected to the past but moving into the future, an "
"evolution rather than a revolution."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5413
msgid "Lumen Learning"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5416
msgid ""
"Lumen Learning is a for-profit company helping educational institutions use "
"open educational resources (OER). Founded in 2013 in the U.S."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5421
msgid "<ulink url=\"http://lumenlearning.com\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5423
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for custom "
"services, grant funding"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5426
msgid "<emphasis role=\"strong\">Interview date</emphasis>: December 21, 2015"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5429
msgid ""
"<emphasis role=\"strong\">Interviewees</emphasis>: David Wiley and Kim "
"Thanos, cofounders"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5443
msgid "<ulink url=\"http://lumenlearning.com/innovative-projects/\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5437
msgid ""
"Cofounded by open education visionary Dr. David Wiley and education-"
"technology strategist Kim Thanos, Lumen Learning is dedicated to improving "
"student success, bringing new ideas to pedagogy, and making education more "
"affordable by facilitating adoption of open educational resources. In 2012, "
"David and Kim partnered on a grant-funded project called the Kaleidoscope "
"Open Course Initiative.<placeholder type=\"footnote\" id=\"0\"/> It involved "
"a set of fully open general-education courses across eight colleges "
"predominantly serving at-risk students, with goals to dramatically reduce "
"textbook costs and collaborate to improve the courses to help students "
"succeed. David and Kim exceeded those goals: the cost of the required "
"textbooks, replaced with OER, decreased to zero dollars, and average student-"
"success rates improved by 5 to 10 percent when compared with previous years. "
"After a second round of funding, a total of more than twenty-five "
"institutions participated in and benefited from this project. It was career "
"changing for David and Kim to see the impact this initiative had on low-"
"income students. David and Kim sought further funding from the Bill and "
"Melinda Gates Foundation, who asked them to define a plan to scale their "
"work in a financially sustainable way. That is when they decided to create "
"Lumen Learning."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5460
msgid ""
"David and Kim went back and forth on whether it should be a nonprofit or "
"for- profit. A nonprofit would make it a more comfortable fit with the "
"education sector but meant they’d be constantly fund-raising and seeking "
"grants from philanthropies.  Also, grants usually require money to be used "
"in certain ways for specific deliverables. If you learn things along the way "
"that change how you think the grant money should be used, there often isn’t "
"a lot of flexibility to do so."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5470
msgid ""
"But as a for-profit, they’d have to convince educational institutions to pay "
"for what Lumen had to offer. On the positive side, they’d have more control "
"over what to do with the revenue and investment money; they could make "
"decisions to invest the funds or use them differently based on the situation "
"and shifting opportunities. In the end, they chose the for-profit status, "
"with its different model for and approach to sustainability."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5479
msgid ""
"Right from the start, David and Kim positioned Lumen Learning as a way to "
"help institutions engage in open educational resources, or OER. OER are "
"teaching, learning, and research materials, in all different media, that "
"reside in the public domain or are released under an open license that "
"permits free use and repurposing by others."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5487
msgid ""
"Originally, Lumen did custom contracts for each institution. This was "
"complicated and challenging to manage. However, through that process "
"patterns emerged which allowed them to generalize a set of approaches and "
"offerings. Today they don’t customize as much as they used to, and instead "
"they tend to work with customers who can use their off-the-shelf options. "
"Lumen finds that institutions and faculty are generally very good at seeing "
"the value Lumen brings and are willing to pay for it. Serving disadvantaged "
"learner populations has led Lumen to be very pragmatic; they describe what "
"they offer in quantitative terms—with facts and figures—and in a way that is "
"very student-focused. Lumen Learning helps colleges and universities—"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5503
msgid "replace expensive textbooks in high-enrollment courses with OER;"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5509
msgid ""
"provide enrolled students day one access to Lumen’s fully customizable OER "
"course materials through the institution’s learning-management system;"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5516
msgid ""
"measure improvements in student success with metrics like passing rates, "
"persistence, and course completion; and"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5522
msgid ""
"collaborate with faculty to make ongoing improvements to OER based on "
"student success research."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5528
msgid ""
"Lumen has developed a suite of open, Creative Commons–licensed courseware in "
"more than sixty-five subjects. All courses are freely and publicly available "
"right off their website. They can be copied and used by others as long as "
"they provide attribution to Lumen Learning following the terms of the "
"Creative Commons license."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5536
msgid ""
"Then there are three types of bundled services that cost money.  One option, "
"which Lumen calls Candela courseware, offers integration with the "
"institution’s learning-management system, technical and pedagogical support, "
"and tracking of effectiveness.  Candela courseware costs institutions ten "
"dollars per enrolled student."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5544
msgid ""
"A second option is Waymaker, which offers the services of Candela but adds "
"personalized learning technologies, such as study plans, automated messages, "
"and assessments, and helps instructors find and support the students who "
"need it most. Waymaker courses cost twenty-five dollars per enrolled student."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5551
msgid ""
"The third and emerging line of business for Lumen is providing guidance and "
"support for institutions and state systems that are pursuing the development "
"of complete OER degrees. Often called Z-Degrees, these programs eliminate "
"textbook costs for students in all courses that make up the degree (both "
"required and elective)  by replacing commercial textbooks and other "
"expensive resources with OER."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5560
msgid ""
"Lumen generates revenue by charging for their value-added tools and services "
"on top of their free courses, just as solar-power companies provide the "
"tools and services that help people use a free resource—sunlight. And "
"Lumen’s business model focuses on getting the institutions to pay, not the "
"students. With projects they did prior to Lumen, David and Kim learned that "
"students who have access to all course materials from day one have greater "
"success. If students had to pay, Lumen would have to restrict access to "
"those who paid. Right from the start, their stance was that they would not "
"put their content behind a paywall. Lumen invests zero dollars in "
"technologies and processes for restricting access—no digital rights "
"management, no time bombs. While this has been a challenge from a business-"
"model perspective, from an open-access perspective, it has generated immense "
"goodwill in the community."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5577
msgid ""
"In most cases, development of their courses is funded by the institution "
"Lumen has a contract with. When creating new courses, Lumen typically works "
"with the faculty who are teaching the new course. They’re often part of the "
"institution paying Lumen, but sometimes Lumen has to expand the team and "
"contract faculty from other institutions. First, the faculty identifies all "
"of the course’s learning outcomes. Lumen then searches for, aggregates, and "
"curates the best OER they can find that addresses those learning needs, "
"which the faculty reviews."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5588
msgid ""
"Sometimes faculty like the existing OER but not the way it is presented. The "
"open licensing of existing OER allows Lumen to pick and choose from images, "
"videos, and other media to adapt and customize the course. Lumen creates new "
"content as they discover gaps in existing OER. Test-bank items and feedback "
"for students on their progress are areas where new content is frequently "
"needed.  Once a course is created, Lumen puts it on their platform with all "
"the attributions and links to the original sources intact, and any of "
"Lumen’s new content is given an Attribution (CC BY) license."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5599
msgid ""
"Using only OER made them experience firsthand how complex it could be to mix "
"differently licensed work together. A common strategy with OER is to place "
"the Creative Commons license and attribution information in the website’s "
"footer, which stays the same for all pages. This doesn’t quite work, "
"however, when mixing different OER together."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5607
msgid ""
"Remixing OER often results in multiple attributions on every page of every "
"course—text from one place, images from another, and videos from yet "
"another. Some are licensed as Attribution (CC BY), others as Attribution-"
"ShareAlike (CC BY-SA). If this information is put within the text of the "
"course, faculty members sometimes try to edit it and students find it a "
"distraction. Lumen dealt with this challenge by capturing the license and "
"attribution information as metadata, and getting it to show up at the end of "
"each page."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5618
msgid ""
"Lumen’s commitment to open licensing and helping low-income students has led "
"to strong relationships with institutions, open-education enthusiasts, and "
"grant funders. People in their network generously increase the visibility of "
"Lumen through presentations, word of mouth, and referrals. Sometimes the "
"number of general inquiries exceed Lumen’s sales capacity."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5626
msgid ""
"To manage demand and ensure the success of projects, their strategy is to be "
"proactive and focus on what’s going on in higher education in different "
"regions of the United States, watching out for things happening at the "
"system level in a way that fits with what Lumen offers. A great example is "
"the Virginia community college system, which is building out Z-Degrees. "
"David and Kim say there are nine other U.S. states with similar system-level "
"activity where Lumen is strategically focusing its efforts. Where there are "
"projects that would require a lot of resources on Lumen’s part, they "
"prioritize the ones that would impact the largest number of students."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5639
msgid ""
"As a business, Lumen is committed to openness. There are two core "
"nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative "
"Commons licenses, for all the materials it creates; and day-one access for "
"students. Having clear nonnegotiables allows them to then engage with the "
"education community to solve for other challenges and work with institutions "
"to identify new business models that achieve institution goals, while "
"keeping Lumen healthy."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5649
msgid ""
"Openness also means that Lumen’s OER must necessarily be nonexclusive and "
"nonrivalrous. This represents several big challenges for the business model: "
"Why should you invest in creating something that people will be reluctant to "
"pay for? How do you ensure that the investment the diverse education "
"community makes in OER is not exploited? Lumen thinks we all need to be "
"clear about how we are benefiting from and contributing to the open "
"community."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5659
msgid ""
"In the OER sector, there are examples of corporations, and even "
"institutions, acting as free riders. Some simply take and use open resources "
"without paying anything or contributing anything back.  Others give back the "
"minimum amount so they can save face.  Sustainability will require those "
"using open resources to give back an amount that seems fair or even give "
"back something that is generous."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5668
msgid ""
"Lumen does track institutions accessing and using their free content. They "
"proactively contact those institutions, with an estimate of how much their "
"students are saving and encouraging them to switch to a paid model. Lumen "
"explains the advantages of the paid model: a more interactive relationship "
"with Lumen; integration with the institution’s learning-management system; a "
"guarantee of support for faculty and students; and future sustainability "
"with funding supporting the evolution and improvement of the OER they are "
"using."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5679
msgid ""
"Lumen works hard to be a good corporate citizen in the OER community. For "
"David and Kim, a good corporate citizen gives more than they take, adds "
"unique value, and is very transparent about what they are taking from "
"community, what they are giving back, and what they are monetizing. Lumen "
"believes these are the building blocks of a sustainable model and strives "
"for a correct balance of all these factors."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5688
msgid ""
"Licensing all the content they produce with CC BY is a key part of giving "
"more value than they take. They’ve also worked hard at finding the right "
"structure for their value-add and how to package it in a way that is "
"understandable and repeatable."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5694
msgid ""
"As of the fall 2016 term, Lumen had eighty-six different open courses, "
"working relationships with ninety-two institutions, and more than seventy-"
"five thousand student enrollments. Lumen received early start-up funding "
"from the Bill and Melinda Gates Foundation, the Hewlett Foundation, and the "
"Shuttleworth Foundation. Since then, Lumen has also attracted investment "
"funding. Over the last three years, Lumen has been roughly 60 percent grant "
"funded, 20 percent revenue earned, and 20 percent funded with angel capital. "
"Going forward, their strategy is to replace grant funding with revenue."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5706
msgid ""
"In creating Lumen Learning, David and Kim say they’ve landed on solutions "
"they never imagined, and there is still a lot of learning taking place. For "
"them, open business models are an emerging field where we are all learning "
"through sharing. Their biggest recommendations for others wanting to pursue "
"the open model are to make your commitment to open resources public, let "
"people know where you stand, and don’t back away from it. It really is about "
"trust."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5717
msgid "Jonathan Mann"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5720
msgid ""
"Jonathan Mann is a singer and songwriter who is most well known as the “Song "
"A Day” guy. Based in the U.S."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5723
msgid ""
"<ulink url=\"http://jonathanmann.net\"/> and <ulink url=\"http://"
"jonathanmann.bandcamp.com\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5726
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for custom "
"services, pay-what-you-want, crowdfunding (subscription-based), charging for "
"in-person version (speaking engagements and musical performances)"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5731
msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 22, 2016"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5739
msgid ""
"Jonathan Mann thinks of his business model as “hustling”—seizing nearly "
"every opportunity he sees to make money. The bulk of his income comes from "
"writing songs under commission for people and companies, but he has a wide "
"variety of income sources. He has supporters on the crowdfunding site "
"Patreon. He gets advertising revenue from YouTube and Bandcamp, where he "
"posts all of his music. He gives paid speaking engagements about creativity "
"and motivation. He has been hired by major conferences to write songs "
"summarizing what speakers have said in the conference sessions."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5750
msgid ""
"His entrepreneurial spirit is coupled with a willingness to take action "
"quickly. A perfect illustration of his ability to act fast happened in 2010, "
"when he read that Apple was having a conference the following day to address "
"a snafu related to the iPhone 4. He decided to write and post a song about "
"the iPhone 4 that day, and the next day he got a call from the public "
"relations people at Apple wanting to use and promote his video at the Apple "
"conference. The song then went viral, and the experience landed him in Time "
"magazine."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5761
msgid ""
"Jonathan’s successful “hustling” is also about old-fashioned persistence. He "
"is currently in his eighth straight year of writing one song each day. He "
"holds the Guinness World Record for consecutive daily songwriting, and he is "
"widely known as the “song-a-day guy.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5768
msgid ""
"He fell into this role by, naturally, seizing a random opportunity a friend "
"alerted him to seven years ago—an event called Fun-A-Day, where people are "
"supposed to create a piece of art every day for thirty-one days straight. He "
"was in need of a new project, so he decided to give it a try by writing and "
"posting a song each day.  He added a video component to the songs because he "
"knew people were more likely to watch video online than simply listening to "
"audio files."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5778
msgid ""
"He had a really good time doing the thirty-one-day challenge, so he decided "
"to see if he could continue it for one year. He never stopped. He has "
"written and posted a new song literally every day, seven days a week, since "
"he began the project in 2009. When he isn’t writing songs that he is hired "
"to write by clients, he writes songs about whatever is on his mind that day. "
"His songs are catchy and mostly lighthearted, but they often contain at "
"least an undercurrent of a deeper theme or meaning. Occasionally, they are "
"extremely personal, like the song he cowrote with his exgirlfriend "
"announcing their breakup. Rain or shine, in sickness or health, Jonathan "
"posts and writes a song every day. If he is on a flight or otherwise "
"incapable of getting Internet access in time to meet the deadline, he will "
"prepare ahead and have someone else post the song for him."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5794
msgid ""
"Over time, the song-a-day gig became the basis of his livelihood.  In the "
"beginning, he made money one of two ways. The first was by entering a wide "
"variety of contests and winning a handful. The second was by having the "
"occasional song and video go some varying degree of viral, which would bring "
"more eyeballs and mean that there were more people wanting him to write "
"songs for them. Today he earns most of his money this way."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5803
msgid ""
"His website explains his gig as “taking any message, from the super simple "
"to the totally complicated, and conveying that message through a heartfelt, "
"fun and quirky song.” He charges $500 to create a produced song and $300 for "
"an acoustic song. He has been hired for product launches, weddings, "
"conferences, and even Kickstarter campaigns like the one that funded the "
"production of this book."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5812
msgid ""
"Jonathan can’t recall when exactly he first learned about Creative Commons, "
"but he began applying CC licenses to his songs and videos as soon as he "
"discovered the option. “CC seems like such a no-brainer,” Jonathan said. “I "
"don’t understand how anything else would make sense. It seems like such an "
"obvious thing that you would want your work to be able to be shared.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5820
msgid ""
"His songs are essentially marketing for his services, so obviously the "
"further his songs spread, the better. Using CC licenses helps grease the "
"wheels, letting people know that Jonathan allows and encourages them to "
"copy, interact with, and remix his music. “If you let someone cover your "
"song or remix it or use parts of it, that’s how music is supposed to work,” "
"Jonathan said. “That is how music has worked since the beginning of time. "
"Our me-me, mine-mine culture has undermined that.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5830
msgid ""
"There are some people who cover his songs fairly regularly, and he would "
"never shut that down. But he acknowledges there is a lot more he could do to "
"build community. “There is all of this conventional wisdom about how to "
"build an audience online, and I generally think I don’t do any of that,” "
"Jonathan said."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5837
msgid ""
"He does have a fan community he cultivates on Bandcamp, but it isn’t his "
"major focus. “I do have a core audience that has stuck around for a really "
"long time, some even longer than I’ve been doing song-a-day,” he said. "
"“There is also a transitional aspect that drop in and get what they need and "
"then move on.” Focusing less on community building than other artists makes "
"sense given Jonathan’s primary income source of writing custom songs for "
"clients."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5847
msgid ""
"Jonathan recognizes what comes naturally to him and leverages those skills. "
"Through the practice of daily songwriting, he realized he has a gift for "
"distilling complicated subjects into simple concepts and putting them to "
"music. In his song “How to Choose a Master Password,” Jonathan explained the "
"process of creating a secure password in a silly, simple song. He was hired "
"to write the song by a client who handed him a long technical blog post from "
"which to draw the information. Like a good (and rare)  journalist, he "
"translated the technical concepts into something understandable."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5859
msgid ""
"When he is hired by a client to write a song, he first asks them to send a "
"list of talking points and other information they want to include in the "
"song. He puts all of that into a text file and starts moving things around, "
"cutting and pasting until the message starts to come together. The first "
"thing he tries to do is grok the core message and develop the chorus. Then "
"he looks for connections or parts he can make rhyme. The entire process "
"really does resemble good journalism, but of course the final product of his "
"work is a song rather than news. “There is something about being challenged "
"and forced to take information that doesn’t seem like it should be sung "
"about or doesn’t seem like it lends itself to a song,” he said. “I find that "
"creative challenge really satisfying. I enjoy getting lost in that process.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5874
msgid ""
"Jonathan admits that in an ideal world, he would exclusively write the music "
"he wanted to write, rather than what clients hire him to write. But his "
"business model is about capitalizing on his strengths as a songwriter, and "
"he has found a way to keep it interesting for himself."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5881
msgid ""
"Jonathan uses nearly every tool possible to make money from his art, but he "
"does have lines he won’t cross. He won’t write songs about things he "
"fundamentally does not believe in, and there are times he has turned down "
"jobs on principle. He also won’t stray too much from his natural style. “My "
"style is silly, so I can’t really accommodate people who want something "
"super serious,” Jonathan said. “I do what I do very easily, and it’s part of "
"who I am.” Jonathan hasn’t gotten into writing commercials for the same "
"reasons; he is best at using his own unique style rather than mimicking "
"others."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5893
msgid ""
"Jonathan’s song-a-day commitment exemplifies the power of habit and grit. "
"Conventional wisdom about creative productivity, including advice in books "
"like the best-seller The Creative Habit by Twyla Tharp, routinely emphasizes "
"the importance of ritual and action. No amount of planning can replace the "
"value of simple practice and just doing. Jonathan Mann’s work is a living "
"embodiment of these principles."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5902
msgid ""
"When he speaks about his work, he talks about how much the song-a-day "
"process has changed him. Rather than seeing any given piece of work as "
"precious and getting stuck on trying to make it perfect, he has become "
"comfortable with just doing. If today’s song is a bust, tomorrow’s song "
"might be better."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5909
msgid ""
"Jonathan seems to have this mentality about his career more generally. He is "
"constantly experimenting with ways to make a living while sharing his work "
"as widely as possible, seeing what sticks. While he has major "
"accomplishments he is proud of, like being in the Guinness World Records or "
"having his song used by Steve Jobs, he says he never truly feels successful."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5917
msgid ""
"“Success feels like it’s over,” he said. “To a certain extent, a creative "
"person is not ever going to feel completely satisfied because then so much "
"of what drives you would be gone.”"
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5923
msgid "Noun Project"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5926
msgid ""
"The Noun Project is a for-profit company offering an online platform to "
"display visual icons from a global network of designers. Founded in 2010 in "
"the U.S."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5931
msgid "<ulink url=\"http://thenounproject.com\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5933
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging a transaction "
"fee, charging for custom services"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5936
msgid "<emphasis role=\"strong\">Interview date</emphasis>: October 6, 2015"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5939
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Edward Boatman, cofounder"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5947
msgid ""
"The Noun Project creates and shares visual language. There are millions who "
"use Noun Project symbols to simplify communication across borders, "
"languages, and cultures."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5952
msgid ""
"The original idea for the Noun Project came to cofounder Edward Boatman "
"while he was a student in architecture design school. He’d always done a lot "
"of sketches and started to draw what used to fascinate him as a child, like "
"trains, sequoias, and bulldozers.  He began thinking how great it would be "
"if he had a simple image or small icon of every single object or concept on "
"the planet."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5960
msgid ""
"When Edward went on to work at an architecture firm, he had to make a lot of "
"presentation boards for clients. But finding high-quality sources for "
"symbols and icons was difficult. He couldn’t find any website that could "
"provide them. Perhaps his idea for creating a library of icons could "
"actually help people in similar situations."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5968
msgid ""
"With his partner, Sofya Polyakov, he began collecting symbols for a website "
"and writing a business plan. Inspiration came from the book Professor and "
"the Madman, which chronicles the use of crowdsourcing to create the Oxford "
"English Dictionary in 1870.  Edward began to imagine crowdsourcing icons and "
"symbols from volunteer designers around the world."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5979
msgid ""
"<ulink url=\"http://www.kickstarter.com/projects/tnp/building-a-free-"
"collection-of-our-worlds-visual-sy/description\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5976
msgid ""
"Then Edward got laid off during the recession, which turned out to be a huge "
"catalyst. He decided to give his idea a go, and in 2010 Edward and Sofya "
"launched the Noun Project with a Kickstarter campaign, back when Kickstarter "
"was in its infancy.<placeholder type=\"footnote\" id=\"0\"/> They thought "
"it’d be a good way to introduce the global web community to their idea. "
"Their goal was to raise $1,500, but in twenty days they got over $14,000. "
"They realized their idea had the potential to be something much bigger."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5985
msgid ""
"They created a platform where symbols and icons could be uploaded, and "
"Edward began recruiting talented designers to contribute their designs, a "
"process he describes as a relatively easy sell. Lots of designers have old "
"drawings just gathering “digital dust” on their hard drives. It’s easy to "
"convince them to finally share them with the world."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:5993
msgid ""
"The Noun Project currently has about seven thousand designers from around "
"the world. But not all submissions are accepted. The Noun Project’s quality-"
"review process means that only the best works become part of its collection. "
"They make sure to provide encouraging, constructive feedback whenever they "
"reject a piece of work, which maintains and builds the relationship they "
"have with their global community of designers."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6002
msgid ""
"Creative Commons is an integral part of the Noun Project’s business model; "
"this decision was inspired by Chris Anderson’s book Free: The Future of "
"Radical Price, which introduced Edward to the idea that you could build a "
"business model around free content."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6009
msgid ""
"Edward knew he wanted to offer a free visual language while still providing "
"some protection and reward for its contributors. There is a tension between "
"those two goals, but for Edward, Creative Commons licenses bring this "
"idealism and business opportunity together elegantly. He chose the "
"Attribution (CC BY) license, which means people can download the icons for "
"free and modify them and even use them commercially. The requirement to give "
"attribution to the original creator ensures that the creator can build a "
"reputation and get global recognition for their work. And if they simply "
"want to offer an icon that people can use without having to give credit, "
"they can use CC0 to put the work into the public domain."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6023
msgid ""
"Noun Project’s business model and means of generating revenue have evolved "
"significantly over time. Their initial plan was to sell T-shirts with the "
"icons on it, which in retrospect Edward says was a horrible idea. They did "
"get a lot of email from people saying they loved the icons but asking if "
"they could pay a fee instead of giving attribution. Ad agencies (among "
"others) wanted to keep marketing and presentation materials clean and free "
"of attribution statements. For Edward, “That’s when our lightbulb went off.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6033
msgid ""
"They asked their global network of designers whether they’d be open to "
"receiving modest remuneration instead of attribution.  Designers saw it as a "
"win-win. The idea that you could offer your designs for free and have a "
"global audience and maybe even make some money was pretty exciting for most "
"designers."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6040
msgid ""
"The Noun Project first adopted a model whereby using an icon without giving "
"attribution would cost $1.99 per icon. The model’s second iteration added a "
"subscription component, where there would be a monthly fee to access a "
"certain number of icons—ten, fifty, a hundred, or five hundred. However, "
"users didn’t like these hard-count options. They preferred to try out many "
"similar icons to see which worked best before eventually choosing the one "
"they wanted to use. So the Noun Project moved to an unlimited model, whereby "
"users have unlimited access to the whole library for a flat monthly fee. "
"This service is called NounPro and costs $9.99 per month. Edward says this "
"model is working well—good for customers, good for creators, and good for "
"the platform."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6054
msgid ""
"Customers then began asking for an application-programming interface (API), "
"which would allow Noun Project icons and symbols to be directly accessed "
"from within other applications. Edward knew that the icons and symbols would "
"be valuable in a lot of different contexts and that they couldn’t possibly "
"know all of them in advance, so they built an API with a lot of "
"flexibility.  Knowing that most API applications would want to use the icons "
"without giving attribution, the API was built with the aim of charging for "
"its use. You can use what’s called the “Playground API” for free to test how "
"it integrates with your application, but full implementation will require "
"you to purchase the API Pro version."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6068
msgid ""
"The Noun Project shares revenue with its international designers.  For one-"
"off purchases, the revenue is split 70 percent to the designer and 30 "
"percent to Noun Project."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6073
msgid ""
"The revenue from premium purchases (the subscription and API options) is "
"split a little differently. At the end of each month, the total revenue from "
"subscriptions is divided by Noun Project’s total number of downloads, "
"resulting in a rate per download—for example, it could be $0.13 per download "
"for that month. For each download, the revenue is split 40 percent to the "
"designer and 60 percent to the Noun Project. (For API usage, it’s per use "
"instead of per download.) Noun Project’s share is higher this time as it’s "
"providing more service to the user."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6085
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6157
msgid ""
"<ulink url=\"http://thenounproject.com/handbook/royalties/#getting_paid\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6084
msgid ""
"The Noun Project tries to be completely transparent about their royalty "
"structure.<placeholder type=\"footnote\" id=\"0\"/> They tend to over "
"communicate with creators about it because building trust is the top "
"priority."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6089
msgid ""
"For most creators, contributing to the Noun Project is not a full-time job "
"but something they do on the side. Edward categorizes monthly earnings for "
"creators into three broad categories: enough money to buy beer; enough to "
"pay the bills; and most successful of all, enough to pay the rent."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6096
msgid ""
"Recently the Noun Project launched a new app called Lingo.  Designers can "
"use Lingo to organize not just their Noun Project icons and symbols but also "
"their photos, illustrations, UX designs, et cetera. You simply drag any "
"visual item directly into Lingo to save it. Lingo also works for teams so "
"people can share visuals with each other and search across their combined "
"collections. Lingo is free for personal use. A pro version for $9.99 per "
"month lets you add guests. A team version for $49.95 per month allows up to "
"twenty-five team members to collaborate, and to view, use, edit, and add new "
"assets to each other’s collections.  And if you subscribe to NounPro, you "
"can access Noun Project from within Lingo."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6110
msgid ""
"The Noun Project gives a ton of value away for free. A very large percentage "
"of their roughly one million members have a free account, but there are "
"still lots of paid accounts coming from digital designers, advertising and "
"design agencies, educators, and others who need to communicate ideas "
"visually."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6117
msgid ""
"For Edward, “creating, sharing, and celebrating the world’s visual language” "
"is the most important aspect of what they do; it’s their stated mission. It "
"differentiates them from others who offer graphics, icons, or clip art."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6123
msgid ""
"Noun Project creators agree. When surveyed on why they participate in the "
"Noun Project, this is how designers rank their reasons: 1)  to support the "
"Noun Project mission, 2) to promote their own personal brand, and 3) to "
"generate money. It’s striking to see that money comes third, and mission, "
"first. If you want to engage a global network of contributors, it’s "
"important to have a mission beyond making money."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6132
msgid ""
"In Edward’s view, Creative Commons is central to their mission of sharing "
"and social good. Using Creative Commons makes the Noun Project’s mission "
"genuine and has generated a lot of their initial traction and credibility. "
"CC comes with a built-in community of users and fans."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6139
msgid ""
"Edward told us, “Don’t underestimate the power of a passionate community "
"around your product or your business. They are going to go to bat for you "
"when you’re getting ripped in the media. If you go down the road of choosing "
"to work with Creative Commons, you’re taking the first step to building a "
"great community and tapping into a really awesome community that comes with "
"it. But you need to continue to foster that community through other "
"initiatives and continue to nurture it.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6149
msgid ""
"The Noun Project nurtures their creators’ second motivation—promoting a "
"personal brand—by connecting every icon and symbol to the creator’s name and "
"profile page; each profile features their full collection. Users can also "
"search the icons by the creator’s name."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6156
msgid ""
"The Noun Project also builds community through Iconathons—hackathons for "
"icons.<placeholder type=\"footnote\" id=\"0\"/> In partnership with a "
"sponsoring organization, the Noun Project comes up with a theme (e.g., "
"sustainable energy, food bank, guerrilla gardening, human rights) and a list "
"of icons that are needed, which designers are invited to create at the "
"event.  The results are vectorized, and added to the Noun Project using CC0 "
"so they can be used by anyone for free."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6165
msgid ""
"Providing a free version of their product that satisfies a lot of their "
"customers’ needs has actually enabled the Noun Project to build the paid "
"version, using a service-oriented model. The Noun Project’s success lies in "
"creating services and content that are a strategic mix of free and paid "
"while staying true to their mission—creating, sharing, and celebrating the "
"world’s visual language. Integrating Creative Commons into their model has "
"been key to that goal."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6176
msgid "Open Data Institute"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6179
msgid ""
"The Open Data Institute is an independent nonprofit that connects, equips, "
"and inspires people around the world to innovate with data. Founded in 2012 "
"in the UK."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6184
msgid "<ulink url=\"http://theodi.org\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6186
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: grant and government "
"funding, charging for custom services, donations"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6189
msgid "<emphasis role=\"strong\">Interview date</emphasis>: November 11, 2015"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6192
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Jeni Tennison, technical "
"director"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6200
msgid ""
"Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the London-"
"based Open Data Institute (ODI) offers data-related training, events, "
"consulting services, and research. For ODI, Creative Commons licenses are "
"central to making their own business model and their customers’ open. CC BY "
"(Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the "
"public domain)  all play a critical role in ODI’s mission to help people "
"around the world innovate with data."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6210
msgid ""
"Data underpins planning and decision making across all aspects of society. "
"Weather data helps farmers know when to plant their crops, flight time data "
"from airplane companies helps us plan our travel, data on local housing "
"informs city planning. When this data is not only accurate and timely, but "
"open and accessible, it opens up new possibilities. Open data can be a "
"resource businesses use to build new products and services. It can help "
"governments measure progress, improve efficiency, and target investments. It "
"can help citizens improve their lives by better understanding what is "
"happening around them."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6222
msgid ""
"The Open Data Institute’s 2012–17 business plan starts out by describing its "
"vision to establish itself as a world-leading center and to research and be "
"innovative with the opportunities created by the UK government’s open data "
"policy. (The government was an early pioneer in open policy and open-data "
"initiatives.) It goes on to say that the ODI wants to—"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6232
msgid ""
"demonstrate the commercial value of open government data and how open-data "
"policies affect this;"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6238
msgid "develop the economic benefits case and business models for open data;"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6244
msgid "help UK businesses use open data; and"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6249
msgid ""
"<ulink url=\"http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6."
"cf3.rackcdn.com/odi-business-plan-may-release.pdf\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6249
msgid ""
"show how open data can improve public services.<placeholder type=\"footnote"
"\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6254
msgid ""
"ODI is very explicit about how it wants to make open business models, and "
"defining what this means. Jeni Tennison, ODI’s technical director, puts it "
"this way: “There is a whole ecosystem of open—open-source software, open "
"government, open-access research—and a whole ecosystem of data. ODI’s work "
"cuts across both, with an emphasis on where they overlap—with open data.” "
"ODI’s particular focus is to show open data’s potential for revenue."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6264
msgid ""
"As an independent nonprofit, ODI secured £10 million over five years from "
"the UK government via Innovate UK, an agency that promotes innovation in "
"science and technology. For this funding, ODI has to secure matching funds "
"from other sources, some of which were met through a $4.75-million "
"investment from the Omidyar Network."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6272
msgid ""
"Jeni started out as a developer and technical architect for data.gov.uk, the "
"UK government’s pioneering open-data initiative.  She helped make data sets "
"from government departments available as open data. She joined ODI in 2012 "
"when it was just starting up, as one of six people. It now has a staff of "
"about sixty."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6279
msgid ""
"ODI strives to have half its annual budget come from the core UK government "
"and Omidyar grants, and the other half from project-based research and "
"commercial work. In Jeni’s view, having this balance of revenue sources "
"establishes some stability, but also keeps them motivated to go out and "
"generate these matching funds in response to market needs."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6287
msgid ""
"On the commercial side, ODI generates funding through memberships, training, "
"and advisory services."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6302
msgid "<ulink url=\"http://directory.theodi.org/members\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6291
msgid ""
"You can join the ODI as an individual or commercial member.  Individual "
"membership is pay-what-you-can, with options ranging from £1 to £100. "
"Members receive a newsletter and related communications and a discount on "
"ODI training courses and the annual summit, and they can display an ODI-"
"supporter badge on their website. Commercial membership is divided into two "
"tiers: small to medium size enterprises and nonprofits at £720 a year, and "
"corporations and government organizations at £2,200 a year.  Commercial "
"members have greater opportunities to connect and collaborate, explore the "
"benefits of open data, and unlock new business opportunities. (All members "
"are listed on their website.)<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6305
msgid ""
"ODI provides standardized open data training courses in which anyone can "
"enroll. The initial idea was to offer an intensive and academically oriented "
"diploma in open data, but it quickly became clear there was no market for "
"that. Instead, they offered a five-day-long public training course, which "
"has subsequently been reduced to three days; now the most popular course is "
"one day long. The fee, in addition to the time commitment, can be a barrier "
"for participation. Jeni says, “Most of the people who would be able to pay "
"don’t know they need it. Most who know they need it can’t pay.” Public-"
"sector organizations sometimes give vouchers to their employees so they can "
"attend as a form of professional development."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6319
msgid ""
"ODI customizes training for clients as well, for which there is more demand. "
"Custom training usually emerges through an established relationship with an "
"organization. The training program is based on a definition of open-data "
"knowledge as applicable to the organization and on the skills needed by "
"their high-level executives, management, and technical staff. The training "
"tends to generate high interest and commitment."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6328
msgid ""
"Education about open data is also a part of ODI’s annual summit event, where "
"curated presentations and speakers showcase the work of ODI and its members "
"across the entire ecosystem. Tickets to the summit are available to the "
"public, and hundreds of people and organizations attend and participate. In "
"2014, there were four thematic tracks and over 750 attendees."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6336
msgid ""
"In addition to memberships and training, ODI provides advisory services to "
"help with technical-data support, technology development, change management, "
"policies, and other areas. ODI has advised large commercial organizations, "
"small businesses, and international governments; the focus at the moment is "
"on government, but ODI is working to shift more toward commercial "
"organizations."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6345
msgid ""
"On the commercial side, the following value propositions seem to resonate:"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6351
msgid ""
"Data-driven insights. Businesses need data from outside their business to "
"get more insight. Businesses can generate value and more effectively pursue "
"their own goals if they open up their own data too. Big data is a hot topic."
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6359
msgid ""
"Open innovation. Many large-scale enterprises are aware they don’t innovate "
"very well. One way they can innovate is to open up their data. ODI "
"encourages them to do so even if it exposes problems and challenges. The key "
"is to invite other people to help while still maintaining organizational "
"autonomy."
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6368
msgid ""
"Corporate social responsibility. While this resonates with businesses, ODI "
"cautions against having it be the sole reason for making data open. If a "
"business is just thinking about open data as a way to be transparent and "
"accountable, they can miss out on efficiencies and opportunities."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6377
msgid ""
"During their early years, ODI wanted to focus solely on the United Kingdom. "
"But in their first year, large delegations of government visitors from over "
"fifty countries wanted to learn more about the UK government’s open-data "
"practices and how ODI saw that translating into economic value. They were "
"contracted as a service provider to international governments, which "
"prompted a need to set up international ODI “nodes.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6386
msgid ""
"Nodes are franchises of the ODI at a regional or city level.  Hosted by "
"existing (for-profit or not-for-profit) organizations, they operate locally "
"but are part of the global network. Each ODI node adopts the charter, a set "
"of guiding principles and rules under which ODI operates. They develop and "
"deliver training, connect people and businesses through membership and "
"events, and communicate open-data stories from their part of the world. "
"There are twenty-seven different nodes across nineteen countries. ODI nodes "
"are charged a small fee to be part of the network and to use the brand."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6400
msgid ""
"<ulink url=\"http://theodi.org/odi-startup-programme\"/>; <ulink url="
"\"http://theodi.org/open-data-incubator-for-europe\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6398
msgid ""
"ODI also runs programs to help start-ups in the UK and across Europe develop "
"a sustainable business around open data, offering mentoring, advice, "
"training, and even office space.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6404
msgid ""
"A big part of ODI’s business model revolves around community building. "
"Memberships, training, summits, consulting services, nodes, and start-up "
"programs create an ever-growing network of open-data users and leaders. (In "
"fact, ODI even operates something called an Open Data Leaders Network.) For "
"ODI, community is key to success. They devote significant time and effort to "
"build it, not just online but through face-to-face events."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6418
msgid "<ulink url=\"http://certificates.theodi.org\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6413
msgid ""
"ODI has created an online tool that organizations can use to assess the "
"legal, practical, technical, and social aspects of their open data. If it is "
"of high quality, the organization can earn ODI’s Open Data Certificate, a "
"globally recognized mark that signals that their open data is useful, "
"reliable, accessible, discoverable, and supported.<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6421
msgid ""
"Separate from commercial activities, the ODI generates funding through "
"research grants. Research includes looking at evidence on the impact of open "
"data, development of open-data tools and standards, and how to deploy open "
"data at scale."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6427
msgid ""
"Creative Commons 4.0 licenses cover database rights and ODI recommends CC "
"BY, CC BY-SA, and CC0 for data releases. ODI encourages publishers of data "
"to use Creative Commons licenses rather than creating new “open licenses” of "
"their own."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6433
msgid ""
"For ODI, open is at the heart of what they do. They also release any "
"software code they produce under open-source-software licenses, and "
"publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is "
"to connect and equip people around the world so they can innovate with data. "
"Disseminating stories, research, guidance, and code under an open license is "
"essential for achieving that mission. It also demonstrates that it is "
"perfectly possible to generate sustainable revenue streams that do not rely "
"on restrictive licensing of content, data, or code.  People pay to have ODI "
"experts provide training to them, not for the content of the training; "
"people pay for the advice ODI gives them, not for the methodologies they "
"use. Producing open content, data, and source code helps establish "
"credibility and creates leads for the paid services that they offer. "
"According to Jeni, “The biggest lesson we have learned is that it is "
"completely possible to be open, get customers, and make money.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6451
msgid ""
"To serve as evidence of a successful open business model and return on "
"investment, ODI has a public dashboard of key performance indicators. Here "
"are a few metrics as of April 27, 2016:"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6459
msgid ""
"Total amount of cash investments unlocked in direct investments in ODI, "
"competition funding, direct contracts, and partnerships, and income that ODI "
"nodes and ODI start-ups have generated since joining the ODI program: £44.5 "
"million"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6467
msgid "Total number of active members and nodes across the globe: 1,350"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6473
msgid "Total sales since ODI began: £7.44 million"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6478
msgid ""
"Total number of unique people reached since ODI began, in person and online: "
"2.2 million"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6484
msgid "Total Open Data Certificates created: 151,000"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6490
msgid "<ulink url=\"http://dashboards.theodi.org/company/all\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6489
msgid ""
"Total number of people trained by ODI and its nodes since ODI began: "
"5,080<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6496
msgid "OpenDesk"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6499
msgid ""
"Opendesk is a for-profit company offering an online platform that connects "
"furniture designers around the world with customers and local makers who "
"bring the designs to life.  Founded in 2014 in the UK."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6505
msgid "<ulink url=\"http://www.opendesk.cc\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6507
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8922
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging a transaction "
"fee"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6510
msgid "<emphasis role=\"strong\">Interview date</emphasis>: November 4, 2015"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6513
msgid ""
"<emphasis role=\"strong\">Interviewees</emphasis>: Nick Ierodiaconou and "
"Joni Steiner, cofounders"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6521
msgid ""
"Opendesk is an online platform that connects furniture designers around the "
"world not just with customers but also with local registered makers who "
"bring the designs to life. Opendesk and the designer receive a portion of "
"every sale that is made by a maker."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6527
msgid ""
"Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as "
"architects together. They also made goods. Their first client was Mint "
"Digital, who had an interest in open licensing. Nick and Joni were exploring "
"digital fabrication, and Mint’s interest in open licensing got them to "
"thinking how the open-source world may interact and apply to physical goods. "
"They sought to design something for their client that was also reproducible. "
"As they put it, they decided to “ship the recipe, but not the goods.” They "
"created the design using software, put it under an open license, and had it "
"manufactured locally near the client. This was the start of the idea for "
"Opendesk. The idea for Wikihouse—another open project dedicated to "
"accessible housing for all—started as discussions around the same table. The "
"two projects ultimately went on separate paths, with Wikihouse becoming a "
"nonprofit foundation and Opendesk a for-profit company."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6544
msgid ""
"When Nick and Joni set out to create Opendesk, there were a lot of questions "
"about the viability of distributed manufacturing. No one was doing it in a "
"way that was even close to realistic or competitive. The design community "
"had the intent, but fulfilling this vision was still a long way away."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6551
msgid ""
"And now this sector is emerging, and Nick and Joni are highly interested in "
"the commercialization aspects of it. As part of coming up with a business "
"model, they began investigating intellectual property and licensing options. "
"It was a thorny space, especially for designs. Just what aspect of a design "
"is copyrightable? What is patentable? How can allowing for digital sharing "
"and distribution be balanced against the designer’s desire to still hold "
"ownership? In the end, they decided there was no need to reinvent the wheel "
"and settled on using Creative Commons."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6562
msgid ""
"When designing the Opendesk system, they had two goals. They wanted anyone, "
"anywhere in the world, to be able to download designs so that they could be "
"made locally, and they wanted a viable model that benefited designers when "
"their designs were sold. Coming up with a business model was going to be "
"complex."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6569
msgid ""
"They gave a lot of thought to three angles—the potential for social sharing, "
"allowing designers to choose their license, and the impact these choices "
"would have on the business model."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6574
msgid ""
"In support of social sharing, Opendesk actively advocates for (but doesn’t "
"demand) open licensing. And Nick and Joni are agnostic about which Creative "
"Commons license is used; it’s up to the designer. They can be proprietary or "
"choose from the full suite of Creative Commons licenses, deciding for "
"themselves how open or closed they want to be."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6585
msgid "<ulink url=\"http://www.opendesk.cc/designers\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6582
msgid ""
"For the most part, designers love the idea of sharing content.  They "
"understand that you get positive feedback when you’re attributed, what Nick "
"and Joni called “reputational glow.” And Opendesk does an awesome job "
"profiling the designers.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6588
msgid ""
"While designers are largely OK with personal sharing, there is a concern "
"that someone will take the design and manufacture the furniture in bulk, "
"with the designer not getting any benefits. So most Opendesk designers "
"choose the Attribution-NonCommercial license (CC BY-NC)."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6595
msgid ""
"Anyone can download a design and make it themselves, provided it’s for "
"noncommercial use — and there have been many, many downloads.  Or users can "
"buy the product from Opendesk, or from a registered maker in Opendesk’s "
"network, for on-demand personal fabrication.  The network of Opendesk makers "
"currently is made up of those who do digital fabrication using a computer-"
"controlled CNC (Computer Numeric Control) machining device that cuts shapes "
"out of wooden sheets according to the specifications in the design file."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6612
msgid "<ulink url=\"http://www.opendesk.cc/open-making/makers/\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6605
msgid ""
"Makers benefit from being part of Opendesk’s network. Making furniture for "
"local customers is paid work, and Opendesk generates business for them. Joni "
"said, “Finding a whole network and community of makers was pretty easy "
"because we built a site where people could write in about their "
"capabilities. Building the community by learning from the maker community is "
"how we have moved forward.” Opendesk now has relationships with hundreds of "
"makers in countries all around the world.<placeholder type=\"footnote\" id="
"\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6615
msgid ""
"The makers are a critical part of the Opendesk business model.  Their model "
"builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s "
"website:"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6620
msgid ""
"When customers buy an Opendesk product directly from a registered maker, "
"they pay:"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6626
msgid ""
"the manufacturing cost as set by the maker (this covers material and labour "
"costs for the product to be manufactured and any extra assembly costs "
"charged by the maker)"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6633
msgid ""
"a design fee for the designer (a design fee that is paid to the designer "
"every time their design is used)"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6639
msgid ""
"a percentage fee to the Opendesk platform (this supports the infrastructure "
"and ongoing development of the platform that helps us build out our "
"marketplace)"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6646
msgid ""
"a percentage fee to the channel through which the sale is made (at the "
"moment this is Opendesk, but in the future we aim to open this up to third-"
"party sellers who can sell Opendesk products through their own channels—this "
"covers sales and marketing fees for the relevant channel)"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6655
msgid ""
"a local delivery service charge (the delivery is typically charged by the "
"maker, but in some cases may be paid to a third-party delivery partner)"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6662
msgid ""
"charges for any additional services the customer chooses, such as on-site "
"assembly (additional services are discretionary—in many cases makers will be "
"happy to quote for assembly on-site and designers may offer bespoke design "
"options)"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6671
msgid "<ulink url=\"http://www.opendesk.cc/open-making/join\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6670
msgid ""
"local sales taxes (variable by customer and maker location)<placeholder type="
"\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6676
msgid "They then go into detail how makers’ quotes are created:"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6679
msgid ""
"When a customer wants to buy an Opendesk . . . they are provided with a "
"transparent breakdown of fees including the manufacturing cost, design fee, "
"Opendesk platform fee and channel fees. If a customer opts to buy by getting "
"in touch directly with a registered local maker using a downloaded Opendesk "
"file, the maker is responsible for ensuring the design fee, Opendesk "
"platform fee and channel fees are included in any quote at the time of "
"sale.  Percentage fees are always based on the underlying manufacturing cost "
"and are typically apportioned as follows:"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6692
msgid ""
"manufacturing cost: fabrication, finishing and any other costs as set by the "
"maker (excluding any services like delivery or on-site assembly)"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6699
msgid "design fee: 8 percent of the manufacturing cost"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6704
msgid "platform fee: 12 percent of the manufacturing cost"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6709
msgid "channel fee: 18 percent of the manufacturing cost"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6714
msgid "sales tax: as applicable (depends on product and location)"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6719
msgid ""
"Opendesk shares revenue with their community of designers.  According to "
"Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8 "
"percent is more generous, and providing a higher value to the designer."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6725
msgid ""
"The Opendesk website features stories of designers and makers.  Denis Fuzii "
"published the design for the Valovi Chair from his studio in São Paulo. His "
"designs have been downloaded over five thousand times in ninety-five "
"countries. I.J. CNC Services is Ian Jinks, a professional maker based in the "
"United Kingdom. Opendesk now makes up a large proportion of his business."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6733
msgid ""
"To manage resources and remain effective, Opendesk has so far focused on a "
"very narrow niche—primarily office furniture of a certain simple aesthetic, "
"which uses only one type of material and one manufacturing technique. This "
"allows them to be more strategic and more disruptive in the market, by "
"getting things to market quickly with competitive prices. It also reflects "
"their vision of creating reproducible and functional pieces."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6742
msgid ""
"On their website, Opendesk describes what they do as “open making”: "
"“Designers get a global distribution channel. Makers get profitable jobs and "
"new customers. You get designer products without the designer price tag, a "
"more social, eco-friendly alternative to mass-production and an affordable "
"way to buy custom-made products.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6750
msgid ""
"Nick and Joni say that customers like the fact that the furniture has a "
"known provenance. People really like that their furniture was designed by a "
"certain international designer but was made by a maker in their local "
"community; it’s a great story to tell. It certainly sets apart Opendesk "
"furniture from the usual mass-produced items from a store."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6763
msgid "<ulink url=\"http://openmaking.is\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6758
msgid ""
"Nick and Joni are taking a community-based approach to define and evolve "
"Opendesk and the “open making” business model. They’re engaging thought "
"leaders and practitioners to define this new movement. They have a separate "
"Open Making site, which includes a manifesto, a field guide, and an "
"invitation to get involved in the Open Making community.<placeholder type="
"\"footnote\" id=\"0\"/> People can submit ideas and discuss the principles "
"and business practices they’d like to see used."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6767
msgid ""
"Nick and Joni talked a lot with us about intellectual property (IP) and "
"commercialization. Many of their designers fear the idea that someone could "
"take one of their design files and make and sell infinite number of pieces "
"of furniture with it. As a consequence, most Opendesk designers choose the "
"Attribution-NonCommercial license (CC BY-NC)."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6775
msgid ""
"Opendesk established a set of principles for what their community considers "
"commercial and noncommercial use. Their website states:"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6779
msgid "It is unambiguously commercial use when anyone:"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6784
msgid "charges a fee or makes a profit when making an Opendesk"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6789
msgid "sells (or bases a commercial service on) an Opendesk"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6794
msgid ""
"It follows from this that noncommercial use is when you make an Opendesk "
"yourself, with no intention to gain commercial advantage or monetary "
"compensation. For example, these qualify as noncommercial:"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6802
msgid ""
"you are an individual with your own CNC machine, or access to a shared CNC "
"machine, and will personally cut and make a few pieces of furniture yourself"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6809
msgid ""
"you are a student (or teacher) and you use the design files for educational "
"purposes or training (and do not intend to sell the resulting pieces)"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6816
msgid ""
"you work for a charity and get furniture cut by volunteers, or by employees "
"at a fab lab or maker space"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6822
msgid ""
"Whether or not people technically are doing things that implicate IP, Nick "
"and Joni have found that people tend to comply with the wishes of creators "
"out of a sense of fairness. They have found that behavioral economics can "
"replace some of the thorny legal issues. In their business model, Nick and "
"Joni are trying to suspend the focus on IP and build an open business model "
"that works for all stakeholders—designers, channels, manufacturers, and "
"customers. For them, the value Opendesk generates hangs off “open,” not IP."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6833
msgid ""
"The mission of Opendesk is about relocalizing manufacturing, which changes "
"the way we think about how goods are made.  Commercialization is integral to "
"their mission, and they’ve begun to focus on success metrics that track how "
"many makers and designers are engaged through Opendesk in revenue-making "
"work."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6840
msgid ""
"As a global platform for local making, Opendesk’s business model has been "
"built on honesty, transparency, and inclusivity. As Nick and Joni describe "
"it, they put ideas out there that get traction and then have faith in people."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6847
msgid "OpenStax"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6850
msgid ""
"OpenStax is a nonprofit that provides free, openly licensed textbooks for "
"high-enrollment introductory college courses and Advanced Placement courses. "
"Founded in 2012 in the U.S."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6855
msgid "<ulink url=\"http://www.openstaxcollege.org\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6857
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: grant funding, charging "
"for custom services, charging for physical copies (textbook sales)"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6861
msgid "<emphasis role=\"strong\">Interview date</emphasis>: December 16, 2015"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6864
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: David Harris, editor-in-"
"chief"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6872
msgid ""
"OpenStax is an extension of a program called Connexions, which was started "
"in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of "
"Electrical and Computer Engineering at Rice University in Houston, Texas. "
"Frustrated by the limitations of traditional textbooks and courses, Dr. "
"Baraniuk wanted to provide authors and learners a way to share and freely "
"adapt educational materials such as courses, books, and reports. Today, "
"Connexions (now called OpenStax CNX) is one of the world’s best libraries of "
"customizable educational materials, all licensed with Creative Commons and "
"available to anyone, anywhere, anytime—for free."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6884
msgid ""
"In 2008, while in a senior leadership role at WebAssign and looking at ways "
"to reduce the risk that came with relying on publishers, David Harris began "
"investigating open educational resources (OER) and discovered Connexions. A "
"year and a half later, Connexions received a grant to help grow the use of "
"OER so that it could meet the needs of students who couldn’t afford "
"textbooks. David came on board to spearhead this effort.  Connexions became "
"OpenStax CNX; the program to create open textbooks became OpenStax College, "
"now simply called OpenStax."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6895
msgid ""
"David brought with him a deep understanding of the best practices of "
"publishing along with where publishers have inefficiencies. In David’s view, "
"peer review and high standards for quality are critically important if you "
"want to scale easily. Books have to have logical scope and sequence, they "
"have to exist as a whole and not in pieces, and they have to be easy to "
"find. The working hypothesis for the launch of OpenStax was to "
"professionally produce a turnkey textbook by investing effort up front, with "
"the expectation that this would lead to rapid growth through easy downstream "
"adoptions by faculty and students."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6913
msgid ""
"<ulink url=\"http://news.rice.edu/files/2016/01/0119-"
"OPENSTAX-2016Infographic-lg-1tahxiu.jpg\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6907
msgid ""
"In 2012, OpenStax College launched as a nonprofit with the aim of producing "
"high-quality, peer-reviewed full-color textbooks that would be available for "
"free for the twenty-five most heavily attended college courses in the "
"nation. Today they are fast approaching that number. There is data that "
"proves the success of their original hypothesis on how many students they "
"could help and how much money they could help save.<placeholder type="
"\"footnote\" id=\"0\"/> Professionally produced content scales rapidly. All "
"with no sales force!"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6917
msgid ""
"OpenStax textbooks are all Attribution (CC BY) licensed, and each textbook "
"is available as a PDF, an e-book, or web pages. Those who want a physical "
"copy can buy one for an affordable price. Given the cost of education and "
"student debt in North America, free or very low-cost textbooks are very "
"appealing. OpenStax encourages students to talk to their professor and "
"librarians about these textbooks and to advocate for their use."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6926
msgid ""
"Teachers are invited to try out a single chapter from one of the textbooks "
"with students. If that goes well, they’re encouraged to adopt the entire "
"book. They can simply paste a URL into their course syllabus, for free and "
"unlimited access. And with the CC BY license, teachers are free to delete "
"chapters, make changes, and customize any book to fit their needs."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6934
msgid ""
"Any teacher can post corrections, suggest examples for difficult concepts, "
"or volunteer as an editor or author. As many teachers also want supplemental "
"material to accompany a textbook, OpenStax also provides slide "
"presentations, test banks, answer keys, and so on."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6945
msgid "<ulink url=\"http://openstax.org/adopters\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6941
msgid ""
"Institutions can stand out by offering students a lower-cost education "
"through the use of OpenStax textbooks; there’s even a textbook-savings "
"calculator they can use to see how much students would save. OpenStax keeps "
"a running list of institutions that have adopted their textbooks."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6948
msgid ""
"Unlike traditional publishers’ monolithic approach of controlling "
"intellectual property, distribution, and so many other aspects, OpenStax has "
"adopted a model that embraces open licensing and relies on an extensive "
"network of partners."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6954
msgid ""
"Up-front funding of a professionally produced all-color turnkey textbook is "
"expensive. For this part of their model, OpenStax relies on philanthropy. "
"They have initially been funded by the William and Flora Hewlett Foundation, "
"the Laura and John Arnold Foundation, the Bill and Melinda Gates Foundation, "
"the 20 Million Minds Foundation, the Maxfield Foundation, the Calvin K. "
"Kazanjian Foundation, and Rice University. To develop additional titles and "
"supporting technology is probably still going to require philanthropic "
"investment."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6965
msgid ""
"However, ongoing operations will not rely on foundation grants but instead "
"on funds received through an ecosystem of over forty partners, whereby a "
"partner takes core content from OpenStax and adds features that it can "
"create revenue from. For example, WebAssign, an online homework and "
"assessment tool, takes the physics book and adds algorithmically generated "
"physics problems, with problem-specific feedback, detailed solutions, and "
"tutorial support. WebAssign resources are available to students for a fee."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6975
msgid ""
"Another example is Odigia, who has turned OpenStax books into interactive "
"learning experiences and created additional tools to measure and promote "
"student engagement. Odigia licenses its learning platform to institutions. "
"Partners like Odigia and WebAssign give a percentage of the revenue they "
"earn back to OpenStax, as mission-support fees. OpenStax has already "
"published revisions of their titles, such as Introduction to Sociology 2e, "
"using these funds."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6985
msgid ""
"In David’s view, this approach lets the market operate at peak efficiency. "
"OpenStax’s partners don’t have to worry about developing textbook content, "
"freeing them up from those development costs and letting them focus on what "
"they do best.  With OpenStax textbooks available at no cost, they can "
"provide their services at a lower cost—not free, but still saving students "
"money. OpenStax benefits not only by receiving mission-support fees but "
"through free publicity and marketing. OpenStax doesn’t have a sales force; "
"partners are out there showcasing their materials."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:6997
msgid ""
"OpenStax’s cost of sales to acquire a single student is very, very low and "
"is a fraction of what traditional players in the market face. This year, "
"Tyton Partners is actually evaluating the costs of sales for an OER effort "
"like OpenStax in comparison with incumbents. David looks forward to sharing "
"these findings with the community."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7005
msgid ""
"While OpenStax books are available online for free, many students still want "
"a print copy. Through a partnership with a print and courier company, "
"OpenStax offers a complete solution that scales.  OpenStax sells tens of "
"thousands of print books. The price of an OpenStax sociology textbook is "
"about twenty-eight dollars, a fraction of what sociology textbooks usually "
"cost. OpenStax keeps the prices low but does aim to earn a small margin on "
"each book sold, which also contributes to ongoing operations."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7015
msgid ""
"Campus-based bookstores are part of the OpenStax solution.  OpenStax "
"collaborates with NACSCORP (the National Association of College Stores "
"Corporation) to provide print versions of their textbooks in the stores. "
"While the overall cost of the textbook is significantly less than a "
"traditional textbook, bookstores can still make a profit on sales. Sometimes "
"students take the savings they have from the lower-priced book and use it to "
"buy other things in the bookstore. And OpenStax is trying to break the "
"expensive behavior of excessive returns by having a no-returns policy. This "
"is working well, since the sell-through of their print titles is virtually a "
"hundred percent."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7028
msgid ""
"David thinks of the OpenStax model as “OER 2.0.” So what is OER 1.0? "
"Historically in the OER field, many OER initiatives have been locally funded "
"by institutions or government ministries. In David’s view, this results in "
"content that has high local value but is infrequently adopted nationally. "
"It’s therefore difficult to show payback over a time scale that is "
"reasonable."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7036
msgid ""
"OER 2.0 is about OER intended to be used and adopted on a national level "
"right from the start. This requires a bigger investment up front but pays "
"off through wide geographic adoption. The OER 2.0 process for OpenStax "
"involves two development models. The first is what David calls the "
"acquisition model, where OpenStax purchases the rights from a publisher or "
"author for an already published book and then extensively revises it. The "
"OpenStax physics textbook, for example, was licensed from an author after "
"the publisher released the rights back to the authors. The second model is "
"to develop a book from scratch, a good example being their biology book."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7049
msgid ""
"The process is similar for both models. First they look at the scope and "
"sequence of existing textbooks. They ask questions like what does the "
"customer need? Where are students having challenges? Then they identify "
"potential authors and put them through a rigorous evaluation—only one in ten "
"authors make it through.  OpenStax selects a team of authors who come "
"together to develop a template for a chapter and collectively write the "
"first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do "
"books with just a single author as David says it risks the project going "
"longer than scheduled.) The draft is peer-reviewed with no less than three "
"reviewers per chapter. A second draft is generated, with artists producing "
"illustrations and visuals to go along with the text. The book is then "
"copyedited to ensure grammatical correctness and a singular voice. Finally, "
"it goes into production and through a final proofread. The whole process is "
"very time-consuming."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7067
msgid ""
"All the people involved in this process are paid. OpenStax does not rely on "
"volunteers. Writers, reviewers, illustrators, and editors are all paid an up-"
"front fee—OpenStax does not use a royalty model. A best-selling author might "
"make more money under the traditional publishing model, but that is only "
"maybe 5 percent of all authors. From David’s perspective, 95 percent of all "
"authors do better under the OER 2.0 model, as there is no risk to them and "
"they earn all the money up front."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7077
msgid ""
"David thinks of the Attribution license (CC BY) as the “innovation license.” "
"It’s core to the mission of OpenStax, letting people use their textbooks in "
"innovative ways without having to ask for permission. It frees up the whole "
"market and has been central to OpenStax being able to bring on partners. "
"OpenStax sees a lot of customization of their materials. By enabling "
"frictionless remixing, CC BY gives teachers control and academic freedom."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7086
msgid ""
"Using CC BY is also a good example of using strategies that traditional "
"publishers can’t. Traditional publishers rely on copyright to prevent others "
"from making copies and heavily invest in digital rights management to ensure "
"their books aren’t shared.  By using CC BY, OpenStax avoids having to deal "
"with digital rights management and its costs. OpenStax books can be copied "
"and shared over and over again. CC BY changes the rules of engagement and "
"takes advantage of traditional market inefficiencies."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7096
msgid ""
"As of September 16, 2016, OpenStax has achieved some impressive results. "
"From the OpenStax at a Glance fact sheet from their recent press kit:"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7103
msgid "Books published: 23"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7108
msgid "Students who have used OpenStax: 1.6 million"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7113
msgid "Money saved for students: $155 million"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7118
msgid "Money saved for students in the 2016/17 academic year: $77 million"
msgstr ""

#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7124
msgid ""
"Schools that have used OpenStax: 2,668 (This number reflects all "
"institutions using at least one OpenStax textbook. Out of 2,668 schools, 517 "
"are two-year colleges, 835 four-year colleges and universities, and 344 "
"colleges and universities outside the U.S.)"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7133
msgid ""
"While OpenStax has to date been focused on the United States, there is "
"overseas adoption especially in the science, technology, engineering, and "
"math (STEM) fields. Large scale adoption in the United States is seen as a "
"necessary precursor to international interest."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7140
msgid ""
"OpenStax has primarily focused on introductory-level college courses where "
"there is high enrollment, but they are starting to think about verticals—a "
"broad offering for a specific group or need. David thinks it would be "
"terrific if OpenStax could provide access to free textbooks through the "
"entire curriculum of a nursing degree, for example."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7148
msgid ""
"Finally, for OpenStax success is not just about the adoption of their "
"textbooks and student savings. There is a human aspect to the work that is "
"hard to quantify but incredibly important. They get emails from students "
"saying how OpenStax saved them from making difficult choices like buying "
"food or a textbook. OpenStax would also like to assess the impact their "
"books have on learning efficiency, persistence, and completion. By building "
"an open business model based on Creative Commons, OpenStax is making it "
"possible for every student who wants access to education to get it."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7161
msgid "Amanda Palmer"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7164
msgid "Amanda Palmer is a musician, artist, and writer. Based in the U.S."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7168
msgid "<ulink url=\"http://amandapalmer.net\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7170
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: crowdfunding "
"(subscription-based), pay-what-you-want, charging for physical copies (book "
"and album sales), charg-ing for in-person version (performances), selling "
"merchandise"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7175
msgid "<emphasis role=\"strong\">Interview date</emphasis>: December 15, 2015"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7185
msgid ""
"<ulink url=\"http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/"
"amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-"
"swift/#44e20ce46d67\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7183
msgid ""
"Since the beginning of her career, Amanda Palmer has been on what she calls "
"a “journey with no roadmap,” continually experimenting to find new ways to "
"sustain her creative work.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7188
msgid ""
"In her best-selling book, The Art of Asking, Amanda articulates exactly what "
"she has been and continues to strive for—“the ideal sweet spot . . . in "
"which the artist can share freely and directly feel the reverberations of "
"their artistic gifts to the community, and make a living doing that.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7195
msgid ""
"While she seems to have successfully found that sweet spot for herself, "
"Amanda is the first to acknowledge there is no silver bullet. She thinks the "
"digital age is both an exciting and frustrating time for creators. “On the "
"one hand, we have this beautiful shareability,” Amanda said. “On the other, "
"you’ve got a bunch of confused artists wondering how to make money to buy "
"food so we can make more art.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7204
msgid ""
"Amanda began her artistic career as a street performer. She would dress up "
"in an antique wedding gown, paint her face white, stand on a stack of milk "
"crates, and hand out flowers to strangers as part of a silent dramatic "
"performance. She collected money in a hat. Most people walked by her without "
"stopping, but an essential few stopped to watch and drop some money into her "
"hat to show their appreciation. Rather than dwelling on the majority of "
"people who ignored her, she felt thankful for those who stopped. “All I "
"needed was . . . some people,” she wrote in her book. “Enough people. Enough "
"to make it worth coming back the next day, enough people to help me make "
"rent and put food on the table. Enough so I could keep making art.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7218
msgid ""
"Amanda has come a long way from her street-performing days, but her career "
"remains dominated by that same sentiment—finding ways to reach “her crowd” "
"and feeling gratitude when she does. With her band the Dresden Dolls, Amanda "
"tried the traditional path of signing with a record label. It didn’t take "
"for a variety of reasons, but one of them was that the label had absolutely "
"no interest in Amanda’s view of success. They wanted hits, but making music "
"for the masses was never what Amanda and the Dresden Dolls set out to do."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7229
msgid ""
"After leaving the record label in 2008, she began experimenting with "
"different ways to make a living. She released music directly to the public "
"without involving a middle man, releasing digital files on a “pay what you "
"want” basis and selling CDs and vinyl.  She also made money from live "
"performances and merchandise sales.  Eventually, in 2012 she decided to try "
"her hand at the sort of crowdfunding we know so well today. Her Kickstarter "
"project started with a goal of $100,000, and she made $1.2 million. It "
"remains one of the most successful Kickstarter projects of all time."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7241
msgid ""
"Today, Amanda has switched gears away from crowdfunding for specific "
"projects to instead getting consistent financial support from her fan base "
"on Patreon, a crowdfunding site that allows artists to get recurring "
"donations from fans. More than eight thousand people have signed up to "
"support her so she can create music, art, and any other creative “thing” "
"that she is inspired to make. The recurring pledges are made on a “per "
"thing” basis. All of the content she makes is made freely available under an "
"Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA)."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7252
msgid ""
"Making her music and art available under Creative Commons licensing "
"undoubtedly limits her options for how she makes a living. But sharing her "
"work has been part of her model since the beginning of her career, even "
"before she discovered Creative Commons. Amanda says the Dresden Dolls used "
"to get ten emails per week from fans asking if they could use their music "
"for different projects. They said yes to all of the requests, as long as it "
"wasn’t for a completely for-profit venture. At the time, they used a short-"
"form agreement written by Amanda herself. “I made everyone sign that "
"contract so at least I wouldn’t be leaving the band vulnerable to someone "
"later going on and putting our music in a Camel cigarette ad,” Amanda said. "
"Once she discovered Creative Commons, adopting the licenses was an easy "
"decision because it gave them a more formal, standardized way of doing what "
"they had been doing all along. The NonCommercial licenses were a natural fit."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7270
msgid ""
"Amanda embraces the way her fans share and build upon her music.  In The Art "
"of Asking, she wrote that some of her fans’ unofficial videos using her "
"music surpass the official videos in number of views on YouTube. Rather than "
"seeing this sort of thing as competition, Amanda celebrates it. “We got into "
"this because we wanted to share the joy of music,” she said."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7278
msgid ""
"This is symbolic of how nearly everything she does in her career is "
"motivated by a desire to connect with her fans. At the start of her career, "
"she and the band would throw concerts at house parties. As the gatherings "
"grew, the line between fans and friends was completely blurred. “Not only "
"did most our early fans know where I lived and where we practiced, but most "
"of them had also been in my kitchen,” Amanda wrote in The Art of Asking."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7287
msgid ""
"Even though her fan base is now huge and global, she continues to seek this "
"sort of human connection with her fans. She seeks out face-to-face contact "
"with her fans every chance she can get. Her hugely successful Kickstarter "
"featured fifty concerts at house parties for backers. She spends hours in "
"the signing line after shows. It helps that Amanda has the kind of dynamic, "
"engaging personality that instantly draws people to her, but a big component "
"of her ability to connect with people is her willingness to listen. "
"“Listening fast and caring immediately is a skill unto itself,” Amanda wrote."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7299
msgid ""
"Another part of the connection fans feel with Amanda is how much they know "
"about her life. Rather than trying to craft a public persona or image, she "
"essentially lives her life as an open book.  She has written openly about "
"incredibly personal events in her life, and she isn’t afraid to be "
"vulnerable. Having that kind of trust in her fans—the trust it takes to be "
"truly honest—begets trust from her fans in return. When she meets fans for "
"the first time after a show, they can legitimately feel like they know her."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7309
msgid ""
"“With social media, we’re so concerned with the picture looking palatable "
"and consumable that we forget that being human and showing the flaws and "
"exposing the vulnerability actually create a deeper connection than just "
"looking fantastic,” Amanda said.  “Everything in our culture is telling us "
"otherwise. But my experience has shown me that the risk of making yourself "
"vulnerable is almost always worth it.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7318
msgid ""
"Not only does she disclose intimate details of her life to them, she sleeps "
"on their couches, listens to their stories, cries with them. In short, she "
"treats her fans like friends in nearly every possible way, even when they "
"are complete strangers. This mentality—that fans are friends—is completely "
"intertwined with Amanda’s success as an artist. It is also intertwined with "
"her use of Creative Commons licenses. Because that is what you do with your "
"friends—you share."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7328
msgid ""
"After years of investing time and energy into building trust with her fans, "
"she has a strong enough relationship with them to ask for support—through "
"pay-what-you-want donations, Kickstarter, Patreon, or even asking them to "
"lend a hand at a concert. As Amanda explains it, crowdfunding (which is "
"really what all of these different things are) is about asking for support "
"from people who know and trust you. People who feel personally invested in "
"your success."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7338
msgid ""
"“When you openly, radically trust people, they not only take care of you, "
"they become your allies, your family,” she wrote. There really is a feeling "
"of solidarity within her core fan base. From the beginning, Amanda and her "
"band encouraged people to dress up for their shows. They consciously "
"cultivated a feeling of belonging to their “weird little family.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7346
msgid ""
"This sort of intimacy with fans is not possible or even desirable for every "
"creator. “I don’t take for granted that I happen to be the type of person "
"who loves cavorting with strangers,” Amanda said. “I recognize that it’s not "
"necessarily everyone’s idea of a good time. Everyone does it differently. "
"Replicating what I have done won’t work for others if it isn’t joyful to "
"them. It’s about finding a way to channel energy in a way that is joyful to "
"you.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7355
msgid ""
"Yet while Amanda joyfully interacts with her fans and involves them in her "
"work as much as possible, she does keep one job primarily to herself—writing "
"the music. She loves the creativity with which her fans use and adapt her "
"work, but she intentionally does not involve them at the first stage of "
"creating her artistic work. And, of course, the songs and music are what "
"initially draw people to Amanda Palmer. It is only once she has connected to "
"people through her music that she can then begin to build ties with them on "
"a more personal level, both in person and online. In her book, Amanda "
"describes it as casting a net. It starts with the art and then the bond "
"strengthens with human connection."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7368
msgid ""
"For Amanda, the entire point of being an artist is to establish and maintain "
"this connection. “It sounds so corny,” she said, “but my experience in forty "
"years on this planet has pointed me to an obvious truth—that connection with "
"human beings feels so much better and more fulfilling than approaching art "
"through a capitalist lens. There is no more satisfying end goal than having "
"someone tell you that what you do is genuinely of value to them.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7377
msgid ""
"As she explains it, when a fan gives her a ten-dollar bill, usually what "
"they are saying is that the money symbolizes some deeper value the music "
"provided them. For Amanda, art is not just a product; it’s a relationship. "
"Viewed from this lens, what Amanda does today is not that different from "
"what she did as a young street performer. She shares her music and other "
"artistic gifts.  She shares herself. And then rather than forcing people to "
"help her, she lets them."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7388
msgid "PLOS (Public Library of Science)"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7391
msgid ""
"PLOS (Public Library of Science) is a nonprofit that publishes a library of "
"academic journals and other scientific literature.  Founded in 2000 in the U."
"S."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7396
msgid "<ulink url=\"http://plos.org\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7398
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging content "
"creators an author processing charge to be featured in the journal"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7402
msgid "<emphasis role=\"strong\">Interview date</emphasis>: March 7, 2016"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7404
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Louise Page, publisher"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7412
msgid ""
"The Public Library of Science (PLOS) began in 2000 when three leading "
"scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an "
"online petition. They were calling for scientists to stop submitting papers "
"to journals that didn’t make the full text of their papers freely available "
"immediately or within six months. Although tens of thousands signed the "
"petition, most did not follow through. In August 2001, Patrick and Michael "
"announced that they would start their own nonprofit publishing operation to "
"do just what the petition promised. With start-up grant support from the "
"Gordon and Betty Moore Foundation, PLOS was launched to provide new open-"
"access journals for biomedicine, with research articles being released under "
"Attribution (CC BY) licenses."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7426
msgid ""
"Traditionally, academic publishing begins with an author submitting a "
"manuscript to a publisher. After in-house technical and ethical "
"considerations, the article is then peer-reviewed to determine if the "
"quality of the work is acceptable for publishing.  Once accepted, the "
"publisher takes the article through the process of copyediting, typesetting, "
"and eventual publishing in a print or online publication. Traditional "
"journal publishers recover costs and earn profit by charging a subscription "
"fee to libraries or an access fee to users wanting to read the journal or "
"article."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7437
msgid ""
"For Louise Page, the current publisher of PLOS, this traditional model "
"results in inequity. Access is restricted to those who can pay. Most "
"research is funded through government-appointed agencies, that is, with "
"public funds. It’s unjust that the public who funded the research would be "
"required to pay again to access the results. Not everyone can afford the "
"ever-escalating subscription fees publishers charge, especially when library "
"budgets are being reduced. Restricting access to the results of scientific "
"research slows the dissemination of this research and advancement of the "
"field. It was time for a new model."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7449
msgid ""
"That new model became known as open access. That is, free and open "
"availability on the Internet. Open-access research articles are not behind a "
"paywall and do not require a login. A key benefit of open access is that it "
"allows people to freely use, copy, and distribute the articles, as they are "
"primarily published under an Attribution (CC BY) license (which only "
"requires the user to provide appropriate attribution). And more importantly, "
"policy makers, clinicians, entrepreneurs, educators, and students around the "
"world have free and timely access to the latest research immediately on "
"publication."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7461
msgid ""
"However, open access requires rethinking the business model of research "
"publication. Rather than charge a subscription fee to access the journal, "
"PLOS decided to turn the model on its head and charge a publication fee, "
"known as an article-processing charge.  This up-front fee, generally paid by "
"the funder of the research or the author’s institution, covers the expenses "
"such as editorial oversight, peer-review management, journal production, "
"online hosting, and support for discovery. Fees are per article and are "
"billed upon acceptance for publishing. There are no additional charges based "
"on word length, figures, or other elements."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7473
msgid ""
"Calculating the article-processing charge involves taking all the costs "
"associated with publishing the journal and determining a cost per article "
"that collectively recovers costs. For PLOS’s journals in biology, medicine, "
"genetics, computational biology, neglected tropical diseases, and pathogens, "
"the article-processing charge ranges from $2,250 to $2,900. Article-"
"publication charges for PLOS ONE, a journal started in 2006, are just under "
"$1,500."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7482
msgid ""
"PLOS believes that lack of funds should not be a barrier to publication. "
"Since its inception, PLOS has provided fee support for individuals and "
"institutions to help authors who can’t afford the article-processing charges."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7488
msgid ""
"Louise identifies marketing as one area of big difference between PLOS and "
"traditional journal publishers. Traditional journals have to invest heavily "
"in staff, buildings, and infrastructure to market their journal and convince "
"customers to subscribe.  Restricting access to subscribers means that tools "
"for managing access control are necessary. They spend millions of dollars on "
"access-control systems, staff to manage them, and sales staff.  With PLOS’s "
"open-access publishing, there’s no need for these massive expenses; the "
"articles are free, open, and accessible to all upon publication. "
"Additionally, traditional publishers tend to spend more on marketing to "
"libraries, who ultimately pay the subscription fees. PLOS provides a better "
"service for authors by promoting their research directly to the research "
"community and giving the authors exposure. And this encourages other authors "
"to submit their work for publication."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7505
msgid ""
"For Louise, PLOS would not exist without the Attribution license (CC BY). "
"This makes it very clear what rights are associated with the content and "
"provides a safe way for researchers to make their work available while "
"ensuring they get recognition (appropriate attribution). For PLOS, all of "
"this aligns with how they think research content should be published and "
"disseminated."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7513
msgid ""
"PLOS also has a broad open-data policy. To get their research paper "
"published, PLOS authors must also make their data available in a public "
"repository and provide a data-availability statement."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7518
msgid ""
"Business-operation costs associated with the open-access model still largely "
"follow the existing publishing model. PLOS journals are online only, but the "
"editorial, peer-review, production, typesetting, and publishing stages are "
"all the same as for a traditional publisher. The editorial teams must be top "
"notch. PLOS has to function as well as or better than other premier "
"journals, as researchers have a choice about where to publish."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7527
msgid ""
"Researchers are influenced by journal rankings, which reflect the place of a "
"journal within its field, the relative difficulty of being published in that "
"journal, and the prestige associated with it. PLOS journals rank high, even "
"though they are relatively new."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7533
msgid ""
"The promotion and tenure of researchers are partially based how many times "
"other researchers cite their articles. Louise says when researchers want to "
"discover and read the work of others in their field, they go to an online "
"aggregator or search engine, and not typically to a particular journal. The "
"CC BY licensing of PLOS research articles ensures easy access for readers "
"and generates more discovery and citations for authors."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7542
msgid ""
"Louise believes that open access has been a huge success, progressing from a "
"movement led by a small cadre of researchers to something that is now "
"widespread and used in some form by every journal publisher. PLOS has had a "
"big impact. In 2012 to 2014, they published more open-access articles than "
"BioMed Central, the original open-access publisher, or anyone else."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7550
msgid ""
"PLOS further disrupted the traditional journal-publishing model by "
"pioneering the concept of a megajournal. The PLOS ONE megajournal, launched "
"in 2006, is an open-access peer-reviewed academic journal that is much "
"larger than a traditional journal, publishing thousands of articles per year "
"and benefiting from economies of scale. PLOS ONE has a broad scope, covering "
"science and medicine as well as social sciences and the humanities. The "
"review and editorial process is less subjective. Articles are accepted for "
"publication based on whether they are technically sound rather than "
"perceived importance or relevance. This is very important in the current "
"debate about the integrity and reproducibility of research because negative "
"or null results can then be published as well, which are generally rejected "
"by traditional journals. PLOS ONE, like all the PLOS journals, is online "
"only with no print version. PLOS passes on the financial savings accrued "
"through economies of scale to researchers and the public by lowering the "
"article-processing charges, which are below that of other journals. PLOS ONE "
"is the biggest journal in the world and has really set the bar for "
"publishing academic journal articles on a large scale. Other publishers see "
"the value of the PLOS ONE model and are now offering their own "
"multidisciplinary forums for publishing all sound science."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7574
msgid ""
"Louise outlined some other aspects of the research-journal business model "
"PLOS is experimenting with, describing each as a kind of slider that could "
"be adjusted to change current practice."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7579
msgid ""
"One slider is time to publication. Time to publication may shorten as "
"journals get better at providing quicker decisions to authors.  However, "
"there is always a trade-off with scale, as the bigger the volume of "
"articles, the more time the approval process inevitably takes."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7586
msgid ""
"Peer review is another part of the process that could change. It’s possible "
"to redefine what peer review actually is, when to review, and what "
"constitutes the final article for publication. Louise talked about the "
"potential to shift to an open-review process, placing the emphasis on "
"transparency rather than double-blind reviews. Louise thinks we’re moving "
"into a direction where it’s actually beneficial for an author to know who is "
"reviewing their paper and for the reviewer to know their review will be "
"public. An open-review process can also ensure everyone gets credit; right "
"now, credit is limited to the publisher and author."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7598
msgid ""
"Louise says research with negative outcomes is almost as important as "
"positive results. If journals published more research with negative "
"outcomes, we’d learn from what didn’t work. It could also reduce how much "
"the research wheel gets reinvented around the world."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7605
msgid ""
"Another adjustable practice is the sharing of articles at early preprint "
"stages. Publication of research in a peer-reviewed journal can take a long "
"time because articles must undergo extensive peer review. The need to "
"quickly circulate current results within a scientific community has led to a "
"practice of distributing pre-print documents that have not yet undergone "
"peer review. Preprints broaden the peer-review process, allowing authors to "
"receive early feedback from a wide group of peers, which can help revise and "
"prepare the article for submission.  Offsetting the advantages of preprints "
"are author concerns over ensuring their primacy of being first to come up "
"with findings based on their research. Other researches may see findings the "
"preprint author has not yet thought of. However, preprints help researchers "
"get their discoveries out early and establish precedence. A big challenge is "
"that researchers don’t have a lot of time to comment on preprints."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7623
msgid ""
"What constitutes a journal article could also change. The idea of a research "
"article as printed, bound, and in a library stack is outdated. Digital and "
"online open up new possibilities, such as a living document evolving over "
"time, inclusion of audio and video, and interactivity, like discussion and "
"recommendations. Even the size of what gets published could change. With "
"these changes the current form factor for what constitutes a research "
"article would undergo transformation."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7637
msgid "<ulink url=\"http://collections.plos.org\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7641
msgid "<ulink url=\"http://plos.org/article-level-metrics\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7633
msgid ""
"As journals scale up, and new journals are introduced, more and more "
"information is being pushed out to readers, making the experience feel like "
"drinking from a fire hose. To help mitigate this, PLOS aggregates and "
"curates content from PLOS journals and their network of blogs.<placeholder "
"type=\"footnote\" id=\"0\"/> It also offers something called Article-Level "
"Metrics, which helps users assess research most relevant to the field "
"itself, based on indicators like usage, citations, social bookmarking and "
"dissemination activity, media and blog coverage, discussions, and ratings."
"<placeholder type=\"footnote\" id=\"1\"/> Louise believes that the journal "
"model could evolve to provide a more friendly and interactive user "
"experience, including a way for readers to communicate with authors."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7646
msgid ""
"The big picture for PLOS going forward is to combine and adjust these "
"experimental practices in ways that continue to improve accessibility and "
"dissemination of research, while ensuring its integrity and reliability. The "
"ways they interlink are complex.  The process of change and adjustment is "
"not linear. PLOS sees itself as a very flexible publisher interested in "
"exploring all the permutations research-publishing can take, with authors "
"and readers who are open to experimentation."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7656
msgid ""
"For PLOS, success is not about revenue. Success is about proving that "
"scientific research can be communicated rapidly and economically at scale, "
"for the benefit of researchers and society.  The CC BY license makes it "
"possible for PLOS to publish in a way that is unfettered, open, and fast, "
"while ensuring that the authors get credit for their work. More than two "
"million scientists, scholars, and clinicians visit PLOS every month, with "
"more than 135,000 quality articles to peruse for free."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7666
msgid ""
"Ultimately, for PLOS, its authors, and its readers, success is about making "
"research discoverable, available, and reproducible for the advancement of "
"science."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7672
msgid "Rijksmuseum"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7675
msgid ""
"The Rijksmuseum is a Dutch national museum dedicated to art and history. "
"Founded in 1800 in the Netherlands"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7679
msgid "<ulink url=\"http://www.rijksmuseum.nl\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7681
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: grants and government "
"funding, charging for in-person version (museum admission), selling "
"merchandise"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7685
msgid "<emphasis role=\"strong\">Interview date</emphasis>: December 11, 2015"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7688
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Lizzy Jongma, the data "
"manager of the collections information department"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7696
msgid ""
"The Rijksmuseum, a national museum in the Netherlands dedicated to art and "
"history, has been housed in its current building since 1885. The monumental "
"building enjoyed more than 125 years of intensive use before needing a "
"thorough overhaul. In 2003, the museum was closed for renovations. Asbestos "
"was found in the roof, and although the museum was scheduled to be closed "
"for only three to four years, renovations ended up taking ten years. During "
"this time, the collection was moved to a different part of Amsterdam, which "
"created a physical distance with the curators. Out of necessity, they "
"started digitally photographing the collection and creating metadata "
"(information about each object to put into a database). With the renovations "
"going on for so long, the museum became largely forgotten by the public. Out "
"of these circumstances emerged a new and more open model for the museum."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7712
msgid ""
"By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager, "
"staff were fed up with the situation the museum was in.  They also realized "
"that even with the new and larger space, it still wouldn’t be able to show "
"very much of the whole collection—eight thousand of over one million works "
"representing just 1 percent. Staff began exploring ways to express "
"themselves, to have something to show for all of the work they had been "
"doing.  The Rijksmuseum is primarily funded by Dutch taxpayers, so was there "
"a way for the museum provide benefit to the public while it was closed? They "
"began thinking about sharing Rijksmuseum’s collection using information "
"technology. And they put up a card-catalog like database of the entire "
"collection online."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7726
msgid ""
"It was effective but a bit boring. It was just data. A hackathon they were "
"invited to got them to start talking about events like that as having "
"potential. They liked the idea of inviting people to do cool stuff with "
"their collection. What about giving online access to digital representations "
"of the one hundred most important pieces in the Rijksmuseum collection? That "
"eventually led to why not put the whole collection online?"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7737
msgid "<ulink url=\"http://www.europeana.eu/portal/en\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7735
msgid ""
"Then, Lizzy says, Europeana came along. Europeana is Europe’s digital "
"library, museum, and archive for cultural heritage.<placeholder type="
"\"footnote\" id=\"0\"/> As an online portal to museum collections all across "
"Europe, Europeana had become an important online platform. In October 2010 "
"Creative Commons released CC0 and its public-domain mark as tools people "
"could use to identify works as free of known copyright. Europeana was the "
"first major adopter, using CC0 to release metadata about their collection "
"and the public domain mark for millions of digital works in their "
"collection. Lizzy says the Rijksmuseum initially found this change in "
"business practice a bit scary, but at the same time it stimulated even more "
"discussion on whether the Rijksmuseum should follow suit."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7749
msgid ""
"They realized that they don’t “own” the collection and couldn’t "
"realistically monitor and enforce compliance with the restrictive licensing "
"terms they currently had in place. For example, many copies and versions of "
"Vermeer’s Milkmaid (part of their collection) were already online, many of "
"them of very poor quality. They could spend time and money policing its use, "
"but it would probably be futile and wouldn’t make people stop using their "
"images online. They ended up thinking it’s an utter waste of time to hunt "
"down people who use the Rijksmuseum collection. And anyway, restricting "
"access meant the people they were frustrating the most were schoolkids."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7762
msgid ""
"In 2011 the Rijksmuseum began making their digital photos of works known to "
"be free of copyright available online, using Creative Commons CC0 to place "
"works in the public domain. A medium-resolution image was offered for free, "
"but a high-resolution version cost forty euros. People started paying, but "
"Lizzy says getting the money was frequently a nightmare, especially from "
"overseas customers. The administrative costs often offset revenue, and "
"income above costs was relatively low. In addition, having to pay for an "
"image of a work in the public domain from a collection owned by the Dutch "
"government (i.e., paid for by the public) was contentious and frustrating "
"for some. Lizzy says they had lots of fierce debates about what to do."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7776
msgid ""
"In 2013 the Rijksmuseum changed its business model. They Creative Commons "
"licensed their highest-quality images and released them online for free. "
"Digitization still cost money, however; they decided to define discrete "
"digitization projects and find sponsors willing to fund each project. This "
"turned out to be a successful strategy, generating high interest from "
"sponsors and lower administrative effort for the Rijksmuseum. They started "
"out making 150,000 high-quality images of their collection available, with "
"the goal to eventually have the entire collection online."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7787
msgid ""
"Releasing these high-quality images for free reduced the number of poor-"
"quality images that were proliferating. The high-quality image of Vermeer’s "
"Milkmaid, for example, is downloaded two to three thousand times a month. On "
"the Internet, images from a source like the Rijksmuseum are more trusted, "
"and releasing them with a Creative Commons CC0 means they can easily be "
"found in other platforms. For example, Rijksmuseum images are now used in "
"thousands of Wikipedia articles, receiving ten to eleven million views per "
"month. This extends Rijksmuseum’s reach far beyond the scope of its website. "
"Sharing these images online creates what Lizzy calls the “Mona Lisa effect,” "
"where a work of art becomes so famous that people want to see it in real "
"life by visiting the actual museum."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7802
msgid ""
"Every museum tends to be driven by the number of physical visitors. The "
"Rijksmuseum is primarily publicly funded, receiving roughly 70 percent of "
"its operating budget from the government.  But like many museums, it must "
"generate the rest of the funding through other means. The admission fee has "
"long been a way to generate revenue generation, including for the "
"Rijksmuseum."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7810
msgid ""
"As museums create a digital presence for themselves and put up digital "
"representations of their collection online, there’s frequently a worry that "
"it will lead to a drop in actual physical visits. For the Rijksmuseum, this "
"has not turned out to be the case. Lizzy told us the Rijksmuseum used to get "
"about one million visitors a year before closing and now gets more than two "
"million a year. Making the collection available online has generated "
"publicity and acts as a form of marketing. The Creative Commons mark "
"encourages reuse as well. When the image is found on protest leaflets, milk "
"cartons, and children’s toys, people also see what museum the image comes "
"from and this increases the museum’s visibility."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7830
msgid "<ulink url=\"http://www.rijksmuseum.nl/en/rijksstudio\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7824
msgid ""
"In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create "
"a new web presence that would be different from any other museum’s. In "
"addition to redesigning their main website to be mobile friendly and "
"responsive to devices like the iPad, the Rijksmuseum also created the "
"Rijksstudio, where users and artists could use and do various things with "
"the Rijksmuseum collection.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7833
msgid ""
"The Rijksstudio gives users access to over two hundred thousand high-quality "
"digital representations of masterworks from the collection. Users can zoom "
"in to any work and even clip small parts of images they like. Rijksstudio is "
"a bit like Pinterest.  You can “like” works and compile your personal "
"favorites, and you can share them with friends or download them free of "
"charge. All the images in the Rijksstudio are copyright and royalty free, "
"and users are encouraged to use them as they like, for private or even "
"commercial purposes."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7844
msgid ""
"Users have created over 276,000 Rijksstudios, generating their own themed "
"virtual exhibitions on a wide variety of topics ranging from tapestries to "
"ugly babies and birds. Sets of images have also been created for educational "
"purposes including use for school exams."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7851
msgid ""
"Some contemporary artists who have works in the Rijksmuseum collection "
"contacted them to ask why their works were not included in the Rijksstudio. "
"The answer was that contemporary artists’ works are still bound by "
"copyright. The Rijksmuseum does encourage contemporary artists to use a "
"Creative Commons license for their works, usually a CC BY-SA license "
"(Attribution-ShareAlike), or a CC BY-NC (Attribution-NonCommercial) if they "
"want to preclude commercial use. That way, their works can be made available "
"to the public, but within limits the artists have specified."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7871
msgid ""
"<ulink url=\"http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-"
"kimono-kimono-robe\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7862
msgid ""
"The Rijksmuseum believes that art stimulates entrepreneurial activity. The "
"line between creative and commercial can be blurry.  As Lizzy says, even "
"Rembrandt was commercial, making his livelihood from selling his paintings. "
"The Rijksmuseum encourages entrepreneurial commercial use of the images in "
"Rijksstudio.  They’ve even partnered with the DIY marketplace Etsy to "
"inspire people to sell their creations. One great example you can find on "
"Etsy is a kimono designed by Angie Johnson, who used an image of an "
"elaborate cabinet along with an oil painting by Jan Asselijn called The "
"Threatened Swan.<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7875
msgid ""
"<ulink url=\"http://www.rijksmuseum.nl/en/rijksstudio-award\"/>; the 2014 "
"award: <ulink url=\"http://www.rijksmuseum.nl/en/rijksstudio-award-2014\"/>; "
"the 2015 award: <ulink url=\"http://www.rijksmuseum.nl/en/rijksstudio-"
"award-2015\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7887
msgid ""
"<ulink url=\"http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-"
"rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7874
msgid ""
"In 2013 the Rijksmuseum organized their first high-profile design "
"competition, known as the Rijksstudio Award.<placeholder type=\"footnote\" "
"id=\"0\"/> With the call to action Make Your Own Masterpiece, the "
"competition invites the public to use Rijksstudio images to make new "
"creative designs. A jury of renowned designers and curators selects ten "
"finalists and three winners. The final award comes with a prize of €10,000. "
"The second edition in 2015 attracted a staggering 892 top-class entries. "
"Some award winners end up with their work sold through the Rijksmuseum "
"store, such as the 2014 entry featuring makeup based on a specific color "
"scheme of a work of art.<placeholder type=\"footnote\" id=\"1\"/> The "
"Rijksmuseum has been thrilled with the results.  Entries range from the fun "
"to the weird to the inspirational. The third international edition of the "
"Rijksstudio Award started in September 2016."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7893
msgid ""
"For the next iteration of the Rijksstudio, the Rijksmuseum is considering an "
"upload tool, for people to upload their own works of art, and enhanced "
"social elements so users can interact with each other more."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7899
msgid ""
"Going with a more open business model generated lots of publicity for the "
"Rijksmuseum. They were one of the first museums to open up their collection "
"(that is, give free access) with high-quality images. This strategy, along "
"with the many improvements to the Rijksmuseum’s website, dramatically "
"increased visits to their website from thirty-five thousand visits per month "
"to three hundred thousand."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7908
msgid ""
"The Rijksmuseum has been experimenting with other ways to invite the public "
"to look at and interact with their collection. On an international day "
"celebrating animals, they ran a successful bird-themed event. The museum put "
"together a showing of two thousand works that featured birds and invited "
"bird-watchers to identify the birds depicted. Lizzy notes that while museum "
"curators know a lot about the works in their collections, they may not know "
"about certain details in the paintings such as bird species. Over eight "
"hundred different birds were identified, including a specific species of "
"crane bird that was unknown to the scientific community at the time of the "
"painting."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7921
msgid ""
"For the Rijksmuseum, adopting an open business model was scary.  They came "
"up with many worst-case scenarios, imagining all kinds of awful things "
"people might do with the museum’s works. But Lizzy says those fears did not "
"come true because “ninety-nine percent of people have respect for great "
"art.” Many museums think they can make a lot of money by selling things "
"related to their collection.  But in Lizzy’s experience, museums are usually "
"bad at selling things, and sometimes efforts to generate a small amount of "
"money block something much bigger—the real value that the collection has. "
"For Lizzy, clinging to small amounts of revenue is being penny-wise but "
"pound-foolish. For the Rijksmuseum, a key lesson has been to never lose "
"sight of its vision for the collection.  Allowing access to and use of their "
"collection has generated great promotional value—far more than the previous "
"practice of charging fees for access and use. Lizzy sums up their "
"experience: “Give away; get something in return. Generosity makes people "
"happy to join you and help out.”"
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7941
msgid "Shareable"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7944
msgid ""
"Shareable is an online magazine about sharing. Founded in 2009 in the U.S."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7948
msgid "<ulink url=\"http://www.shareable.net\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7950
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: grant funding, "
"crowdfunding (project-based), donations, sponsorships"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7953
msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 24, 2016"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7956
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Neal Gorenflo, cofounder "
"and executive editor"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7964
msgid ""
"In 2013, Shareable faced an impasse. The nonprofit online publication had "
"helped start a sharing movement four years prior, but over time, they "
"watched one part of the movement stray from its ideals. As giants like Uber "
"and Airbnb gained ground, attention began to center on the “sharing economy” "
"we know now—profit-driven, transactional, and loaded with venture-capital "
"money. Leaders of corporate start-ups in this domain invited Shareable to "
"advocate for them. The magazine faced a choice: ride the wave or stand on "
"principle."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7975
msgid ""
"As an organization, Shareable decided to draw a line in the sand.  In 2013, "
"the cofounder and executive editor Neal Gorenflo wrote an opinion piece in "
"the PandoDaily that charted Shareable’s new critical stance on the Silicon "
"Valley version of the sharing economy, while contrasting it with aspects of "
"the real sharing economy like open-source software, participatory budgeting "
"(where citizens decide how a public budget is spent), cooperatives, and "
"more. He wrote, “It’s not so much that collaborative consumption is dead, "
"it’s more that it risks dying as it gets absorbed by the ‘Borg.’”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7987
msgid ""
"Neal said their public critique of the corporate sharing economy defined "
"what Shareable was and is. He does not think the magazine would still be "
"around had they chosen differently. “We would have gotten another type of "
"audience, but it would have spelled the end of us,” he said. “We are a "
"small, mission-driven organization. We would never have been able to weather "
"the criticism that Airbnb and Uber are getting now.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:7996
msgid ""
"Interestingly, impassioned supporters are only a small sliver of Shareable’s "
"total audience. Most are casual readers who come across a Shareable story "
"because it happens to align with a project or interest they have. But "
"choosing principles over the possibility of riding the coattails of the "
"major corporate players in the sharing space saved Shareable’s credibility. "
"Although they became detached from the corporate sharing economy, the online "
"magazine became the voice of the “real sharing economy” and continued to "
"grow their audience."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8007
msgid ""
"Shareable is a magazine, but the content they publish is a means to "
"furthering their role as a leader and catalyst of a movement.  Shareable "
"became a leader in the movement in 2009. “At that time, there was a sharing "
"movement bubbling beneath the surface, but no one was connecting the dots,” "
"Neal said. “We decided to step into that space and take on that role.” The "
"small team behind the nonprofit publication truly believed sharing could be "
"central to solving some of the major problems human beings face—resource "
"inequality, social isolation, and global warming."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8018
msgid ""
"They have worked hard to find ways to tell stories that show different "
"metrics for success. “We wanted to change the notion of what constitutes the "
"good life,” Neal said. While they started out with a very broad focus on "
"sharing generally, today they emphasize stories about the physical commons "
"like “sharing cities” (i.e., urban areas managed in a sustainable, "
"cooperative way), as well as digital platforms that are run democratically. "
"They particularly focus on how-to content that help their readers make "
"changes in their own lives and communities."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8029
msgid ""
"More than half of Shareable’s stories are written by paid journalists that "
"are contracted by the magazine. “Particularly in content areas that are a "
"priority for us, we really want to go deep and control the quality,” Neal "
"said. The rest of the content is either contributed by guest writers, often "
"for free, or written by other publications from their network of content "
"publishers.  Shareable is a member of the Post Growth Alliance, which "
"facilitates the sharing of content and audiences among a large and growing "
"group of mostly nonprofits. Each organization gets a chance to present "
"stories to the group, and the organizations can use and promote each other’s "
"stories. Much of the content created by the network is licensed with "
"Creative Commons."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8043
msgid ""
"All of Shareable’s original content is published under the Attribution "
"license (CC BY), meaning it can be used for any purpose as long as credit is "
"given to Shareable. Creative Commons licensing is aligned with Shareable’s "
"vision, mission, and identity. That alone explains the organization’s "
"embrace of the licenses for their content, but Neal also believes CC "
"licensing helps them increase their reach. “By using CC licensing,” he said, "
"“we realized we could reach far more people through a formal and informal "
"network of republishers or affiliates. That has definitely been the case. "
"It’s hard for us to measure the reach of other media properties, but most of "
"the outlets who republish our work have much bigger audiences than we do.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8057
msgid ""
"In addition to their regular news and commentary online, Shareable has also "
"experimented with book publishing. In 2012, they worked with a traditional "
"publisher to release Share or Die: Voices of the Get Lost Generation in an "
"Age of Crisis. The CC-licensed book was available in print form for purchase "
"or online for free. To this day, the book—along with their CC-licensed guide "
"Policies for Shareable Cities—are two of the biggest generators of traffic "
"on their website."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8067
msgid ""
"In 2016, Shareable self-published a book of curated Shareable stories called "
"How to: Share, Save Money and Have Fun. The book was available for sale, but "
"a PDF version of the book was available for free. Shareable plans to offer "
"the book in upcoming fund-raising campaigns."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8074
msgid ""
"This recent book is one of many fund-raising experiments Shareable has "
"conducted in recent years. Currently, Shareable is primarily funded by "
"grants from foundations, but they are actively moving toward a more "
"diversified model. They have organizational sponsors and are working to "
"expand their base of individual donors.  Ideally, they will eventually be a "
"hundred percent funded by their audience. Neal believes being fully "
"community-supported will better represent their vision of the world."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8084
msgid ""
"For Shareable, success is very much about their impact on the world. This is "
"true for Neal, but also for everyone who works for Shareable. “We attract "
"passionate people,” Neal said. At times, that means employees work so hard "
"they burn out. Neal tries to stress to the Shareable team that another part "
"of success is having fun and taking care of yourself while you do something "
"you love. “A central part of human beings is that we long to be on a great "
"adventure with people we love,” he said. “We are a species who look over the "
"horizon and imagine and create new worlds, but we also seek the comfort of "
"hearth and home.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8096
msgid ""
"In 2013, Shareable ran its first crowdfunding campaign to launch their "
"Sharing Cities Network. Neal said at first they were on pace to fail "
"spectacularly. They called in their advisers in a panic and asked for help. "
"The advice they received was simple—“Sit your ass in a chair and start "
"making calls.” That’s exactly what they did, and they ended up reaching "
"their $50,000 goal. Neal said the campaign helped them reach new people, but "
"the vast majority of backers were people in their existing base."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8106
msgid ""
"For Neal, this symbolized how so much of success comes down to "
"relationships. Over time, Shareable has invested time and energy into the "
"relationships they have forged with their readers and supporters. They have "
"also invested resources into building relationships between their readers "
"and supporters."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8113
msgid ""
"Shareable began hosting events in 2010. These events were designed to bring "
"the sharing community together. But over time they realized they could reach "
"far more people if they helped their readers to host their own events. “If "
"we wanted to go big on a conference, there was a huge risk and huge staffing "
"needs, plus only a fraction of our community could travel to the event,” "
"Neal said. Enabling others to create their own events around the globe "
"allowed them to scale up their work more effectively and reach far more "
"people. Shareable has catalyzed three hundred different events reaching over "
"twenty thousand people since implementing this strategy three years ago. "
"Going forward, Shareable is focusing the network on creating and "
"distributing content meant to spur local action. For instance, Shareable "
"will publish a new CC-licensed book in 2017 filled with ideas for their "
"network to implement."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8130
msgid ""
"Neal says Shareable stumbled upon this strategy, but it seems to perfectly "
"encapsulate just how the commons is supposed to work.  Rather than a one-"
"size-fits-all approach, Shareable puts the tools out there for people take "
"the ideas and adapt them to their own communities."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8138
msgid "Siyavula"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8141
msgid ""
"Siyavula is a for-profit educational-technology company that creates "
"textbooks and integrated learning experiences. Founded in 2012 in South "
"Africa."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8146
msgid "<ulink url=\"http://www.siyavula.com\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8148
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for custom "
"services, sponsorships"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8151
msgid "<emphasis role=\"strong\">Interview date</emphasis>: April 5, 2016"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8153
msgid "<emphasis role=\"strong\">Interviewee</emphasis>: Mark Horner, CEO"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8160
msgid ""
"Openness is a key principle for Siyavula. They believe that every learner "
"and teacher should have access to high-quality educational resources, as "
"this forms the basis for long-term growth and development. Siyavula has been "
"a pioneer in creating high-quality open textbooks on mathematics and science "
"subjects for grades 4 to 12 in South Africa."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8168
msgid ""
"In terms of creating an open business model that involves Creative Commons, "
"Siyavula—and its founder, Mark Horner—have been around the block a few "
"times. Siyavula has significantly shifted directions and strategies to "
"survive and prosper. Mark says it’s been very organic."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8175
msgid ""
"It all started in 2002, when Mark and several other colleagues at the "
"University of Cape Town in South Africa founded the Free High School Science "
"Texts project. Most students in South Africa high schools didn’t have access "
"to high-quality, comprehensive science and math textbooks, so Mark and his "
"colleagues set out to write them and make them freely available."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8186
msgid "<ulink url=\"http://www.gnu.org/licenses/fdl\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8183
msgid ""
"As physicists, Mark and his colleagues were advocates of open-source "
"software. To make the books open and free, they adopted the Free Software "
"Foundation’s GNU Free Documentation License.<placeholder type=\"footnote\" "
"id=\"0\"/> They chose LaTeX, a typesetting program used to publish "
"scientific documents, to author the books. Over a period of five years, the "
"Free High School Science Texts project produced math and physical-science "
"textbooks for grades 10 to 12."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8192
msgid ""
"In 2007, the Shuttleworth Foundation offered funding support to make the "
"textbooks available for trial use at more schools.  Surveys before and after "
"the textbooks were adopted showed there were no substantial criticisms of "
"the textbooks’ pedagogical content. This pleased both the authors and "
"Shuttleworth; Mark remains incredibly proud of this accomplishment."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8200
msgid ""
"But the development of new textbooks froze at this stage. Mark shifted his "
"focus to rural schools, which didn’t have textbooks at all, and looked into "
"the printing and distribution options. A few sponsors came on board but not "
"enough to meet the need."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8210
msgid "<ulink url=\"http://www.capetowndeclaration.org\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8206
msgid ""
"In 2007, Shuttleworth and the Open Society Institute convened a group of "
"open-education activists for a small but lively meeting in Cape Town. One "
"result was the Cape Town Open Education Declaration, a statement of "
"principles, strategies, and commitment to help the open-education movement "
"grow.<placeholder type=\"footnote\" id=\"0\"/> Shuttleworth also invited "
"Mark to run a project writing open content for all subjects for K–12 in "
"English. That project became Siyavula."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8215
msgid ""
"They wrote six original textbooks. A small publishing company offered "
"Shuttleworth the option to buy out the publisher’s existing K–9 content for "
"every subject in South African schools in both English and Afrikaans. A deal "
"was struck, and all the acquired content was licensed with Creative Commons, "
"significantly expanding the collection beyond the six original books."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8223
msgid ""
"Mark wanted to build out the remaining curricula collaboratively through "
"communities of practice—that is, with fellow educators and writers. Although "
"sharing is fundamental to teaching, there can be a few challenges when you "
"create educational resources collectively. One concern is legal. It is "
"standard practice in education to copy diagrams and snippets of text, but of "
"course this doesn’t always comply with copyright law. Another concern is "
"transparency. Sharing what you’ve authored means everyone can see it and "
"opens you up to criticism. To alleviate these concerns, Mark adopted a team-"
"based approach to authoring and insisted the curricula be based entirely on "
"resources with Creative Commons licenses, thereby ensuring they were safe to "
"share and free from legal repercussions."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8242
msgid "<ulink url=\"http://cnx.org\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8238
msgid ""
"Not only did Mark want the resources to be shareable, he wanted all teachers "
"to be able to remix and edit the content. Mark and his team had to come up "
"with an open editable format and provide tools for editing. They ended up "
"putting all the books they’d acquired and authored on a platform called "
"Connexions.<placeholder type=\"footnote\" id=\"0\"/> Siyavula trained many "
"teachers to use Connexions, but it proved to be too complex and the "
"textbooks were rarely edited."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8246
msgid ""
"Then the Shuttleworth Foundation decided to completely restructure its work "
"as a foundation into a fellowship model (for reasons completely unrelated to "
"Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as "
"an independent entity and took ownership over it as a Shuttleworth fellow."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8253
msgid ""
"Mark and his team experimented with several different strategies.  They "
"tried creating an authoring and hosting platform called Full Marks so that "
"teachers could share assessment items. They tried creating a service called "
"Open Press, where teachers could ask for open educational resources to be "
"aggregated into a package and printed for them. These services never really "
"panned out."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8261
msgid ""
"Then the South African government approached Siyavula with an interest in "
"printing out the original six Free High School Science Texts (math and "
"physical-science textbooks for grades 10 to 12)  for all high school "
"students in South Africa. Although at this point Siyavula was a bit "
"discouraged by open educational resources, they saw this as a big "
"opportunity."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8269
msgid ""
"They began to conceive of the six books as having massive marketing "
"potential for Siyavula. Printing Siyavula books for every kid in South "
"Africa would give their brand huge exposure and could drive vast amounts of "
"traffic to their website. In addition to print books, Siyavula could also "
"make the books available on their website, making it possible for learners "
"to access them using any device—computer, tablet, or mobile phone."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8278
msgid ""
"Mark and his team began imagining what they could develop beyond what was in "
"the textbooks as a service they charge for. One key thing you can’t do well "
"in a printed textbook is demonstrate solutions. Typically, a one-line answer "
"is given at the end of the book but nothing on the process for arriving at "
"that solution.  Mark and his team developed practice items and detailed "
"solutions, giving learners plenty of opportunity to test out what they’ve "
"learned. Furthermore, an algorithm could adapt these practice items to the "
"individual needs of each learner. They called this service Intelligent "
"Practice and embedded links to it in the open textbooks."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8291
msgid ""
"The costs for using Intelligent Practice were set very low, making it "
"accessible even to those with limited financial means. Siyavula was going "
"for large volumes and wide-scale use rather than an expensive product "
"targeting only the high end of the market."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8297
msgid ""
"The government distributed the books to 1.5 million students, but there was "
"an unexpected wrinkle: the books were delivered late.  Rather than wait, "
"schools who could afford it provided students with a different textbook. The "
"Siyavula books were eventually distributed, but with well-off schools mainly "
"using a different book, the primary market for Siyavula’s Intelligent "
"Practice service inadvertently became low-income learners."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8306
msgid ""
"Siyavula’s site did see a dramatic increase in traffic. They got five "
"hundred thousand visitors per month to their math site and the same number "
"to their science site. Two-fifths of the traffic was reading on a “feature "
"phone” (a nonsmartphone with no apps).  People on basic phones were reading "
"math and science on a two-inch screen at all hours of the day. To Mark, it "
"was quite amazing and spoke to a need they were servicing."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8315
msgid ""
"At first, the Intelligent Practice services could only be paid using a "
"credit card. This proved problematic, especially for those in the low-income "
"demographic, as credit cards were not prevalent.  Mark says Siyavula got a "
"harsh business-model lesson early on. As he describes it, it’s not just "
"about product, but how you sell it, who the market is, what the price is, "
"and what the barriers to entry are."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8324
msgid ""
"Mark describes this as the first version of Siyavula’s business model: open "
"textbooks serving as marketing material and driving traffic to your site, "
"where you can offer a related service and convert some people into a paid "
"customer."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8330
msgid ""
"For Mark a key decision for Siyavula’s business was to focus on how they can "
"add value on top of their basic service. They’ll charge only if they are "
"adding unique value. The actual content of the textbook isn’t unique at all, "
"so Siyavula sees no value in locking it down and charging for it. Mark "
"contrasts this with traditional publishers who charge over and over again "
"for the same content without adding value."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8339
msgid ""
"Version two of Siyavula’s business model was a big, ambitious idea—scale up. "
"They also decided to sell the Intelligent Practice service to schools "
"directly. Schools can subscribe on a per-student, per-subject basis. A "
"single subscription gives a learner access to a single subject, including "
"practice content from every grade available for that subject. Lower "
"subscription rates are provided when there are over two hundred students, "
"and big schools have a price cap. A 40 percent discount is offered to "
"schools where both the science and math departments subscribe."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8350
msgid ""
"Teachers get a dashboard that allows them to monitor the progress of an "
"entire class or view an individual learner’s results. They can see the "
"questions that learners are working on, identify areas of difficulty, and be "
"more strategic in their teaching. Students also have their own personalized "
"dashboard, where they can view the sections they’ve practiced, how many "
"points they’ve earned, and how their performance is improving."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8359
msgid ""
"Based on the success of this effort, Siyavula decided to substantially "
"increase the production of open educational resources so they could provide "
"the Intelligent Practice service for a wider range of books. Grades 10 to 12 "
"math and science books were reworked each year, and new books created for "
"grades 4 to 6 and later grades 7 to 9."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8370
msgid "<ulink url=\"http://www.siyavula.com/products-primary-school.html\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8367
msgid ""
"In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula "
"produced a series of natural sciences and technology workbooks for grades 4 "
"to 6 called Thunderbolt Kids that uses a fun comic-book style.<placeholder "
"type=\"footnote\" id=\"0\"/> It’s a complete curriculum that also comes with "
"teacher’s guides and other resources."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8374
msgid ""
"Through this experience, Siyavula learned they could get sponsors to help "
"fund openly licensed textbooks. It helped that Siyavula had by this time "
"nailed the production model. It cost roughly $150,000 to produce a book in "
"two languages. Sponsors liked the social-benefit aspect of textbooks "
"unlocked via a Creative Commons license. They also liked the exposure their "
"brand got. For roughly $150,000, their logo would be visible on books "
"distributed to over one million students."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8384
msgid ""
"The Siyavula books that are reviewed, approved, and branded by the "
"government are freely and openly available on Siyavula’s website under an "
"Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books "
"cannot be modified. Non-government-branded books are available under an "
"Attribution license (CC BY), allowing others to modify and redistribute the "
"books."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8392
msgid ""
"Although the South African government paid to print and distribute hard "
"copies of the books to schoolkids, Siyavula itself received no funding from "
"the government. Siyavula initially tried to convince the government to "
"provide them with five rand per book (about US35¢). With those funds, Mark "
"says that Siyavula could have run its entire operation, built a community-"
"based model for producing more books, and provide Intelligent Practice for "
"free to every child in the country. But after a lengthy negotiation, the "
"government said no."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8403
msgid ""
"Using Siyavula books generated huge savings for the government.  Providing "
"students with a traditionally published grade 12 science or math textbook "
"costs around 250 rand per book (about US$18).  Providing the Siyavula "
"version cost around 36 rand (about $2.60), a savings of over 200 rand per "
"book. But none of those savings were passed on to Siyavula. In retrospect, "
"Mark thinks this may have turned out in their favor as it allowed them to "
"remain independent from the government."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8413
msgid ""
"Just as Siyavula was planning to scale up the production of open textbooks "
"even more, the South African government changed its textbook policy. To save "
"costs, the government declared there would be only one authorized textbook "
"for each grade and each subject. There was no guarantee that Siyavula’s "
"would be chosen.  This scared away potential sponsors."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8421
msgid ""
"Rather than producing more textbooks, Siyavula focused on improving its "
"Intelligent Practice technology for its existing books. Mark calls this "
"version three of Siyavula’s business model—focusing on the technology that "
"provides the revenue-generating service and generating more users of this "
"service. Version three got a significant boost in 2014 with an investment by "
"the Omidyar Network (the philanthropic venture started by eBay founder "
"Pierre Omidyar and his spouse), and continues to be the model Siyavula uses "
"today."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8432
msgid ""
"Mark says sales are way up, and they are really nailing Intelligent "
"Practice. Schools continue to use their open textbooks. The government-"
"announced policy that there would be only one textbook per subject turned "
"out to be highly contentious and is in limbo."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8439
msgid ""
"Siyavula is exploring a range of enhancements to their business model. These "
"include charging a small amount for assessment services provided over the "
"phone, diversifying their market to all English-speaking countries in "
"Africa, and setting up a consortium that makes Intelligent Practice free to "
"all kids by selling the nonpersonal data Intelligent Practice collects."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8447
msgid ""
"Siyavula is a for-profit business but one with a social mission.  Their "
"shareholders’ agreement lists lots of requirements around openness for "
"Siyavula, including stipulations that content always be put under an open "
"license and that they can’t charge for something that people volunteered to "
"do for them. They believe each individual should have access to the "
"resources and support they need to achieve the education they deserve. "
"Having educational resources openly licensed with Creative Commons means "
"they can fulfill their social mission, on top of which they can build "
"revenue-generating services to sustain the ongoing operation of Siyavula. In "
"terms of open business models, Mark and Siyavula may have been around the "
"block a few times, but both he and the company are stronger for it."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8463
msgid "SparkFun"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8466
msgid ""
"SparkFun is an online electronics retailer specializing in open hardware. "
"Founded in 2003 in the U.S."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8470
msgid "<ulink url=\"http://www.sparkfun.com\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8472
msgid ""
"<emphasis role=\"strong\">Revenue model</emphasis>: charging for physical "
"copies (electronics sales)"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8475
msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 29, 2016"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8478
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Nathan Seidle, founder"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8486
msgid ""
"SparkFun founder and former CEO Nathan Seidle has a picture of himself "
"holding up a clone of a SparkFun product in an electronics market in China, "
"with a huge grin on his face. He was traveling in China when he came across "
"their LilyPad wearable technology being made by someone else. His reaction "
"was glee."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8493
msgid ""
"“Being copied is the greatest earmark of flattery and success,” Nathan said. "
"“I thought it was so cool that they were selling to a market we were never "
"going to get access to otherwise. It was evidence of our impact on the "
"world.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8499
msgid ""
"This worldview runs through everything SparkFun does. SparkFun is an "
"electronics manufacturer. The company sells its products directly to the "
"public online, and it bundles them with educational tools to sell to schools "
"and teachers. SparkFun applies Creative Commons licenses to all of its "
"schematics, images, tutorial content, and curricula, so anyone can make "
"their products on their own. Being copied is part of the design."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8508
msgid ""
"Nathan believes open licensing is good for the world. “It touches on our "
"natural human instinct to share,” he said. But he also strongly believes it "
"makes SparkFun better at what they do. They encourage copying, and their "
"products are copied at a very fast rate, often within ten to twelve weeks of "
"release. This forces the company to compete on something other than product "
"design, or what most commonly consider their intellectual property."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8517
msgid ""
"“We compete on business principles,” Nathan said. “Claiming your territory "
"with intellectual property allows you to get comfy and rest on your laurels. "
"It gives you a safety net. We took away that safety net.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8523
msgid ""
"The result is an intense company-wide focus on product development and "
"improvement. “Our products are so much better than they were five years "
"ago,” Nathan said. “We used to just sell products. Now it’s a product plus a "
"video, a seventeen-page hookup guide, and example firmware on three "
"different platforms to get you up and running faster. We have gotten better "
"because we had to in order to compete. As painful as it is for us, it’s "
"better for the customers.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8533
msgid ""
"SparkFun parts are available on eBay for lower prices. But people come "
"directly to SparkFun because SparkFun makes their lives easier. The example "
"code works; there is a service number to call; they ship replacement parts "
"the day they get a service call. They invest heavily in service and support. "
"“I don’t believe businesses should be competing with IP [intellectual "
"property] barriers,” Nathan said. “This is the stuff they should be "
"competing on.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8542
msgid ""
"SparkFun’s company history began in Nathan’s college dorm room. He spent a "
"lot of time experimenting with and building electronics, and he realized "
"there was a void in the market. “If you wanted to place an order for "
"something,” he said, “you first had to search far and wide to find it, and "
"then you had to call or fax someone.” In 2003, during his third year of "
"college, he registered <ulink url=\"http://sparkfun.com\"/> and started "
"reselling products out of his bedroom. After he graduated, he started making "
"and selling his own products."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8553
msgid ""
"Once he started designing his own products, he began putting the software "
"and schematics online to help with technical support.  After doing some "
"research on licensing options, he chose Creative Commons licenses because he "
"was drawn to the “human-readable deeds” that explain the licensing terms in "
"simple terms. SparkFun still uses CC licenses for all of the schematics and "
"firmware for the products they create."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8562
msgid ""
"The company has grown from a solo project to a corporation with 140 "
"employees. In 2015, SparkFun earned $33 million in revenue.  Selling "
"components and widgets to hobbyists, professionals, and artists remains a "
"major part of SparkFun’s business. They sell their own products, but they "
"also partner with Arduino (also profiled in this book) by manufacturing "
"boards for resale using Arduino’s brand."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8571
msgid ""
"SparkFun also has an educational department dedicated to creating a hands-on "
"curriculum to teach students about electronics using prototyping parts. "
"Because SparkFun has always been dedicated to enabling others to re-create "
"and fix their products on their own, the more recent focus on introducing "
"young people to technology is a natural extension of their core business."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8579
msgid ""
"“We have the burden and opportunity to educate the next generation of "
"technical citizens,” Nathan said. “Our goal is to affect the lives of three "
"hundred and fifty thousand high school students by 2020.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8585
msgid ""
"The Creative Commons license underlying all of SparkFun’s products is "
"central to this mission. The license not only signals a willingness to "
"share, but it also expresses a desire for others to get in and tinker with "
"their products, both to learn and to make their products better. SparkFun "
"uses the Attribution-ShareAlike license (CC BY-SA), which is a “copyleft” "
"license that allows people to do anything with the content as long as they "
"provide credit and make any adaptations available under the same licensing "
"terms."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8596
msgid ""
"From the beginning, Nathan has tried to create a work environment at "
"SparkFun that he himself would want to work in. The result is what appears "
"to be a pretty fun workplace. The U.S. company is based in Boulder, "
"Colorado. They have an eighty-thousand-square-foot facility (approximately "
"seventy-four-hundred square meters), where they design and manufacture their "
"products. They offer public tours of the space several times a week, and "
"they open their doors to the public for a competition once a year."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8607
msgid ""
"The public event, called the Autonomous Vehicle Competition, brings in a "
"thousand to two thousand customers and other technology enthusiasts from "
"around the area to race their own self-created bots against each other, "
"participate in training workshops, and socialize. From a business "
"perspective, Nathan says it’s a terrible idea. But they don’t hold the event "
"for business reasons. “The reason we do it is because I get to travel and "
"have interactions with our customers all the time, but most of our employees "
"don’t,” he said. “This event gives our employees the opportunity to get face-"
"to-face contact with our customers.” The event infuses their work with a "
"human element, which makes it more meaningful."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8621
msgid ""
"Nathan has worked hard to imbue a deeper meaning into the work SparkFun "
"does. The company is, of course, focused on being fiscally responsible, but "
"they are ultimately driven by something other than money. “Profit is not the "
"goal; it is the outcome of a well-executed plan,” Nathan said. “We focus on "
"having a bigger impact on the world.” Nathan believes they get some of the "
"brightest and most amazing employees because they aren’t singularly focused "
"on the bottom line."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8631
msgid ""
"The company is committed to transparency and shares all of its financials "
"with its employees. They also generally strive to avoid being another "
"soulless corporation. They actively try to reveal the humans behind the "
"company, and they work to ensure people coming to their site don’t find only "
"unchanging content."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8638
msgid ""
"SparkFun’s customer base is largely made up of industrious electronics "
"enthusiasts. They have customers who are regularly involved in the company’s "
"customer support, independently responding to questions in forums and "
"product-comment sections.  Customers also bring product ideas to the "
"company. SparkFun regularly sifts through suggestions from customers and "
"tries to build on them where they can. “From the beginning, we have been "
"listening to the community,” Nathan said. “Customers would identify a pain "
"point, and we would design something to address it.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8650
msgid ""
"However, this sort of customer engagement does not always translate to "
"people actively contributing to SparkFun’s projects.  The company has a "
"public repository of software code for each of its devices online. On a "
"particularly active project, there will only be about two dozen people "
"contributing significant improvements. The vast majority of projects are "
"relatively untouched by the public. “There is a theory that if you open-"
"source it, they will come,” Nathan said. “That’s not really true.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8661
msgid ""
"Rather than focusing on cocreation with their customers, SparkFun instead "
"focuses on enabling people to copy, tinker, and improve products on their "
"own. They heavily invest in tutorials and other material designed to help "
"people understand how the products work so they can fix and improve things "
"independently. “What gives me joy is when people take open-source layouts "
"and then build their own circuit boards from our designs,” Nathan said."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8670
msgid ""
"Obviously, opening up the design of their products is a necessary step if "
"their goal is to empower the public. Nathan also firmly believes it makes "
"them more money because it requires them to focus on how to provide maximum "
"value. Rather than designing a new product and protecting it in order to "
"extract as much money as possible from it, they release the keys necessary "
"for others to build it themselves and then spend company time and resources "
"on innovation and service. From a short-term perspective, SparkFun may lose "
"a few dollars when others copy their products. But in the long run, it makes "
"them a more nimble, innovative business. In other words, it makes them the "
"kind of company they set out to be."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8684
msgid "TeachAIDS"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8687
msgid ""
"TeachAIDS is a nonprofit that creates educational materials designed to "
"teach people around the world about HIV and AIDS.  Founded in 2005 in the U."
"S."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8692
msgid "<ulink url=\"http://teachaids.org\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8694
msgid "<emphasis role=\"strong\">Revenue model</emphasis>: sponsorships"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8696
msgid "<emphasis role=\"strong\">Interview date</emphasis>: March 24, 2016"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8699
msgid ""
"<emphasis role=\"strong\">Interviewees</emphasis>: Piya Sorcar, the CEO, and "
"Shuman Ghosemajumder, the chair"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8707
msgid ""
"TeachAIDS is an unconventional media company with a conventional revenue "
"model. Like most media companies, they are subsidized by advertising. "
"Corporations pay to have their logos appear on the educational materials "
"TeachAIDS distributes."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8713
msgid ""
"But unlike most media companies, Teach-AIDS is a nonprofit organization with "
"a purely social mission. TeachAIDS is dedicated to educating the global "
"population about HIV and AIDS, particularly in parts of the world where "
"education efforts have been historically unsuccessful. Their educational "
"content is conveyed through interactive software, using methods based on the "
"latest research about how people learn. TeachAIDS serves content in more "
"than eighty countries around the world. In each instance, the content is "
"translated to the local language and adjusted to conform to local norms and "
"customs. All content is free and made available under a Creative Commons "
"license."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8726
msgid ""
"TeachAIDS is a labor of love for founder and CEO Piya Sorcar, who earns a "
"salary of one dollar per year from the nonprofit. The project grew out of "
"research she was doing while pursuing her doctorate at Stanford University. "
"She was reading reports about India, noting it would be the next hot zone of "
"people living with HIV. Despite international and national entities pouring "
"in hundreds of millions of dollars on HIV-prevention efforts, the reports "
"showed knowledge levels were still low. People were unaware of whether the "
"virus could be transmitted through coughing and sneezing, for instance. "
"Supported by an interdisciplinary team of experts at Stanford, Piya "
"conducted similar studies, which corroborated the previous research. They "
"found that the primary cause of the limited understanding was that HIV, and "
"issues relating to it, were often considered too taboo to discuss "
"comprehensively. The other major problem was that most of the education on "
"this topic was being taught through television advertising, billboards, and "
"other mass-media campaigns, which meant people were only receiving bits and "
"pieces of information."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8746
msgid ""
"In late 2005, Piya and her team used research-based design to create new "
"educational materials and worked with local partners in India to help "
"distribute them. As soon as the animated software was posted online, Piya’s "
"team started receiving requests from individuals and governments who were "
"interested in bringing this model to more countries. “We realized fairly "
"quickly that educating large populations about a topic that was considered "
"taboo would be challenging. We began by identifying optimal local partners "
"and worked toward creating an effective, culturally appropriate education,” "
"Piya said."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8758
msgid ""
"Very shortly after the initial release, Piya’s team decided to spin the "
"endeavor into an independent nonprofit out of Stanford University. They also "
"decided to use Creative Commons licenses on the materials."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8764
msgid ""
"Given their educational mission, TeachAIDS had an obvious interest in seeing "
"the materials as widely shared as possible. But they also needed to preserve "
"the integrity of the medical information in the content. They chose the "
"Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which essentially "
"gives the public the right to distribute only verbatim copies of the "
"content, and for noncommercial purposes. “We wanted attribution for "
"TeachAIDS, and we couldn’t stand by derivatives without vetting them,” the "
"cofounder and chair Shuman Ghosemajumder said. “It was almost a no-brainer "
"to go with a CC license because it was a plug-and-play solution to this "
"exact problem. It has allowed us to scale our materials safely and quickly "
"worldwide while preserving our content and protecting us at the same time.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8779
msgid ""
"Choosing a license that does not allow adaptation of the content was an "
"outgrowth of the careful precision with which TeachAIDS crafts their "
"content. The organization invests heavily in research and testing to "
"determine the best method of conveying the information. “Creating high-"
"quality content is what matters most to us,” Piya said. “Research drives "
"everything we do.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8787
msgid ""
"One important finding was that people accept the message best when it comes "
"from familiar voices they trust and admire. To achieve this, TeachAIDS "
"researches cultural icons that would best resonate with their target "
"audiences and recruits them to donate their likenesses and voices for use in "
"the animated software. The celebrities involved vary for each localized "
"version of the materials."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8796
msgid ""
"Localization is probably the single-most important aspect of the way "
"TeachAIDS creates its content. While each regional version builds from the "
"same core scientific materials, they pour a lot of resources into "
"customizing the content for a particular population. Because they use a CC "
"license that does not allow the public to adapt the content, TeachAIDS "
"retains careful control over the localization process. The content is "
"translated into the local language, but there are also changes in substance "
"and format to reflect cultural differences. This process results in minor "
"changes, like choosing different idioms based on the local language, and "
"significant changes, like creating gendered versions for places where people "
"are more likely to accept information from someone of the same gender."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8811
msgid ""
"The localization process relies heavily on volunteers. Their volunteer base "
"is deeply committed to the cause, and the organization has had better luck "
"controlling the quality of the materials when they tap volunteers instead of "
"using paid translators. For quality control, TeachAIDS has three separate "
"volunteer teams translate the materials from English to the local language "
"and customize the content based on local customs and norms. Those three "
"versions are then analyzed and combined into a single master translation. "
"TeachAIDS has additional teams of volunteers then translate that version "
"back into English to see how well it lines up with the original materials. "
"They repeat this process until they reach a translated version that meets "
"their standards. For the Tibetan version, they went through this cycle "
"eleven times."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8827
msgid ""
"TeachAIDS employs full-time employees, contractors, and volunteers, all in "
"different capacities and organizational configurations. They are careful to "
"use people from diverse backgrounds to create the materials, including "
"teachers, students, and doctors, as well as individuals experienced in "
"working in the NGO space. This diversity and breadth of knowledge help "
"ensure their materials resonate with people from all walks of life.  "
"Additionally, TeachAIDS works closely with film writers and directors to "
"help keep the concepts entertaining and easy to understand. The inclusive, "
"but highly controlled, creative process is undertaken entirely by people who "
"are specifically brought on to help with a particular project, rather than "
"ongoing staff. The final product they create is designed to require zero "
"training for people to implement in practice. “In our research, we found we "
"can’t depend on people passing on the information correctly, even if they "
"have the best of intentions,” Piya said. “We need materials where you can "
"push play and they will work.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8846
msgid ""
"Piya’s team was able to produce all of these versions over several years "
"with a head count that never exceeded eight full-time employees. The "
"organization is able to reduce costs by relying heavily on volunteers and in-"
"kind donations. Nevertheless, the nonprofit needed a sustainable revenue "
"model to subsidize content creation and physical distribution of the "
"materials. Charging even a low price was simply not an option. “Educators "
"from various nonprofits around the world were just creating their own "
"materials using whatever they could find for free online,” Shuman said. “The "
"only way to persuade them to use our highly effective model was to make it "
"completely free.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8859
msgid ""
"Like many content creators offering their work for free, they settled on "
"advertising as a funding model. But they were extremely careful not to let "
"the advertising compromise their credibility or undermine the heavy "
"investment they put into creating quality content. Sponsors of the content "
"have no ability to influence the substance of the content, and they cannot "
"even create advertising content. Sponsors only get the right to have their "
"logo appear before and after the educational content. All of the content "
"remains branded as TeachAIDS."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8870
msgid ""
"TeachAIDS is careful not to seek funding to cover the costs of a specific "
"project. Instead, sponsorships are structured as unrestricted donations to "
"the nonprofit. This gives the nonprofit more stability, but even more "
"importantly, it enables them to subsidize projects being localized for an "
"area with no sponsors.  “If we just created versions based on where we could "
"get sponsorships, we would only have materials for wealthier countries,” "
"Shuman said."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8880
msgid ""
"As of 2016, TeachAIDS has dozens of sponsors. “When we go into a new "
"country, various companies hear about us and reach out to us,” Piya said. "
"“We don’t have to do much to find or attract them.” They believe the "
"sponsorships are easy to sell because they offer so much value to sponsors. "
"TeachAIDS sponsorships give corporations the chance to reach new eyeballs "
"with their brand, but at a much lower cost than other advertising channels. "
"The audience for TeachAIDS content also tends to skew young, which is often "
"a desirable demographic for brands. Unlike traditional advertising, the "
"content is not time-sensitive, so an investment in a sponsorship can benefit "
"a brand for many years to come."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8893
msgid ""
"Importantly, the value to corporate sponsors goes beyond commercial "
"considerations. As a nonprofit with a clearly articulated social mission, "
"corporate sponsorships are donations to a cause. “This is something "
"companies can be proud of internally,” Shuman said. Some companies have even "
"built publicity campaigns around the fact that they have sponsored these "
"initiatives."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8902
msgid ""
"The core mission of TeachAIDS—ensuring global access to life-saving education"
"—is at the root of everything the organization does. It underpins the work; "
"it motivates the funders. The CC license on the materials they create "
"furthers that mission, allowing them to safely and quickly scale their "
"materials worldwide. “The Creative Commons license has been a game changer "
"for TeachAIDS,” Piya said."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8912
msgid "Tribe of Noise"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8915
msgid ""
"Tribe of Noise is a for-profit online music platform serving the film, TV, "
"video, gaming, and in-store-media industries. Founded in 2008 in the "
"Netherlands."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8920
msgid "<ulink url=\"http://www.tribeofnoise.com\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8925
msgid "<emphasis role=\"strong\">Interview date</emphasis>: January 26, 2016"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8928
msgid ""
"<emphasis role=\"strong\">Interviewee</emphasis>: Hessel van Oorschot, "
"cofounder"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8936
msgid ""
"In the early 2000s, Hessel van Oorschot was an entrepreneur running a "
"business where he coached other midsize entrepreneurs how to create an "
"online business. He also coauthored a number of workbooks for small- to "
"medium-size enterprises to use to optimize their business for the Web. "
"Through this early work, Hessel became familiar with the principles of open "
"licensing, including the use of open-source software and Creative Commons."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8945
msgid ""
"In 2005, Hessel and Sandra Brandenburg launched a niche video-production "
"initiative. Almost immediately, they ran into issues around finding and "
"licensing music tracks. All they could find was standard, cold stock-music. "
"They thought of looking up websites where you could license music directly "
"from the musician without going through record labels or agents. But in "
"2005, the ability to directly license music from a rights holder was not "
"readily available."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8955
msgid ""
"They hired two lawyers to investigate further, and while they uncovered five "
"or six examples, Hessel found the business models lacking. The lawyers "
"expressed interest in being their legal team should they decide to pursue "
"this as an entrepreneurial opportunity. Hessel says, “When lawyers are "
"interested in a venture like this, you might have something special.” So "
"after some more research, in early 2008, Hessel and Sandra decided to build "
"a platform."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8965
msgid ""
"Building a platform posed a real chicken-and-egg problem. The platform had "
"to build an online community of music-rights holders and, at the same time, "
"provide the community with information and ideas about how the new economy "
"works. Community willingness to try new music business models requires a "
"trust relationship."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8972
msgid ""
"In July 2008, Tribe of Noise opened its virtual doors with a couple hundred "
"musicians willing to use the CC BY-SA license (Attribution-ShareAlike) for a "
"limited part of their repertoire.  The two entrepreneurs wanted to take the "
"pain away for media makers who wanted to license music and solve the "
"problems the two had personally experienced finding this music."
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8987
msgid "<ulink url=\"http://www.instoremusicservice.com\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8980
msgid ""
"As they were growing the community, Hessel got a phone call from a company "
"that made in-store music playlists asking if they had enough music licensed "
"with Creative Commons that they could use.  Stores need quality, good-"
"listening music but not necessarily hits, a bit like a radio show without "
"the DJ. This opened a new opportunity for Tribe of Noise. They started their "
"In-store Music Service, using music (licensed with CC BY-SA) uploaded by the "
"Tribe of Noise community of musicians.<placeholder type=\"footnote\" id="
"\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:8990
msgid ""
"In most countries, artists, authors, and musicians join a collecting society "
"that manages the licensing and helps collect the royalties. Copyright "
"collecting societies in the European Union usually hold monopolies in their "
"respective national markets. In addition, they require their members to "
"transfer exclusive administration rights to them of all of their works.  "
"This complicates the picture for Tribe of Noise, who wants to represent "
"artists, or at least a portion of their repertoire.  Hessel and his legal "
"team reached out to collecting societies, starting with those in the "
"Netherlands. What would be the best legal way forward that would respect the "
"wishes of composers and musicians who’d be interested in trying out new "
"models like the In-store Music Service? Collecting societies at first were "
"hesitant and said no, but Tribe of Noise persisted arguing that they "
"primarily work with unknown artists and provide them exposure in parts of "
"the world where they don’t get airtime normally and a source of revenue—and "
"this convinced them that it was OK. However, Hessel says, “We are still "
"fighting for a good cause every single day.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9011
msgid ""
"Instead of building a large sales force, Tribe of Noise partnered with big "
"organizations who have lots of clients and can act as a kind of Tribe of "
"Noise reseller. The largest telecom network in the Netherlands, for example, "
"sells Tribe’s In-store Music Service subscriptions to their business "
"clients, which include fashion retailers and fitness centers. They have a "
"similar deal with the leading trade association representing hotels and "
"restaurants in the country. Hessel hopes to “copy and paste” this service "
"into other countries where collecting societies understand what you can do "
"with Creative Commons. Outside of the Netherlands, early adoptions have "
"happened in Scandinavia, Belgium, and the U.S."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9024
msgid ""
"Tribe of Noise doesn’t pay the musicians up front; they get paid when their "
"music ends up in Tribe of Noise’s in-store music channels. The musicians’ "
"share is 42.5 percent. It’s not uncommon in a traditional model for the "
"artist to get only 5 to 10 percent, so a share of over 40 percent is a "
"significantly better deal.  Here’s how they give an example on their website:"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9040
msgid "<ulink url=\"http://www.tribeofnoise.com/info_instoremusic.php\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9032
msgid ""
"A few of your songs [licensed with CC BY-SA], for example five in total, are "
"selected for a bespoke in-store music channel broadcasting at a large "
"retailer with 1,000 stores nationwide. In this case the overall playlist "
"contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee "
"agreed with this retailer is US$12 per month per play-out. So if 42.5% is "
"shared with the Tribe musicians in this playlist and your share is 1.43%, "
"you end up with US$12 * 1000 stores * 0.425 * 0.0143 = US$73 per month."
"<placeholder type=\"footnote\" id=\"0\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9043
msgid ""
"Tribe of Noise has another model that does not involve Creative Commons. In "
"a survey with members, most said they liked the exposure using Creative "
"Commons gets them and the way it lets them reach out to others to share and "
"remix. However, they had a bit of a mental struggle with Creative Commons "
"licenses being perpetual.  A lot of musicians have the mind-set that one day "
"one of their songs may become an overnight hit. If that happened the CC BY-"
"SA license would preclude them getting rich off the sale of that song."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9054
msgid ""
"Hessel’s legal team took this feedback and created a second model and "
"separate area of the platform called Tribe of Noise Pro. Songs uploaded to "
"Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has "
"instead created a “nonexclusive exploitation” contract, similar to a "
"Creative Commons license but allowing musicians to opt out whenever they "
"want. When you opt out, Tribe of Noise agrees to take your music off the "
"Tribe of Noise platform within one to two months. This lets the musician "
"reuse their song for a better deal."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9065
msgid ""
"Tribe of Noise Pro is primarily geared toward media makers who are looking "
"for music. If they buy a license from this catalog, they don’t have to state "
"the name of the creator; they just license the song for a specific amount. "
"This is a big plus for media makers.  And musicians can pull their "
"repertoire at any time. Hessel sees this as a more direct and clean deal."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9073
msgid ""
"Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and "
"the community area of Tribe of Noises. There aren’t that many artists who "
"upload only to Tribe of Noise Pro, which has a smaller repertoire of music "
"than the community area."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9079
msgid ""
"Hessel sees the two as complementary. Both are needed for the model to work. "
"With a whole generation of musicians interested in the sharing economy, the "
"community area of Tribe of Noise is where they can build trust, create "
"exposure, and generate money. And after that, musicians may become more "
"interested in exploring other models like Tribe of Noise Pro."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9087
msgid ""
"Every musician who joins Tribe of Noise gets their own home page and free "
"unlimited Web space to upload as much of their own music as they like. Tribe "
"of Noise is also a social network; fellow musicians and professionals can "
"vote for, comment on, and like your music. Community managers interact with "
"and support members, and music supervisors pick and choose from the uploaded "
"songs for in-store play or to promote them to media producers. Members "
"really like having people working for the platform who truly engage with "
"them."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9098
msgid ""
"Another way Tribe of Noise creates community and interest is with contests, "
"which are organized in partnership with Tribe of Noise clients. The client "
"specifies what they want, and any member can submit a song. Contests usually "
"involve prizes, exposure, and money. In addition to building member "
"engagement, contests help members learn how to work with clients: listening "
"to them, understanding what they want, and creating a song to meet that need."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9108
msgid ""
"Tribe of Noise now has twenty-seven thousand members from 192 countries, and "
"many are exploring do-it-yourself models for generating revenue. Some came "
"from music labels and publishers, having gone through the traditional way of "
"music licensing and now seeing if this new model makes sense for them. "
"Others are young musicians, who grew up with a DIY mentality and see little "
"reason to sign with a third party or hand over some of the control. Still a "
"small but growing group of Tribe members are pursuing a hybrid model by "
"licensing some of their songs under CC BY-SA and opting in others with "
"collecting societies like ASCAP or BMI."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9120
msgid ""
"It’s not uncommon for performance-rights organizations, record labels, or "
"music publishers to sign contracts with musicians based on exclusivity. Such "
"an arrangement prevents those musicians from uploading their music to Tribe "
"of Noise. In the United States, you can have a collecting society handle "
"only some of your tracks, whereas in many countries in Europe, a collecting "
"society prefers to represent your entire repertoire (although the European "
"Commission is making some changes). Tribe of Noise deals with this issue all "
"the time and gives you a warning whenever you upload a song. If collecting "
"societies are willing to be open and flexible and do the most they can for "
"their members, then they can consider organizations like Tribe of Noise as a "
"nice add-on, generating more exposure and revenue for the musicians they "
"represent. So far, Tribe of Noise has been able to make all this work "
"without litigation."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9137
msgid ""
"For Hessel the key to Tribe of Noise’s success is trust. The fact that "
"Creative Commons licenses work the same way all over the world and have been "
"translated into all languages really helps build that trust. Tribe of Noise "
"believes in creating a model where they work together with musicians. They "
"can only do that if they have a live and kicking community, with people who "
"think that the Tribe of Noise team has their best interests in mind. "
"Creative Commons makes it possible to create a new business model for music, "
"a model that’s based on trust."
msgstr ""

#. type: Content of: <book><part><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9149
msgid "Wikimedia Foundation"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9152
msgid ""
"The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia "
"and its sister projects. Founded in 2003 in the U.S."
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9157
msgid "<ulink url=\"http://wikimediafoundation.org\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9159
msgid "<emphasis role=\"strong\">Revenue model</emphasis>: donations"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9161
msgid "<emphasis role=\"strong\">Interview date</emphasis>: December 18, 2015"
msgstr ""

#. type: Content of: <book><part><chapter><blockquote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9164
msgid ""
"<emphasis role=\"strong\">Interviewees</emphasis>: Luis Villa, former Chief "
"Officer of Community Engagement, and Stephen LaPorte, legal counsel"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9173
msgid "Nearly every person with an online presence knows Wikipedia."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9176
msgid ""
"In many ways, it is the preeminent open project: The online encyclopedia is "
"created entirely by volunteers. Anyone in the world can edit the articles. "
"All of the content is available for free to anyone online. All of the "
"content is released under a Creative Commons license that enables people to "
"reuse and adapt it for any purpose."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9184
msgid ""
"As of December 2016, there were more than forty-two million articles in the "
"295 language editions of the online encyclopedia, according to—what else?—"
"the Wikipedia article about Wikipedia."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9189
msgid ""
"The Wikimedia Foundation is a U.S.-based nonprofit organization that owns "
"the Wikipedia domain name and hosts the site, along with many other related "
"sites like Wikidata and Wikimedia Commons. The foundation employs about two "
"hundred and eighty people, who all work to support the projects it hosts. "
"But the true heart of Wikipedia and its sister projects is its community. "
"The numbers of people in the community are variable, but about seventy-five "
"thousand volunteers edit and improve Wikipedia articles every month. "
"Volunteers are organized in a variety of ways across the globe, including "
"formal Wikimedia chapters (mostly national), groups focused on a particular "
"theme, user groups, and many thousands who are not connected to a particular "
"organization."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9203
msgid ""
"As Wikimedia legal counsel Stephen LaPorte told us, “There is a common "
"saying that Wikipedia works in practice but not in theory.” While it "
"undoubtedly has its challenges and flaws, Wikipedia and its sister projects "
"are a striking testament to the power of human collaboration."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9210
msgid ""
"Because of its extraordinary breadth and scope, it does feel a bit like a "
"unicorn. Indeed, there is nothing else like Wikipedia.  Still, much of what "
"makes the projects successful—community, transparency, a strong mission, "
"trust—are consistent with what it takes to be successfully Made with "
"Creative Commons more generally. With Wikipedia, everything just happens at "
"an unprecedented scale."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9219
msgid ""
"The story of Wikipedia has been told many times. For our purposes, it is "
"enough to know the experiment started in 2001 at a small scale, inspired by "
"the crazy notion that perhaps a truly open, collaborative project could "
"create something meaningful. At this point, Wikipedia is so ubiquitous and "
"ingrained in our digital lives that the fact of its existence seems less "
"remarkable. But outside of software, Wikipedia is perhaps the single most "
"stunning example of successful community cocreation. Every day, seven "
"thousand new articles are created on Wikipedia, and nearly fifteen thousand "
"edits are made every hour."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9231
msgid ""
"The nature of the content the community creates is ideal for asynchronous "
"cocreation. “An encyclopedia is something where incremental community "
"improvement really works,” Luis Villa, former Chief Officer of Community "
"Engagement, told us. The rules and processes that govern cocreation on "
"Wikipedia and its sister projects are all community-driven and vary by "
"language edition.  There are entire books written on the intricacies of "
"their systems, but generally speaking, there are very few exceptions to the "
"rule that anyone can edit any article, even without an account on their "
"system. The extensive peer-review process includes elaborate systems to "
"resolve disputes, methods for managing particularly controversial subject "
"areas, talk pages explaining decisions, and much, much more. The Wikimedia "
"Foundation’s decision to leave governance of the projects to the community "
"is very deliberate. “We look at the things that the community can do well, "
"and we want to let them do those things,” Stephen told us.  Instead, the "
"foundation focuses its time and resources on what the community cannot do as "
"effectively, like the software engineering that supports the technical "
"infrastructure of the sites. In 2015-16, about half of the foundation’s "
"budget went to direct support for the Wikimedia sites."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9254
msgid ""
"Some of that is directed at servers and general IT support, but the "
"foundation also invests a significant amount on architecture designed to "
"help the site function as effectively as possible.  “There is a constantly "
"evolving system to keep the balance in place to avoid Wikipedia becoming the "
"world’s biggest graffiti wall,” Luis said. Depending on how you measure it, "
"somewhere between 90 to 98 percent of edits to Wikipedia are positive. Some "
"portion of that success is attributable to the tools Wikimedia has in place "
"to try to incentivize good actors. “The secret to having any healthy "
"community is bringing back the right people,” Luis said. “Vandals tend to "
"get bored and go away. That is partially our model working, and partially "
"just human nature.” Most of the time, people want to do the right thing."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9269
msgid ""
"Wikipedia not only relies on good behavior within its community and on its "
"sites, but also by everyone else once the content leaves Wikipedia. All of "
"the text of Wikipedia is available under an Attribution-ShareAlike license "
"(CC BY-SA), which means it can be used for any purpose and modified so long "
"as credit is given and anything new is shared back with the public under the "
"same license. In theory, that means anyone can copy the content and start a "
"new Wikipedia. But as Stephen explained, “Being open has only made Wikipedia "
"bigger and stronger. The desire to protect is not always what is best for "
"everyone.”"
msgstr ""

#. type: Content of: <book><part><chapter><para><footnote><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9293
msgid ""
"<ulink url=\"http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-"
"mistakes/\"/>"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9281
msgid ""
"Of course, the primary reason no one has successfully co-opted Wikipedia is "
"that copycat efforts do not have the Wikipedia community to sustain what "
"they do. Wikipedia is not simply a source of up-to-the-minute content on "
"every given topic—it is also a global patchwork of humans working together "
"in a million different ways, in a million different capacities, for a "
"million different reasons. While many have tried to guess what makes "
"Wikipedia work as well it does, the fact is there is no single explanation. "
"“In a movement as large as ours, there is an incredible diversity of "
"motivations,” Stephen said. For example, there is one editor of the English "
"Wikipedia edition who has corrected a single grammatical error in articles "
"more than forty-eight thousand times.<placeholder type=\"footnote\" id=\"0\"/"
"> Only a fraction of Wikipedia users are also editors.  But editing is not "
"the only way to contribute to Wikipedia. “Some donate text, some donate "
"images, some donate financially,” Stephen told us. “They are all "
"contributors.”"
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9299
msgid ""
"But the vast majority of us who use Wikipedia are not contributors; we are "
"passive readers. The Wikimedia Foundation survives primarily on individual "
"donations, with about $15 as the average. Because Wikipedia is one of the "
"ten most popular websites in terms of total page views, donations from a "
"small portion of that audience can translate into a lot of money. In the "
"2015-16 fiscal year, they received more than $77 million from more than five "
"million donors."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9309
msgid ""
"The foundation has a fund-raising team that works year-round to raise money, "
"but the bulk of their revenue comes in during the December campaign in "
"Australia, Canada, Ireland, New Zealand, the United Kingdom, and the United "
"States. They engage in extensive user testing and research to maximize the "
"reach of their fund-raising campaigns. Their basic fund-raising message is "
"simple: We provide our readers and the world immense value, so give back. "
"Every little bit helps. With enough eyeballs, they are right."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9320
msgid ""
"The vision of the Wikimedia Foundation is a world in which every single "
"human being can freely share in the sum of all knowledge.  They work to "
"realize this vision by empowering people around the globe to create "
"educational content made freely available under an open license or in the "
"public domain. Stephen and Luis said the mission, which is rooted in the "
"same philosophy behind Creative Commons, drives everything the foundation "
"does."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9329
msgid ""
"The philosophy behind the endeavor also enables the foundation to be "
"financially sustainable. It instills trust in their readership, which is "
"critical for a revenue strategy that relies on reader donations. It also "
"instills trust in their community."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9335
msgid ""
"Any given edit on Wikipedia could be motivated by nearly an infinite number "
"of reasons. But the social mission of the project is what binds the global "
"community together. “Wikipedia is an example of how a mission can motivate "
"an entire movement,” Stephen told us."
msgstr ""

#. type: Content of: <book><part><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9342
msgid ""
"Of course, what results from that movement is one of the Internet’s great "
"public resources. “The Internet has a lot of businesses and stores, but it "
"is missing the digital equivalent of parks and open public spaces,” Stephen "
"said. “Wikipedia has found a way to be that open public space.”"
msgstr ""

#. type: Content of: <book><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9351
msgid "Bibliography"
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9353
msgid ""
"Alperovitz, Gar. What Then Must We Do? Straight Talk about the Next American "
"Revolution; Democratizing Wealth and Building a Community-Sustaining Economy "
"from the Ground Up. White River Junction, VT: Chelsea Green, 2013."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9359
msgid ""
"Anderson, Chris. Free: How Today’s Smartest Businesses Profit by Giving "
"Something for Nothing, reprint with new preface. New York: Hyperion, 2010."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9364
msgid "———. Makers: The New Industrial Revolution. New York: Signal, 2012."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9367
msgid ""
"Ariely, Dan. Predictably Irrational: The Hidden Forces That Shape Our "
"Decisions. Rev. ed. New York: Harper Perennial, 2010."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9371
msgid ""
"Bacon, Jono. The Art of Community. 2nd ed. Sebastopol, CA: O’Reilly Media, "
"2012."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9375
msgid ""
"Benkler, Yochai. The Wealth of Networks: How Social Production Transforms "
"Markets and Freedom. New Haven: Yale University Press, 2006.  <ulink url="
"\"http://www.benkler.org/Benkler_Wealth_Of_Networks.pdf\"/> (licensed under "
"CC BY-NC-SA)."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9382
msgid ""
"Benyayer, Louis-David, ed. Open Models: Business Models of the Open Economy. "
"Cachan, France: Without Model, 2016.  <ulink url=\"http://www.slideshare.net/"
"WithoutModel/open-models-book-64463892\"/> (licensed under CC BY-SA)."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9388
msgid ""
"Bollier, David. Commoning as a Transformative Social Paradigm. Paper "
"commissioned by the Next Systems Project. Washington, DC: Democracy "
"Collaborative, 2016.  <ulink url=\"http://thenextsystem.org/commoning-as-a-"
"transformative-social-paradigm/\"/>."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9394
msgid ""
"———. Think Like a Commoner: A Short Introduction to the Life of the Commons. "
"Gabriola Island, BC: New Society, 2014."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9398
msgid ""
"Bollier, David, and Pat Conaty. Democratic Money and Capital for the "
"Commons: Strategies for Transforming Neoliberal Finance through Commons-"
"Based Alternatives. A report on a Commons Strategies Group Workshop in "
"cooperation with the Heinrich Böll Foundation, Berlin, Germany, 2015.  "
"<ulink url=\"http://bollier.org/democratic-money-and-capital-commons-report-"
"pdf\"/>.  For more information, see <ulink url=\"http://bollier.org/blog/"
"democratic-money-and-capital-commons\"/>."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9408
msgid ""
"Bollier, David, and Silke Helfrich, eds. The Wealth of the Commons: A World "
"Beyond Market and State. Amherst, MA: Levellers Press, 2012."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9412
msgid ""
"Botsman, Rachel, and Roo Rogers. What’s Mine Is Yours: The Rise of "
"Collaborative Consumption. New York: Harper Business, 2010."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9416
msgid ""
"Boyle, James. The Public Domain: Enclosing the Commons of the Mind.  New "
"Haven: Yale University Press, 2008."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9419
msgid ""
"<ulink url=\"http://www.thepublicdomain.org/download/\"/> (licensed under CC "
"BY-NC-SA)."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9423
msgid ""
"Capra, Fritjof, and Ugo Mattei. The Ecology of Law: Toward a Legal System in "
"Tune with Nature and Community. Oakland, CA: Berrett-Koehler, 2015."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9428
msgid ""
"Chesbrough, Henry. Open Business Models: How to Thrive in the New Innovation "
"Landscape. Boston: Harvard Business School Press, 2006."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9432
msgid ""
"———. Open Innovation: The New Imperative for Creating and Profiting from "
"Technology. Boston: Harvard Business Review Press, 2006."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9436
msgid ""
"City of Bologna. Regulation on Collaboration between Citizens and the City "
"for the Care and Regeneration of Urban Commons. Translated by LabGov "
"(LABoratory for the GOVernance of Commons). Bologna, Italy: City of Bologna, "
"2014).  <ulink url=\"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\"/>."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9443
msgid ""
"Cole, Daniel H. “Learning from Lin: Lessons and Cautions from the Natural "
"Commons for the Knowledge Commons.” Chap. 2 in Frischmann, Madison, and "
"Strandburg, Governing Knowledge Commons."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9448
msgid ""
"Creative Commons. 2015 State of the Commons. Mountain View, CA: Creative "
"Commons, 2015.  <ulink url=\"http://stateof.creativecommons.org/2015/\"/>."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9453
msgid ""
"Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the Internet "
"Age. San Francisco: McSweeney’s, 2014."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9457
msgid ""
"Eckhardt, Giana, and Fleura Bardhi. “The Sharing Economy Isn’t about Sharing "
"at All.” Harvard Business Review, January 28, 2015.  <ulink url=\"http://hbr."
"org/2015/01/the-sharing-economy-isnt-about-sharing-at-all\"/>."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9462
msgid ""
"Elliott, Patricia W., and Daryl H. Hepting, eds. (2015). Free Knowledge: "
"Confronting the Commodification of Human Discovery.  Regina, SK: University "
"of Regina Press, 2015.  uofrpress.ca/publications/Free-Knowledge (licensed "
"under CC BY-NC-ND)."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9469
msgid ""
"Eyal, Nir. Hooked: How to Build Habit-Forming Products. With Ryan Hoover. "
"New York: Portfolio, 2014."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9473
msgid ""
"Farley, Joshua, and Ida Kubiszewski. “The Economics of Information in a Post-"
"Carbon Economy.” Chap. 11 in Elliott and Hepting, Free Knowledge."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9478
msgid ""
"Foster, William Landes, Peter Kim, and Barbara Christiansen. “Ten Nonprofit "
"Funding Models.” Stanford Social Innovation Review, Spring 2009.  <ulink url="
"\"http://ssir.org/articles/entry/ten_nonprofit_funding_models\"/>."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9484
msgid ""
"Frischmann, Brett M. Infrastructure: The Social Value of Shared Resources. "
"New York: Oxford University Press, 2012."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9488
msgid ""
"Frischmann, Brett M., Michael J. Madison, and Katherine J.  Strandburg, eds. "
"Governing Knowledge Commons. New York: Oxford University Press, 2014."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9493
msgid ""
"Frischmann, Brett M., Michael J. Madison, and Katherine J.  Strandburg. "
"“Governing Knowledge Commons.” Chap. 1 in Frischmann, Madison, and "
"Strandburg, Governing Knowledge Commons."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9498
msgid ""
"Gansky, Lisa. The Mesh: Why the Future of Business Is Sharing.  Reprint with "
"new epilogue. New York: Portfolio, 2012."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9502
msgid ""
"Grant, Adam. Give and Take: Why Helping Others Drives Our Success.  New "
"York: Viking, 2013."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9506
msgid ""
"Haiven, Max. Crises of Imagination, Crises of Power: Capitalism, Creativity "
"and the Commons. New York: Zed Books, 2014."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9510
msgid ""
"Harris, Malcom, ed. Share or Die: Voices of the Get Lost Generation in the "
"Age of Crisis. With Neal Gorenflo. Gabriola Island, BC: New Society, 2012."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9515
msgid ""
"Hermida, Alfred. Tell Everyone: Why We Share and Why It Matters.  Toronto: "
"Doubleday Canada, 2014."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9519
msgid ""
"Hyde, Lewis. Common as Air: Revolution, Art, and Ownership. New York: "
"Farrar, Straus and Giroux, 2010."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9523
msgid ""
"———. The Gift: Creativity and the Artist in the Modern World. 2nd Vintage "
"Books edition. New York: Vintage Books, 2007."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9527
msgid ""
"Kelley, Tom, and David Kelley. Creative Confidence: Unleashing the Potential "
"within Us All. New York: Crown, 2013."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9531
msgid ""
"Kelly, Marjorie. Owning Our Future: The Emerging Ownership Revolution; "
"Journeys to a Generative Economy. San Francisco:"
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9535
msgid "Berrett-Koehler, 2012."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9538
msgid ""
"Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and Get "
"Discovered. New York: Workman, 2014."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9542
msgid ""
"———. Steal Like an Artist: 10 Things Nobody Told You about Being Creative. "
"New York: Workman, 2012."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9546
msgid ""
"Kramer, Bryan. Shareology: How Sharing Is Powering the Human Economy. New "
"York: Morgan James, 2016."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9550
msgid ""
"Lee, David. “Inside Medium: An Attempt to Bring Civility to the Internet.” "
"BBC News, March 3, 2016.  <ulink url=\"http://www.bbc.com/news/"
"technology-35709680\"/>"
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9555
msgid ""
"Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid "
"Economy. New York: Penguin Press, 2008."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9559
msgid ""
"Menzies, Heather. Reclaiming the Commons for the Common Good: A Memoir and "
"Manifesto. Gabriola Island, BC: New Society, 2014."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9563
msgid ""
"Mason, Paul. Postcapitalism: A Guide to Our Future. New York: Farrar, Straus "
"and Giroux, 2015."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9567
msgid ""
"New York Times Customer Insight Group. The Psychology of Sharing: Why Do "
"People Share Online? New York: New York Times Customer Insight Group, 2011.  "
"<ulink url=\"http://www.iab.net/media/file/POSWhitePaper.pdf\"/>."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9573
msgid ""
"Osterwalder, Alex, and Yves Pigneur. Business Model Generation.  Hoboken, "
"NJ: John Wiley and Sons, 2010. A preview of the book is available at <ulink "
"url=\"http://strategyzer.com/books/business-model-generation\"/>."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9579
msgid ""
"Osterwalder, Alex, Yves Pigneur, Greg Bernarda, and Adam Smith.  Value "
"Proposition Design. Hoboken, NJ: John Wiley and Sons, 2014. A preview of the "
"book is available at <ulink url=\"http://strategyzer.com/books/value-"
"proposition-design\"/>."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9585
msgid ""
"Palmer, Amanda. The Art of Asking: Or How I Learned to Stop Worrying and Let "
"People Help. New York: Grand Central, 2014."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9589
msgid ""
"Pekel, Joris. Democratising the Rijksmuseum: Why Did the Rijksmuseum Make "
"Available Their Highest Quality Material without Restrictions, and What Are "
"the Results? The Hague, Netherlands: Europeana Foundation, 2014.  <ulink url="
"\"http://pro.europeana.eu/publication/democratising-the-rijksmuseum\"/> "
"(licensed under CC BY-SA)."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9597
msgid ""
"Ramos, José Maria, ed. The City as Commons: A Policy Reader.  Melbourne, "
"Australia: Commons Transition Coalition, 2016.  <ulink url=\"http://www."
"academia.edu/27143172/The_City_as_Commons_a_Policy_Reader\"/> (licensed "
"under CC BY-NC-ND)."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9603
msgid ""
"Raymond, Eric S. The Cathedral and the Bazaar: Musings on Linux and Open "
"Source by an Accidental Revolutionary. Rev. ed. Sebastopol, CA: O’Reilly "
"Media, 2001. See esp. “The Magic Cauldron.” <ulink url=\"http://www.catb.org/"
"esr/writings/cathedral-bazaar/\"/>."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9609
msgid ""
"Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous "
"Innovation to Create Radically Successful Businesses. New York: Crown "
"Business, 2011."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9614
msgid ""
"Rifkin, Jeremy. The Zero Marginal Cost Society: The Internet of Things, the "
"Collaborative Commons, and the Eclipse of Capitalism.  New York: Palgrave "
"Macmillan, 2014."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9619
msgid ""
"Rowe, Jonathan. Our Common Wealth. San Francisco: Berrett-Koehler, 2013."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9623
msgid ""
"Rushkoff, Douglas. Throwing Rocks at the Google Bus: How Growth Became the "
"Enemy of Prosperity. New York: Portfolio, 2016."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9627
msgid ""
"Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets. New "
"York: Farrar, Straus and Giroux, 2012."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9631
msgid ""
"Shirky, Clay. Cognitive Surplus: How Technology Makes Consumers into "
"Collaborators. London, England: Penguin Books, 2010."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9635
msgid ""
"Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York: OR "
"Books, 2015."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9639
msgid ""
"Stephany, Alex. The Business of Sharing: Making in the New Sharing Economy. "
"New York: Palgrave Macmillan, 2015."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9643
msgid ""
"Stepper, John. Working Out Loud: For a Better Career and Life. New York: "
"Ikigai Press, 2015."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9647
msgid ""
"Sull, Donald, and Kathleen M. Eisenhardt. Simple Rules: How to Thrive in a "
"Complex World. Boston: Houghton Mifflin Harcourt, 2015."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9651
msgid ""
"Sundararajan, Arun. The Sharing Economy: The End of Employment and the Rise "
"of Crowd-Based Capitalism. Cambridge, MA: MIT Press, 2016."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9655
msgid "Surowiecki, James. The Wisdom of Crowds. New York: Anchor Books, 2005."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9659
msgid ""
"Tapscott, Don, and Alex Tapscott. Blockchain Revolution: How the Technology "
"Behind Bitcoin Is Changing Money, Business, and the World. Toronto: "
"Portfolio, 2016."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9664
msgid ""
"Tharp, Twyla. The Creative Habit: Learn It and Use It for Life. With Mark "
"Reiter. New York: Simon and Schuster, 2006."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9668
msgid ""
"Tkacz, Nathaniel. Wikipedia and the Politics of Openness. Chicago: "
"University of Chicago Press, 2015."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9672
msgid ""
"Van Abel, Bass, Lucas Evers, Roel Klaassen, and Peter Troxler, eds.  Open "
"Design Now: Why Design Cannot Remain Exclusive. Amsterdam: BIS Publishers, "
"with Creative Commons Netherlands; Premsela, the Netherlands Institute for "
"Design and Fashion; and the Waag Society, 2011. <ulink url=\"http://"
"opendesignnow.org\"/> (licensed under CC BY-NC-SA)."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9680
msgid ""
"Van den Hoff, Ronald. Mastering the Global Transition on Our Way to Society "
"3.0. Utrecht, the Netherlands: Society 3.0 Foundation, 2014.  <ulink url="
"\"http://society30.com/get-the-book/\"/> (licensed under CC BY-NC-ND)."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9686
msgid ""
"Von Hippel, Eric. Democratizing Innovation. London: MIT Press, 2005.  <ulink "
"url=\"http://web.mit.edu/evhippel/www/democ1.htm\"/> (licensed under CC BY-"
"NC-ND)."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9691
msgid ""
"Whitehurst, Jim. The Open Organization: Igniting Passion and Performance. "
"Boston: Harvard Business Review Press, 2015."
msgstr ""

#. type: Content of: <book><chapter><title>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9696
msgid "Acknowledgments"
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9698
msgid ""
"We extend special thanks to Creative Commons CEO Ryan Merkley, the Creative "
"Commons Board, and all of our Creative Commons colleagues for "
"enthusiastically supporting our work. Special gratitude to the William and "
"Flora Hewlett Foundation for the initial seed funding that got us started on "
"this project."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9705
msgid ""
"Huge appreciation to all the Made with Creative Commons interviewees for "
"sharing their stories with us. You make the commons come alive.  Thanks for "
"the inspiration."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9710
msgid ""
"We interviewed more than the twenty-four organizations profiled in this "
"book. We extend special thanks to Gooru, OERu, Sage Bionetworks, and Medium "
"for sharing their stories with us. While not featured as case studies in "
"this book, you all are equally interesting, and we encourage our readers to "
"visit your sites and explore your work."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9718
msgid ""
"This book was made possible by the generous support of 1,687 Kickstarter "
"backers listed below. We especially acknowledge our many Kickstarter co-"
"editors who read early drafts of our work and provided invaluable feedback. "
"Heartfelt thanks to all of you."
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9724
msgid ""
"Co-editor Kickstarter backers (alphabetically by first name): Abraham "
"Taherivand, Alan Graham, Alfredo Louro, Anatoly Volynets, Aurora Thornton, "
"Austin Tolentino, Ben Sheridan, Benedikt Foit, Benjamin Costantini, Bernd "
"Nurnberger, Bernhard Seefeld, Bethanye Blount, Bradford Benn, Bryan Mock, "
"Carmen Garcia Wiedenhoeft, Carolyn Hinchliff, Casey Milford, Cat Cooper, "
"Chip McIntosh, Chris Thorne, Chris Weber, Chutika Udomsinn, Claire Wardle, "
"Claudia Cristiani, Cody Allard, Colleen Cressman, Craig Thomler, Creative "
"Commons Uruguay, Curt McNamara, Dan Parson, Daniel Dominguez, Daniel Morado, "
"Darius Irvin, Dave Taillefer, David Lewis, David Mikula, David Varnes, David "
"Wiley, Deborah Nas, Diderik van Wingerden, Dirk Kiefer, Dom Lane, Domi "
"Enders, Douglas Van Houweling, Dylan Field, Einar Joergensen, Elad Wieder, "
"Elie Calhoun, Erika Reid, Evtim Papushev, Fauxton Software, Felix "
"Maximiliano Obes, Ferdies Food Lab, Gatien de Broucker, Gaurav Kapil, Gavin "
"Romig-Koch, George Baier IV, George De Bruin, Gianpaolo Rando, Glenn Otis "
"Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan, "
"Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie "
"Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M "
"Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme "
"Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty, "
"Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John "
"Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos "
"Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie "
"Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen, "
"Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos "
"Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi "
"Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley, "
"MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black, "
"Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem "
"Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike "
"Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall "
"McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman, "
"Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter, "
"Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny "
"Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv "
"Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones, "
"Robert Thompson, Ronald van den Hoff, Rusi Popov, Ryan Merkley, S Searle, "
"Salomon Riedo, Samuel A. Rebelsky, Samuel Tait, Sarah McGovern, Scott "
"Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio, "
"Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun, "
"Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent, "
"Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue, "
"Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh, "
"William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque, "
"Yancey Strickler"
msgstr ""

#. type: Content of: <book><chapter><para>
#: MadewithCreativeCommonsmostup-to-dateversion.xml:9775
msgid ""
"All other Kickstarter backers (alphabetically by first name): A.  Lee, Aaron "
"C. Rathbun, Aaron Stubbs, Aaron Suggs, Abdul Razak Manaf, Abraham "
"Taherivand, Adam Croom, Adam Finer, Adam Hansen, Adam Morris, Adam Procter, "
"Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam Zimmerman, "
"Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain "
"Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert "
"O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex "
"Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown, "
"Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar, "
"Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre "
"Rafalovitch, Alexey Volkow, Alexi Wheeler, Alexis Sevault, Alfredo Louro, "
"Ali Sternburg, Alicia Gibb &amp; Lunchbox Electronics, Alison Link, Alison "
"Pentecost, Alistair Boettiger, Alistair Walder, Alix Bernier, Allan "
"Callaghan, Allen Riddell, Allison Breland Crotwell, Allison Jane Smith, "
"Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare, "
"Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André "
"Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen, "
"Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas "
"Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew "
"Hearse, Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew "
"Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve, Andy "
"Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan, Anne-Marie Scott, "
"Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton "
"Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21 "
"publishing, April Johnson, Aria F.  Chernik, Ariane Allan, Ariel Katz, "
"Arithmomaniac, Arnaud Tessier, Arnim Sommer, Ashima Bawa, Ashley Elsdon, "
"Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin "
"Hartzheim, Austin Tolentino, Avner Shanan, Axel Pettersson, Axel "
"Stieglbauer, Ay Okpokam, Barb Bartkowiak, Barbara Lindsey, Barry Dayton, "
"Bastian Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben "
"Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini, "
"Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir, "
"Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth "
"Tillinghast, Bethanye Blount, Bill Bonwitt, Bill Browne, Bill Keaggy, Bill "
"Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker, "
"Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo "
"Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak, "
"Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden Hassett, Bradford "
"Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka "
"Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel, "
"Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian "
"S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke "
"Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin, Bryan "
"Mock, Bryant Durrell, Bryce Barbato, Buzz Technology Limited, Byung-Geun "
"Jeon, C. Glen Williams, C. L. Couch, Cable Green, Callum Gare, Cameron "
"Callahan, Cameron Colby Thomson, Cameron Mulder, Camille Bissuel / Nylnook, "
"Candace Robertson, Carl Morris, Carl Perry, Carl Rigney, Carles Mateu, "
"Carlos Correa Loyola, Carlos Solis, Carmen Garcia Wiedenhoeft, Carol Long, "
"Carol marquardsen, Caroline Calomme, Caroline Mailloux, Carolyn Hinchliff, "
"Carolyn Rude, Carrie Cousins, Carrie Watkins, Casey Hunt, Casey Milford, "
"Casey Powell Shorthouse, Cat Cooper, Cecilie Maria, Cedric Howe, Cefn Hoile, "
"@ShrimpingIt, Celia Muller, Ces Keller, Chad Anderson, Charles Butler, "
"Charles Carstensen, Charles Chi Thoi Le, Charles Kobbe, Charles S. Tritt, "
"Charles Stanhope, Charlotte Ong-Wisener, Chealsye Bowley, Chelle Destefano, "
"Chenpang Chou, Cheryl Corte, Cheryl Todd, Chip Dickerson, Chip McIntosh, "
"Chris Bannister, Chris Betcher, Chris Coleman, Chris Conway, Chris Foote "
"(Spike), Chris Hurst, Chris Mitchell, Chris Muscat Azzopardi, Chris "
"Niewiarowski, Chris Opperwall, Chris Stieha, Chris Thorne, Chris Weber, "
"Chris Woolfrey, Chris Zabriskie, Christi Reid, Christian Holzberger, "
"Christian Schubert, Christian Sheehy, Christian Thibault, Christian Villum, "
"Christian Wachter, Christina Bennett, Christine Henry, Christine Rico, "
"Christopher Burrows, Christopher Chan, Christopher Clay, Christopher Harris, "
"Christopher Opiah, Christopher Swenson, Christos Keramitsis, Chuck Roslof, "
"Chutika Udomsinn, Claire Wardle, Clare Forrest, Claudia Cristiani, Claudio "
"Gallo, Claudio Ruiz, Clayton Dewey, Clement Delort, Cliff Church, Clint "
"Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin "
"Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie "
"Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory "
"Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney, "
"Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini, "
"Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei, "
"Dagmar M. Meyer, Dan Mcalister, Dan Mohr, Dan Parson, Dana Freeman, Dana "
"Ospina, Dani Leviss, Daniel Bustamante, Daniel Demmel, Daniel Dominguez, "
"Daniel Dultz, Daniel Gallant, Daniel Kossmann, Daniel Kruse, Daniel Morado, "
"Daniel Morgan, Daniel Pimley, Daniel Sabo, Daniel Sobey, Daniel Stein, "
"Daniel Wildt, Daniele Prati, Danielle Moss, Danny Mendoza, Dario "
"Taraborelli, Darius Irvin, Darius Whelan, Darla Anderson, Dasha Brezinova, "
"Dave Ainscough, Dave Bull, Dave Crosby, Dave Eagle, Dave Moskovitz, Dave "
"Neeteson, Dave Taillefer, Dave Witzel, David Bailey, David Cheung, David "
"Eriksson, David Gallagher, David H. Bronke, David Hartley, David Hellam, "
"David Hood, David Hunter, David jlaietta, David Lewis, David Mason, David "
"Mcconville, David Mikula, David Nelson, David Orban, David Parry, David "
"Spira, David T.  Kindler, David Varnes, David Wiley, David Wormley, Deborah "
"Nas, Denis Jean, dennis straub, Dennis Whittle, Denver Gingerich, Derek "
"Slater, Devon Cooke, Diana Pasek-Atkinson, Diane Johnston Graves, Diane K. "
"Kovacs, Diane Trout, Diderik van Wingerden, Diego Cuevas, Diego De La Cruz, "
"Dimitrie Grigorescu, Dina Marie Rodriguez, Dinah Fabela, Dirk Haun, Dirk "
"Kiefer, Dirk Loop, DJ Fusion - FuseBox Radio Broadcast, Dom jurkewitz, Dom "
"Lane, Domi Enders, Domingo Gallardo, Dominic de Haas, Dominique Karadjian, "
"Dongpo Deng, Donnovan Knight, Door de Flines, Doug Fitzpatrick, Doug Hoover, "
"Douglas Craver, Douglas Van Camp, Douglas Van Houweling, Dr. Braddlee, Drew "
"Spencer, Duncan Sample, Durand D’souza, Dylan Field, E C Humphries, Eamon "
"Caddigan, Earleen Smith, Eden Sarid, Eden Spodek, Eduardo Belinchon, Eduardo "
"Castro, Edwin Vandam, Einar Joergensen, Ejnar Brendsdal, Elad Wieder, Elar "
"Haljas, Elena Valhalla, Eli Doran, Elias Bouchi, Elie Calhoun, Elizabeth "
"Holloway, Ellen Buecher, Ellen Kaye- Cheveldayoff, Elli Verhulst, Elroy "
"Fernandes, Emery Hurst Mikel, Emily Catedral, Enrique Mandujano R., Eric "
"Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric Hellman, Eric "
"Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard, Erika Reid, "
"Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan Bousse, Erwin "
"Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan Tangman, Evonne "
"Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton Software, Felix "
"Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix Schmidt, Felix "
"Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe Rodrigues, "
"Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer, Florent "
"Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot Games, "
"Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois Grey, "
"François Gros, François Pelletier, Fred Benenson, Frédéric Abella, Frédéric "
"Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel Staples, "
"Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath, Gary "
"Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de "
"Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George "
"Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman, "
"Geronimo de la Lama, Gianpaolo Rando, Gil Stendig, Gino Cingolani Trucco, "
"Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives "
"Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman, "
"Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg "
"Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn, "
"Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho "
"Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T "
"Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de "
"Raad, Hans Vd Horst, Harold van Ingen, Harold Watson, Harry Chapman, Harry "
"Kaczka, Harry Torque, Hayden Glass, Hayley Rosenblum, Heather Leson, Helen "
"Crisp, Helen Michaud, Helen Qubain, Helle Rekdal Schønemann, Henrique Flach "
"Latorre Moreno, Henry Finn, Henry Kaiser, Henry Lahore, Henry Steingieser, "
"Hermann Paar, Hillary Miller, Hironori Kuriaki, Holly Dykes, Holly Lyne, "
"Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian "
"Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider, "
"Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah "
"Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek "
"Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla, "
"Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach, "
"James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James "
"Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol, "
"Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park, "
"Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason E. "
"Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy Bear "
"Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne, Jean-Philippe "
"Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff De Cagna, Jeff "
"Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff Rasalla, Jeff Ski "
"Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen Garcia, Jens Erat, "
"Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell, Jeremy Sabo, Jeremy "
"Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret, Jessica Dickinson "
"Goodman, Jessica Litman, Jessica Mackay, Jessy Kate Schingler, Jesús Longás "
"Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim O’Flaherty, Jim Pellegrini, "
"Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo Allum, Joachim Brandon LeBlanc, "
"Joachim Pileborg, Joachim von Goetz, Joakim Bang Larsen, Joan Rieu, Joanna "
"Penn, João Almeida, Jochen Muetsch, Jodi Sandfort, Joe Cardillo, Joe "
"Carpita, Joe Moross, Joerg Fricke, Johan Adda, Johan Meeusen, Johannes "
"Förstner, Johannes Visintini, John Benfield, John Bevan, John C Patterson, "
"John Crumrine, John Dimatos, John Feyler, John Huntsman, John Manoogian III, "
"John Muller, John Ober, John Paul Blodgett, John Pearce, John Shale, John "
"Sharp, John Simpson, John Sumser, John Weeks, John Wilbanks, John Worland, "
"Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon Andersen, Jon Cohrs, Jon "
"Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith, Jonas Öberg, Jonas "
"Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan Holst, Jonathan Lin, "
"Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg Schwarz, Jose Antonio "
"Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph Sullivan, Joseph "
"Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP Rangaswami, Juan Carlos "
"Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo Marin Diaz, Judith "
"Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter, Julia Devonshire, "
"Julian Fietkau, Julie Harboe, Julien Brossoit, Julien Leroy, Juliet Chen, "
"Julio Terra, Julius Mikkelä, Justin Christian, Justin Grimes, Justin Jones, "
"Justin Szlasa, Justin Walsh, JustinChung.com, K. J.  Przybylski, Kaloyan "
"Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant, Kara Monroe, Karen Pe, "
"Karl Jahn, Karl Jonsson, Karl Nelson, Kasia Zygmuntowicz, Kat Lim, Kate "
"Chapman, Kate Stewart, Kathleen Beck, Kathleen Hanrahan, Kathryn Abuzzahab, "
"Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie Lynn Daniels, Katie Meek, "
"Katie Teague, Katrina Hennessy, Katriona Main, Kavan Antani, Keith Adams, "
"Keith Berndtson, MD, Keith Luebke, Kellie Higginbottom, Ken Friis Larsen, "
"Ken Haase, Ken Torbeck, Kendel Ratley, Kendra Byrne, Kerry Hicks, Kevin "
"Brown, Kevin Coates, Kevin Flynn, Kevin Rumon, Kevin Shannon, Kevin Taylor, "
"Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane l’Azin, Kianosh Pourian, Kiran "
"Kadekoppa, Kit Walsh, Klaus Mickus, Konrad Rennert, Kris Kasianovitz, "
"Kristian Lundquist, Kristin Buxton, Kristina Popova, Kristofer Bratt, "
"Kristoffer Steen, Kumar McMillan, Kurt Whittemore, Kyle Pinches, Kyle "
"Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry Garfield, Larry Singer, "
"Lars Josephsen, Lars Klaeboe, Laura Anne Brown, Laura Billings, Laura "
"Ferejohn, Lauren Pedersen, Laurence Gonsalves, Laurent Muchacho, Laurie "
"Racine, Laurie Reynolds, Lawrence M. Schoen, Leandro Pangilinan, Leigh "
"Verlandson, Lenka Gondolova, Leonardo Bueno Postacchini, leonardo menegola, "
"Lesley Mitchell, Leslie Krumholz, Leticia Britos Cavagnaro, Levi Bostian, "
"Leyla Acaroglu, Liisa Ummelas, Lilly Kashmir Marques, Lior Mazliah, Lisa "
"Bjerke, Lisa Brewster, Lisa Canning, Lisa Cronin, Lisa Di Valentino, "
"Lisandro Gaertner, Livia Leskovec, Liynn Worldlaw, Liz Berg, Liz White, "
"Logan Cox, Loki Carbis, Lora Lynn, Lorna Prescott, Lou Yufan, Louie "
"Amphlett, Louis-David Benyayer, Louise Denman, Luca Corsato, Luca Lesinigo, "
"Luca Palli, Luca Pianigiani, Luca S.G. de Marinis, Lucas Lopez, Lukas "
"Mathis, Luke Chamberlin, Luke Chesser, Luke Woodbury, Lulu Tang, Lydia "
"Pintscher, M Alexander Jurkat, Maarten Sander, Macie J Klosowski, Magnus "
"Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh, Maik Schmalstich, Maiken "
"Håvarstein, Maira Sutton, Mairi Thomson, Mandy Wultsch, Manickkavasakam "
"Rajasekar, Marc Bogonovich, Marc Harpster, Marc Martí, Marc Olivier Bastien, "
"Marc Stober, Marc-André Martin, Marcel de Leeuwe, Marcel Hill, Marcia "
"Hofmann, Marcin Olender, Marco Massarotto, Marco Montanari, Marco Morales, "
"Marcos Medionegro, Marcus Bitzl, Marcus Norrgren, Margaret Gary, Mari "
"Moreshead, Maria Liberman, Marielle Hsu, Marino Hernandez, Mario Lurig, "
"Mario R. Hemsley, MD, Marissa Demers, Mark Chandler, Mark Cohen, Mark De "
"Solla Price, Mark Gabby, Mark Gray, Mark Koudritsky, Mark Kupfer, Mark "
"Lednor, Mark McGuire, Mark Moleda, Mark Mullen, Mark Murphy, Mark Perot, "
"Mark Reeder, Mark Spickett, Mark Vincent Adams, Mark Waks, Mark Zuccarell "
"II, Markus Deimann, Markus Jaritz, Markus Luethi, Marshal Miller, Marshall "
"Warner, Martijn Arets, Martin Beaudoin, Martin Decky, Martin DeMello, Martin "
"Humpolec, Martin Mayr, Martin Peck, Martin Sanchez, Martino Loco, Martti "
"Remmelgas, Martyn Eggleton, Martyn Lewis, Mary Ellen Davis, Mary Heacock, "
"Mary Hess, Mary Mi, Masahiro Takagi, Mason Du, Massimo V.A. Manzari, Mathias "
"Bavay, Mathias Nicolajsen Kjærgaard, Matias Kruk, Matija Nalis, Matt Alcock, "
"Matt Black, Matt Broach, Matt Hall, Matt Haughey, Matt Lee, Matt Plec, Matt "
"Skoss, Matt Thompson, Matt Vance, Matt Wagstaff, Matteo Cocco, Matthew "
"Bendert, Matthew Bergholt, Matthew Darlison, Matthew Epler, Matthew Hawken, "
"Matthew Heimbecker, Matthew Orstad, Matthew Peterworth, Matthew Sheehy, "
"Matthew Tucker, Adaptive Handy Apps, LLC, Mattias Axell, Max Green, Max "
"Kossatz, Max lupo, Max Temkin, Max van Balgooy, Médéric Droz-dit-Busset, "
"Megan Ingle, Megan Wacha, Meghan Finlayson, Melissa Aho, Melissa Sterry, "
"Melle Funambuline, Menachem Goldstein, Micah Bridges, Michael Ailberto, "
"Michael Anderson, Michael Andersson Skane, Michael C. Stewart, Michael "
"Carroll, Michael Cavette, Michael Crees, Michael David Johas Teener, Michael "
"Dennis Moore, Michael Freundt Karlsen, Michael Harries, Michael Hawel, "
"Michael Lewis, Michael May, Michael Murphy, Michael Murvine, Michael "
"Perkins, Michael Sauers, Michael St.Onge, Michael Stanford, Michael Stanley, "
"Michael Underwood, Michael Weiss, Michael Wright, Michael-Andreas Kuttner, "
"Michaela Voigt, Michal Rosenn, Michał Szymański, Michel Gallez, Michell "
"Zappa, Michelle Heeyeon You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike "
"Chelen, Mike Habicher, Mike Maloney, Mike Masnick, Mike McDaniel, Mike "
"Pouraryan, Mike Sheldon, Mike Stop Continues, Mike Stringer, Mike "
"Wittenstein, Mikkel Ovesen, Mikołaj Podlaszewski, Millie Gonzalez, Mindi "
"Lovell, Mindy Lin, Mirko “Macro” Fichtner, Mitch Featherston, Mitchell "
"Adams, Molika Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, "
"Moritz Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk "
"Pilgrim, Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, Nah Wee "
"Yang, Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey, Nathan "
"Miller, Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele "
"Wollert, Neuchee Chang, Niall McDonagh, Niall Twohig, Nic McPhee, Nicholas "
"Bentley, Nicholas Koran, Nicholas Norfolk, Nicholas Potter, Nick Bell, Nick "
"Coghlan, Nick Isaacs, Nick M. Daly, Nick Vance, Nickolay Vedernikov, Nicky "
"Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole Hickman, Niek "
"Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola Chernev, "
"Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-Fein, Noah "
"Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum, "
"Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle Ahnve, Omar "
"Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López "
"Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter, "
"Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat "
"Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf, "
"Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, Patrick "
"McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik "
"Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey, "
"Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul "
"Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström "
"Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry "
"Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins, "
"Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter "
"O’Brien, Peter Pinch, Peter S.  Crosby, Peter Wells, Petr Fristedt, Petr "
"Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip "
"Pangrac, Philip R.  Skaggs Jr., Philip Young, Philippa Lorne Channer, "
"Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels, "
"Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill, "
"Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer, "
"Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani, "
"Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël "
"Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar, "
"Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich "
"McCue, Richard “TalkToMeGuy” Olson, Richard Best, Richard Blumberg, Richard "
"Fannon, Richard Heying, Richard Karnesky, Richard Kelly, Richard Littauer, "
"Richard Sobey, Richard White, Richard Winchell, Rik ToeWater, Rita Lewis, "
"Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley, Rob Bertholf, Rob "
"Emanuele, Rob McAuliffe, Rob McKaughan, Rob Tillie, Rob Utter, Rob Vincent, "
"Robert Gaffney, Robert Jones, Robert Kelly, Robert Lawlis, Robert McDonald, "
"Robert Orzanna, Robert Paterson Hunter, Robert R. Daniel Jr., Robert Ryan-"
"Silva, Robert Thompson, Robert Wagoner, Roberto Selvaggio, Robin DeRosa, "
"Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon, Roger Saner, Roger So, "
"Roger Solé, Roger Tregear, Roland Tanglao, Rolf and Mari von Walthausen, "
"Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald Bissell, Ronald van den "
"Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay, Ross Pruden, Ross "
"Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert Hitzenberger, Rusi "
"Popov, Russ Antonucci, Russ Spollin, Russell Brand, Rute Correia, Ruth Ann "
"Carpenter, Ruth White, Ryan Mentock, Ryan Merkley, Ryan Price, Ryan Sasaki, "
"Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin Kenaid, Salomon "
"Riedo, Sam Hokin, Sam Twidale, Samantha Levin, Samantha-Jayne Chapman, "
"Samarth Agarwal, Sami Al-AbdRabbuh, Samuel A. Rebelsky, Samuel Goëta, Samuel "
"Hauser, Samuel Landete, Samuel Oliveira Cersosimo, Samuel Tait, Sandra "
"Fauconnier, Sandra Markus, Sandy Bjar, Sandy ONeil, Sang-Phil Ju, Sanjay "
"Basu, Santiago Garcia, Sara Armstrong, Sara Lucca, Sara Rodriguez Marin, "
"Sarah Brand, Sarah Cove, Sarah Curran, Sarah Gold, Sarah McGovern, Sarah "
"Smith, Sarinee Achavanuntakul, Sasha Moss, Sasha VanHoven, Saul Gasca, Scott "
"Abbott, Scott Akerman, Scott Beattie, Scott Bruinooge, Scott Conroy, Scott "
"Gillespie, Scott Williams, Sean Anderson, Sean Johnson, Sean Lim, Sean "
"Wickett, Seb Schmoller, Sebastiaan Bekker, Sebastiaan ter Burg, Sebastian "
"Makowiecki, Sebastian Meyer, Sebastian Schweizer, Sebastian Sigloch, "
"Sebastien Huchet, Seokwon Yang, Sergey Chernyshev, Sergey Storchay, Sergio "
"Cardoso, Seth Drebitko, Seth Gover, Seth Lepore, Shannon Turner, Sharon "
"Clapp, Shauna Redmond, Shawn Gaston, Shawn Martin, Shay Knohl, Shelby "
"Hatfield, Sheldon (Vila) Widuch, Sheona Thomson, Si Jie, Sicco van Sas, "
"Siena Oristaglio, Simon Glover, Simon John King, Simon Klose, Simon Law, "
"Simon Linder, Simon Moffitt, Solomon Kahn, Solomon Simon, Soujanna Sarkar, "
"Stanislav Trifonov, Stefan Dumont, Stefan Jansson, Stefan Langer, Stefan "
"Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan Meißl, Stéphane "
"Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey, Stephen Pearce, "
"Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson, Steve Battle, "
"Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve Ingram, Steve Kroy, "
"Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven Knudsen, Steven Melvin, "
"Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart Maxwell, Stuart Reich, "
"Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun, Susan R Grossman, Suzie "
"Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle, Sylvain Chery, Sylvia "
"Green, Sylvia van Bruggen, Szabolcs Berecz, T. L. Mason, Tanbir Baeg, Tanya "
"Hart, Tara Tiger Brown, Tara Westover, Tarmo Toikkanen, Tasha Turner "
"Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan, Teresa Gonczy, Terry "
"Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo, Thibault Badenas, "
"Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas Chang, Thomas Hartman, "
"Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds, Thomas Thrush, Thomas "
"Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim Chambers, Tim Cook, Tim "
"Evers, Tim Nichols, Tim Stahmer, Timothée Planté, Timothy Arfsten, Timothy "
"Hinchliff, Timothy Vollmer, Tina Coffman, Tisza Gergő, Tobias Schonwetter, "
"Todd Brown, Todd Pousley, Todd Sattersten, Tom Bamford, Tom Caswell, Tom "
"Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom Merkli, Tom Merritt, Tom "
"Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti, Tommy Dahlen, Tony Ciak, "
"Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin, Tracey Henton, Tracey "
"James, Traci Long DeForge, Trent Yarwood, Trevor Hogue, Trey Blalock, Trey "
"Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy, Tyler Occhiogrosso, Udo "
"Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum, Vaughan jenkins, Veethika "
"Mishra, Vic King, Vickie Goode, Victor DePina, Victor Grigas, Victoria "
"Klassen, Victorien Elvinger, VIGA Manufacture, Vikas Shah, Vinayak S."
"Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia Gentilini, Virginia "
"Kopelman, Vitor Menezes, Vivian Marthell, Wayne Mackintosh, Wendy Keenan, "
"Werner Wiethege, Wesley Derbyshire, Widar Hellwig, Willa Köerner, William "
"Bettridge-Radford, William Jefferson, William Marshall, William Peter Nash, "
"William Ray, William Robins, Willow Rosenberg, Winie Evers, Wolfgang "
"Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier Moisant, Xueqi Li, "
"Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian Sun, Yves "
"Deruisseau, Zach Chandler, Zak Zebrowski, Zane Amiralis and Joshua de Haan, "
"ZeMarmot Open Movie"
msgstr ""

#, fuzzy
#~ msgid "% Made with Creative Commons % Paul Stacey;Sarah Hinchliff Pearson"
#~ msgstr "door Paul Stacey & Sarah Hinchliff Pearson"

#~ msgid "ISBN 978-87-998733-3-3"
#~ msgstr "ISBN 978-87-998733-3-3"

#~ msgid "Cover and interior design by Klaus Nielsen, vinterstille.dk"
#~ msgstr "Omslag en intern ontwerp door Klaus Nielsen, vinterstille.dk"

#~ msgid "Content editing by Grace Yaginuma"
#~ msgstr "Inhoudsbewerking door Grace Yaginuma"

#~ msgid "Ctrl+Alt+Delete Books"
#~ msgstr "Ctrl+Alt+Delete boeken"

#~ msgid "Husumgade 10, 5."
#~ msgstr "Husumgade 10, 5."

#~ msgid "2200 Copenhagen N"
#~ msgstr "2200 Kopenhagen N"

#~ msgid "Denmark"
#~ msgstr "Denemarken"

#~ msgid "www.cadb.dk"
#~ msgstr "www.cadb.dk"

#~ msgid "hey@cadb.dk"
#~ msgstr "hey@cadb.dk"

#~ msgid "Printer:"
#~ msgstr "Drukker:"

#~ msgid "Drukarnia POZKAL Spółka z o.o. Spółka komandytowa"
#~ msgstr "Drukarnia POZKAL Spółka z o.o. Spółka komandytowa"

#~ msgid "88-100 Inowrocław,"
#~ msgstr "88-100 Inowrocław,"

#~ msgid "ul. Cegielna 10/12,"
#~ msgstr "ul. Cegielna 10/12,"

#~ msgid "Poland"
#~ msgstr "Polen"

#~ msgid "*Ryan Merkley*\n"
#~ msgstr "*Ryan Merkley*\n"

#~ msgid "Paul Stacey and Sarah Hinchliff Pearson"
#~ msgstr "Paul Stacey en Sarah Hinchliff Pearson"

#~ msgid "<span id=\"anchor\"></span>Made"
#~ msgstr "<span id=\"anchor\"></span>Gemaakt"

#~ msgid "<span id=\"anchor-1\"></span>with"
#~ msgstr "<span id=\"anchor-1\"></span>met"

#~ msgid "<span id=\"anchor-2\"></span>Creative"
#~ msgstr "<span id=\"anchor-2\"></span>Creative"

#~ msgid "<span id=\"anchor-3\"></span>Commons"
#~ msgstr "<span id=\"anchor-3\"></span>Commons"

#~ msgid "<span id=\"anchor-5\"></span>"
#~ msgstr "<span id=\"anchor-5\"></span>"

#~ msgid "<span id=\"anchor-7\"></span>Foreword"
#~ msgstr "<span id=\"anchor-7\"></span>Voorwoord"