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   1 <html><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8"><title>Feito com Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets Vsnapshot"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="pt_BR" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Feito com Creative Commons</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Paul</span> <span class="surname">Stacey</span></h3></div><div class="author"><h3 class="author"><span class="firstname">Sarah Hinchliff</span> <span class="surname">Pearson</span></h3></div></div></div><div><p class="copyright">Copyright © 2017 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
   2     Este livro é publicado sob uma licença CC BY-SA, o que significa que você
   3 pode copiar, redistribuir, remixar, transformar e desenvolver o conteúdo
   4 para qualquer finalidade, mesmo comercialmente, desde que você dê o crédito
   5 apropriado, forneça um link para o licença e indicar se foram feitas
   6 alterações. Se você remixar, transformar ou desenvolver o material, deverá
   7 distribuir suas contribuições sob a mesma licença do original. Detalhes da
   8 licença: <a class="ulink" href="https://creativecommons.org/licenses/by-sa/4.0/deed.pt_BR" target="_top">https://creativecommons.org/licenses/by-sa/4.0/deed.pt_BR</a>
   9   </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>Não sei muito sobre jornalismo de não ficção... A maneira que penso sobre
  10 essas coisas e em termos do que posso fazer é... ensaios como esse são
  11 ocasiões para observar alguém razoavelmente brilhante, mas também
  12 razoavelmente mediano, prestar mais atenção e pensar muito mais longamente
  13 sobre todos os tipos de coisas diferentes do que a maioria de nós tem chance
  14 de fazer em nossas vidas diárias.</p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
  15     \textit{  David Foster Wallace }
  16     \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Índice</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Prefácio</a></span></dt><dt><span class="preface"><a href="#introduction">Introdução</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. O Quadro Geral</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. O Novo Mundo dos Comuns Digitais</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Acknowledgments</a></span></dt></dl></div><div class="list-of-figures"><p><b>Lista de Figuras</b></p><dl><dt>1.1. <a href="#fig-1">Engajamento empresarial com comuns, estado e mercado.</a></dt><dt>1.2. <a href="#fig-2">Quatro aspectos da gestão de recursos</a></dt><dt>1.3. <a href="#fig-3">Como o mercado, os bens comuns e o estado geram recursos.</a></dt><dt>1.4. <a href="#fig-4">Na sociedade pré-industrializada.</a></dt><dt>1.5. <a href="#fig-5">O comum é gradualmente substituído pelo Estado.</a></dt><dt>1.6. <a href="#fig-6">Como o mercado, o estado e os comuns são hoje.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Prefácio</h1></div></div></div><p>
  17     Três anos atrás, logo depois de ser contratado como CEO da Creative Commons,
  18 me encontrei com Cory Doctorow no bar do Gladstone Hotel, em Toronto. Como
  19 um dos proponentes mais conhecidos da CC – alguém que também teve uma
  20 carreira de sucesso como escritor que compartilha seu trabalho usando CC –
  21 eu disse a ele que achava que a CC tinha um papel na definição e promoção de
  22 modelos de negócios abertos. Ele discordou gentilmente e considerou a busca
  23 de modelos de negócios viáveis por meio da CC <span class="quote">“<span class="quote">uma pista
  24 falsa</span>”</span>.
  25   </p><p>
  26     Ele estava, de certa forma, completamente correto – aqueles que fazem coisas
  27 com Creative Commons têm segundas intenções, como Paul Stacey explica neste
  28 livro: <span class="quote">“<span class="quote">Independentemente do status legal, todos eles têm uma missão
  29 social. Sua principal razão de ser é tornar o mundo um lugar melhor, sem
  30 fins lucrativos. O dinheiro é um meio para um fim social, não o fim em
  31 si.</span>”</span>
  32   </p><p>
  33     No estudo de caso sobre Cory Doctorow, Sarah Hinchliff Pearson cita as
  34 palavras de Cory em seu livro Information Doesn’t Want to Be Free:
  35 <span class="quote">“<span class="quote">Entrar nas artes porque você quer ficar rico é como comprar bilhetes
  36 de loteria porque você quer ficar rico. Pode funcionar, mas quase certamente
  37 não. Embora, é claro, alguém sempre ganhe na loteria.</span>”</span>
  38   </p><p>
  39     Hoje, o direito autoral é como um bilhete de loteria – todo mundo tem um e
  40 quase ninguém ganha. O que eles não dizem é que, se você decidir
  41 compartilhar seu trabalho, o retorno pode ser significativo e
  42 duradouro. Este livro está repleto de histórias de pessoas que assumem
  43 riscos muito maiores do que os dois dólares que pagamos por um bilhete de
  44 loteria e, em vez disso, colhem as recompensas que advêm de perseguir suas
  45 paixões e viver seus valores.
  46   </p><p>
  47     Portanto, não se trata de dinheiro. Também: é. Encontrar os meios para
  48 continuar a criar e compartilhar geralmente requer alguma receita. Max
  49 Temkin, da Cards Against Humanity, diz isso melhor em seu estudo de caso:
  50 <span class="quote">“<span class="quote">Não fazemos piadas e jogos para ganhar dinheiro – ganhamos dinheiro
  51 para que possamos fazer mais piadas e jogos.</span>”</span>
  52   </p><p>
  53     O foco da Creative Commons é construir um commons vibrante e utilizável,
  54 movido pela colaboração e gratidão. Capacitar comunidades de colaboração
  55 está no centro de nossa estratégia. Com isso em mente, a Creative Commons
  56 iniciou o projeto deste livro. Liderado por Paul e Sarah, o projeto teve
  57 como objetivo definir e promover os melhores modelos de negócios
  58 abertos. Paul e Sarah eram os autores ideais para escrever Feito com
  59 Creative Commons.
  60   </p><p>
  61     Paul sonha com um futuro onde novos modelos de criatividade e inovação
  62 superem a desigualdade e a escassez que hoje definem as piores partes do
  63 capitalismo. Ele é movido pelo poder das conexões humanas entre comunidades
  64 de criadores. Ele tem uma visão mais ampla do que a maioria, e isso o tornou
  65 um melhor educador, um pesquisador perspicaz e também um jardineiro
  66 habilidoso. Ele tem uma voz calma e fria que transmite uma paixão que
  67 inspira seus colegas e a comunidade.
  68   </p><p>
  69     Sarah é o melhor tipo de advogada – uma verdadeira defensora que acredita no
  70 bem das pessoas e no poder dos atos coletivos para mudar o mundo. Durante o
  71 ano passado, vi Sarah lutar contra a mágoa que vem por investir tanto em uma
  72 campanha política que não terminou como ela esperava. Hoje, ela está mais
  73 determinada do que nunca a viver com seus valores na manga. Sempre posso
  74 contar com Sarah para empurrar a Creative Commons para focar em nosso
  75 impacto – para tornar a coisa principal a coisa principal. Ela é prática,
  76 orientada para os detalhes e inteligente. Não há ninguém na minha equipe com
  77 quem eu goste mais de debater.
  78   </p><p>
  79     Como co-autores, Paul e Sarah se complementam perfeitamente. Eles
  80 pesquisaram, analisaram, discutiram e trabalharam em equipe, às vezes juntos
  81 e às vezes de forma independente. Eles mergulharam na pesquisa e na escrita
  82 com paixão e curiosidade, e um profundo respeito pelo que é necessário para
  83 construir o bem comum e compartilhar com o mundo. Eles permaneceram abertos
  84 a novas ideias, incluindo a possibilidade de que suas teorias iniciais
  85 precisassem ser aprimoradas ou pudessem estar completamente erradas. Isso é
  86 corajoso e tornou-se um livro melhor, perspicaz, honesto e útil.
  87   </p><p>
  88     Desde o início, a CC quis desenvolver este projeto com os princípios e
  89 valores da colaboração aberta. O livro foi financiado, desenvolvido,
  90 pesquisado e escrito abertamente. Ele está sendo compartilhado abertamente
  91 sob uma licença CC BY-SA para qualquer pessoa usar, remixar ou adaptar com
  92 atribuição. É, por si só, um exemplo de modelo de negócio aberto.
  93   </p><p>
  94     Por 31 dias em agosto de 2015, Sarah decidiu organizar e executar uma
  95 campanha Kickstarter para gerar o financiamento básico para o livro. O
  96 restante foi fornecido por generosos doadores e apoiadores do CC. No final,
  97 tornou-se um dos projetos de livro de maior sucesso no Kickstarter,
  98 superando dois objetivos extensos e envolvendo mais de 1.600 doadores – a
  99 maioria deles novos apoiadores da Creative Commons.
 100   </p><p>
 101     Paul e Sarah trabalharam abertamente durante todo o projeto, publicando os
 102 planos, rascunhos, estudos de caso e análises, desde o início e com
 103 frequência, e envolveram comunidades em todo o mundo para ajudar a escrever
 104 este livro. Como suas opiniões divergiram e seus interesses entraram em
 105 foco, eles dividiram suas vozes e decidiram mantê-los separados no produto
 106 final. Trabalhar dessa maneira requer humildade e autoconfiança e, sem
 107 dúvida, tornou o Feito com Creative Commons um projeto melhor.
 108   </p><p>
 109     Aqueles que trabalham e compartilham dos bens comuns não são criadores
 110 típicos. Eles são parte de algo maior do que eles próprios, e o que eles
 111 oferecem a todos nós é um dom profundo. O que eles recebem em troca é
 112 gratidão e uma comunidade.
 113   </p><p>
 114     Jonathan Mann, cujo perfil é apresentado neste livro, escreve uma música por
 115 dia. Quando eu pedi a ele para escrever uma música para o nosso Kickstarter
 116 (e se oferecer como um benefício do Kickstarter), ele concordou
 117 imediatamente. Por que ele concordaria em fazer isso? Porque o commons tem a
 118 colaboração em seu núcleo, e a comunidade como um valor chave, e porque as
 119 licenças CC ajudaram muitos a compartilhar as formas que escolheram com um
 120 público global.
 121   </p><p>
 122     Sarah escreve, <span class="quote">“<span class="quote">Os esforços feitos com Creative Commons prosperam
 123 quando a comunidade é construída em torno do que eles fazem. Isso pode
 124 significar uma comunidade colaborando para criar algo novo, ou pode ser
 125 simplesmente um grupo de pessoas com ideias semelhantes que se conhecem e se
 126 unem em torno de interesses ou crenças comuns. Até certo ponto, simplesmente
 127 ser feito com Creative Commons traz automaticamente consigo algum elemento
 128 de comunidade, ajudando a conectá-lo a outras pessoas que reconhecem e são
 129 atraídas para os valores simbolizados pelo uso de CC</span>”</span>. Amanda Palmer,
 130 a outra música perfilada no livro, certamente acrescentaria isso de seu
 131 estudo de caso: <span class="quote">“<span class="quote">Não há objetivo final mais satisfatório do que ter
 132 alguém lhe dizendo que o que você faz é genuinamente valioso para
 133 eles.</span>”</span>
 134   </p><p>
 135     Este não é um livro de negócios típico. Para quem procura uma receita ou um
 136 roteiro, pode ficar desapontado. Mas para aqueles que buscam um objetivo
 137 social, construir algo grande por meio da colaboração ou se juntar a uma
 138 comunidade global poderosa e crescente, eles certamente ficarão
 139 satisfeitos. Feito com Creative Commons oferece um conjunto de valores e
 140 princípios claramente articulados para mudar o mundo, algumas ferramentas
 141 essenciais para explorar suas próprias oportunidades de negócios e duas
 142 dezenas de doses de pura inspiração.
 143   </p><p>
 144     Em um artigo de 1996 da Stanford Law Review <span class="quote">“<span class="quote">The Zones of
 145 Cyberspace</span>”</span>, o fundador do CC Lawrence Lessig escreveu, <span class="quote">“<span class="quote">O
 146 ciberespaço é um lugar. Pessoas moram lá. Elas experimentam todos os tipos
 147 de coisas que experimentam no espaço real, ali. Para alguns, elas
 148 experimentam mais. Elas vivenciam isso não como indivíduos isolados, jogando
 149 algum jogo de computador de alta tecnologia; elas experimentam isso em
 150 grupos, em comunidades, entre estranhos, entre pessoas que eles conhecem e
 151 às vezes gostam. </span>”</span>
 152   </p><p>
 153     Estou extremamente orgulhoso de que a Creative Commons seja capaz de
 154 publicar este livro para as muitas comunidades que conhecemos e
 155 gostamos. Sou grato a Paul e Sarah por sua criatividade e ideias, e às
 156 comunidades globais que nos ajudaram a trazer isso para você. Como
 157 frequentemente diz o membro do conselho da CC, Johnathan Nightingale,
 158 <span class="quote">“<span class="quote">É tudo feito de pessoas.</span>”</span>
 159   </p><p>
 160     Esse é o verdadeiro valor das coisas feitas com Creative Commons.
 161   </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
 162     \textit{ Ryan Merkley, CEO, Creative Commons}
 163     \end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="introduction"></a>Introdução</h1></div></div></div><p>
 164     Este livro mostra ao mundo como o compartilhamento pode ser bom para os
 165 negócios – mas com uma diferença.
 166   </p><p>
 167     Começamos o projeto com a intenção de explorar como criadores, organizações
 168 e empresas ganham dinheiro para sustentar o que fazem quando compartilham
 169 seus trabalhos usando licenças Creative Commons. Nosso objetivo não era
 170 identificar uma fórmula para modelos de negócios que usam Creative Commons,
 171 mas, em vez disso, reunir ideias novas e exemplos dinâmicos que geram
 172 modelos novos e inovadores e ajudam outros a seguir o exemplo, construindo
 173 sobre o que já funciona. No início, estruturamos nossa investigação em
 174 termos de negócios familiares. Criamos uma <span class="quote">“<span class="quote">tela de modelo de negócios
 175 aberto</span>”</span> em branco, uma ferramenta on-line interativa que ajudaria as
 176 pessoas a projetar e analisar seu modelo de negócios.
 177   </p><p>
 178     Por meio do generoso financiamento dos patrocinadores do Kickstarter,
 179 começamos este projeto primeiro identificando e – selecionando um grupo
 180 diverso de criadores, organizações e empresas que usam a Creative Commons de
 181 uma forma integral o que chamamos de ser Feito com Creative Commons. Nós os
 182 entrevistamos e escrevemos suas histórias. Analisamos o que ouvimos e nos
 183 aprofundamos na literatura.
 184   </p><p>
 185     Mas enquanto fazíamos nossa pesquisa, algo interessante aconteceu. Nossa
 186 maneira inicial de enquadrar o trabalho não combinava com as histórias que
 187 estávamos ouvindo.
 188   </p><p>
 189     Os entrevistados não eram empresas típicas que vendem para consumidores e
 190 buscam maximizar os lucros e os resultados financeiros. Em vez disso, eles
 191 estavam compartilhando para tornar o mundo um lugar melhor, criando
 192 relacionamentos e comunidade em torno das obras que estavam sendo
 193 compartilhadas e gerando receita não para um crescimento ilimitado, mas para
 194 sustentar a operação.
 195   </p><p>
 196     Muitas vezes eles não gostavam de ouvir o que eles faziam descrito como um
 197 modelo de negócios aberto. Seu esforço era algo mais do que isso. Algo
 198 diferente. Algo que gera não apenas valor econômico, mas também valor social
 199 e cultural. Algo que envolve conexão humana. Ser Feito com Creative Commons
 200 não é um <span class="quote">“<span class="quote">negócio de costume</span>”</span>.
 201   </p><p>
 202     Tivemos que repensar a forma como concebemos esse projeto. E isso não
 203 aconteceu da noite para o dia. Do outono de 2015 a 2016, documentamos nossas
 204 ideias em postagens de blog no Medium e com atualizações regulares para
 205 nossos patrocinadores do Kickstarter. Compartilhamos rascunhos de estudos de
 206 caso e análises com nossos cocriadores do Kickstarter, que forneceram
 207 edições, feedback e conselhos inestimáveis. Nosso pensamento mudou
 208 drasticamente ao longo de um ano e meio.
 209   </p><p>
 210     Ao longo do processo, nós dois frequentemente tínhamos maneiras muito
 211 diferentes de compreender e descrever o que estávamos aprendendo. Aprender
 212 um com o outro foi uma das grandes alegrias deste trabalho e, esperamos,
 213 algo que tornou o produto final muito mais rico do que jamais poderia ter
 214 sido se qualquer um de nós empreendesse este projeto sozinho. Nós
 215 preservamos nossas vozes por toda parte, e você será capaz de sentir nossas
 216 abordagens diferentes, mas complementares, enquanto lê nossas diferentes
 217 seções.
 218   </p><p>
 219     Embora recomendamos que você leia o livro do início ao fim, cada seção é
 220 lida de forma mais ou menos independente. O livro está estruturado em duas
 221 partes principais.
 222   </p><p>
 223     A parte um, a visão geral, começa com uma estrutura geral escrita por
 224 Paul. Ele fornece algum contexto histórico para os bens comuns digitais,
 225 descrevendo as três maneiras como a sociedade administrou recursos e
 226 compartilhou riqueza – os bens comuns, o mercado e o estado. Ele defende
 227 pensar além dos negócios e dos termos de mercado e eloquentemente defende o
 228 compartilhamento e a ampliação dos bens comuns digitais.
 229   </p><p>
 230     A visão geral continua com o capítulo de Sarah, enquanto ela considera o que
 231 significa ser Feito com Creative Commons com sucesso. Embora ganhar dinheiro
 232 seja uma parte do bolo, há também um conjunto de valores voltados para o
 233 público e o tipo de conexões humanas que tornam o compartilhamento
 234 verdadeiramente significativo. Esta seção descreve as maneiras como os
 235 criadores, organizações e empresas que entrevistamos geram receita, como
 236 promovem o interesse público e vivem seus valores e como promovem conexões
 237 com as pessoas com quem compartilham.
 238   </p><p>
 239     E para encerrar a primeira parte, temos uma pequena seção que explica as
 240 diferentes licenças Creative Commons. Falamos sobre o equívoco de que as
 241 licenças mais restritivas – aquelas que estão mais próximas do modelo com
 242 todos os direitos reservados do direito autoral tradicional – são as únicas
 243 maneiras de ganhar dinheiro.
 244   </p><p>
 245     A segunda parte do livro é composta pelas vinte e quatro histórias dos
 246 criadores, empresas e organizações que entrevistamos. Enquanto nós dois
 247 participamos das entrevistas, dividimos a redação desses perfis.
 248   </p><p>
 249     Obviamente, temos o prazer de disponibilizar o livro usando uma licença
 250 Creative Commons Atribuição-CompartilhaIgual. Copie, distribua, traduza,
 251 localize e desenvolva esta obra.
 252   </p><p>
 253     Escrever este livro nos transformou e nos inspirou. A maneira como agora
 254 olhamos e pensamos sobre o que significa ser Feito com Creative Commons
 255 mudou irrevogavelmente. Esperamos que este livro inspire você e sua empresa
 256 a usar o Creative Commons e, assim, contribuir para a transformação de nossa
 257 economia e do mundo para melhor.
 258   </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
 259     \textit{ Paul e Sarah }
 260     \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Parte I. O Quadro Geral</h1></div></div></div><div class="toc"><p><b>Índice</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. O Novo Mundo dos Comuns Digitais</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>Capítulo 1. O Novo Mundo dos Comuns Digitais</h2></div></div></div><div class="toc"><p><b>Índice</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">Os Comuns, o Mercado e o Estado</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">Os Quatro Aspectos de um Recurso</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">Uma Breve História dos Comuns</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">A Revolução Digital</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">O Nascimento da Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">O Mercado em Mudança</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefícios do Comum Digital</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
 261     \textit{ Paul Stacey}
 262     \end{flushright}</td></tr></table></div><p>
 263       Jonathan Rowe descreve eloquentemente os comuns como <span class="quote">“<span class="quote">o ar e os
 264 oceanos, a teia de espécies, a natureza selvagem e a água corrente – todos
 265 são partes dos bens comuns. Assim como a linguagem e o conhecimento, as
 266 calçadas e praças públicas, as histórias da infância e os processos de
 267 democracia. Algumas partes dos comuns são dádivas da natureza, outras são o
 268 produto do esforço humano. Alguns são novos, como a Internet; outros são tão
 269 antigos quanto o solo e a caligrafia.</span>”</span> <a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
 270     </p><p>
 271       Em Feito com Creative Commons, nos concentramos em nossa era atual de comuns
 272 digitais, um patrimônio comum de obras produzidas pelo homem. Esse comum
 273 abrange uma ampla gama de áreas, incluindo patrimônio cultural, educação,
 274 pesquisa, tecnologia, arte, design, literatura, entretenimento, negócios e
 275 dados. As obras produzidas pelo homem em todas essas áreas são cada vez mais
 276 digitais. A Internet é uma espécie de comum digital global. Os indivíduos,
 277 organizações e empresas cujo perfil temos em nossos estudos de caso usam
 278 Creative Commons para compartilhar seus recursos online pela Internet.
 279     </p><p>
 280       O comum não se trata apenas de recursos compartilhados, no entanto. É também
 281 sobre as práticas sociais e os valores que os gerem. Um recurso é um
 282 substantivo, mas "comunalizar" – colocar o recurso no espaço comum – é um
 283 verbo.<a href="#ftn.idm116" class="footnote" name="idm116"><sup class="footnote">[2]</sup></a> Os criadores, organizações e
 284 empresas que definimos estão todos engajados em compartilhar. O uso da
 285 Creative Commons os envolve na prática social de compartilhamento,
 286 gerenciando recursos de forma coletiva com uma comunidade de
 287 usuários.<a href="#ftn.idm119" class="footnote" name="idm119"><sup class="footnote">[3]</sup></a> O compartilhamento é guiado
 288 por um conjunto de valores e normas que equilibram os custos e benefícios da
 289 empresa com aqueles da comunidade. Atenção especial é dada ao acesso, uso e
 290 sustentabilidade equitativos.
 291     </p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-commons-the-market-and-the-state"></a>Os Comuns, o Mercado e o Estado</h2></div></div></div><p>
 292         Historicamente, houve três maneiras de gerenciar recursos e compartilhar
 293 riqueza: os comuns (administrados coletivamente), o estado (ou seja, o
 294 governo) e o mercado – com os dois últimos sendo as formas dominantes
 295 hoje.<a href="#ftn.idm125" class="footnote" name="idm125"><sup class="footnote">[4]</sup></a>
 296       </p><p>
 297         As organizações e empresas em nossos estudos de caso são únicas na forma
 298 como participam dos bens comuns enquanto se envolvem com o mercado e/ou
 299 estado. A extensão do envolvimento com o mercado ou estado varia. Alguns
 300 operam principalmente como comuns com o mínimo ou nenhuma dependência do
 301 mercado ou estado.<a href="#ftn.idm129" class="footnote" name="idm129"><sup class="footnote">[5]</sup></a> Outros fazem parte
 302 do mercado ou estado, dependendo deles para a sustentabilidade
 303 financeira. Todos operam como híbridos, mesclando as normas dos comuns com
 304 as do mercado ou do estado.
 305       </p><p>
 306         A fig. <a class="xref" href="#fig-1" title="Figura 1.1. Engajamento empresarial com comuns, estado e mercado.">1.1</a> é uma representação
 307 de como uma empresa pode ter vários níveis de envolvimento com comuns,
 308 estado e mercado.
 309       </p><p>
 310         Alguns de nossos estudos de caso são simplesmente comuns e empresas de
 311 mercado com pouco ou nenhum envolvimento com o estado. Uma descrição desses
 312 estudos de caso mostraria a esfera do estado como pequena ou até
 313 ausente. Outros estudos de caso são principalmente baseados no mercado, com
 314 apenas um pequeno envolvimento com os comuns. Uma descrição desses estudos
 315 de caso mostraria a esfera do mercado tão grande e a esfera dos comuns tão
 316 pequena. A extensão em que uma empresa se considera primariamente de um tipo
 317 ou de outro afeta o equilíbrio das normas pelas quais opera.
 318       </p><p>
 319         Todos os nossos estudos de caso geram dinheiro como meio de subsistência e
 320 sustentabilidade. O dinheiro é principalmente do mercado. Encontrar maneiras
 321 de gerar receita enquanto se mantém fiel aos valores essenciais dos comuns
 322 (geralmente expressos em declarações de missão) é um desafio. Gerenciar a
 323 interação e o engajamento entre os comuns e o mercado exige um toque hábil,
 324 um forte senso de valores e a capacidade de combinar o melhor de ambos.
 325       </p><p>
 326         O estado tem um papel importante a desempenhar na promoção do uso e adoção
 327 dos comuns. Os programas e fundos estaduais podem contribuir deliberadamente
 328 para construir os comuns. Além do dinheiro, as leis e regulamentos relativos
 329 à propriedade, direitos autorais, negócios e finanças podem ser projetados
 330 para promover os comuns.
 331       </p><div class="figure"><a name="fig-1"></a><p class="title"><b>Figura 1.1. Engajamento empresarial com comuns, estado e mercado.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000008000000045C30360249076453E6.png" width="100%" alt="Engajamento empresarial com comuns, estado e mercado."></td></tr></table></div></div></div><br class="figure-break"><p>
 332         É útil entender como os comuns, o mercado e o estado gerenciam os recursos
 333 de maneira diferente, e não apenas para aqueles que se consideram
 334 principalmente como comuns. Para empresas ou organizações governamentais que
 335 desejam se envolver e usar os comuns, saber como os comuns funciona os
 336 ajudará a compreender a melhor forma de fazer isso. Participar e usar os
 337 comuns da mesma forma que você faz com o mercado ou estado não é uma
 338 estratégia para o sucesso.
 339       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-four-aspects-of-a-resource"></a>Os Quatro Aspectos de um Recurso</h2></div></div></div><p>
 340         Como parte de sua obra ganhadora do Prêmio Nobel, Elinor Ostrom desenvolveu
 341 uma estrutura para analisar como os recursos naturais são gerenciados em um
 342 comum.<a href="#ftn.idm148" class="footnote" name="idm148"><sup class="footnote">[6]</sup></a> Sua estrutura considerou coisas
 343 como as características biofísicas de recursos comuns, os atores da
 344 comunidade e as interações que ocorrem entre eles, regras em uso e
 345 resultados. Essa estrutura foi simplificada e generalizada para se aplicar
 346 aos comuns, ao mercado e ao estado neste capítulo.
 347       </p><p>
 348         Para comparar e contrastar as maneiras pelas quais os comuns, o mercado e o
 349 estado funcionam, vamos considerar quatro aspectos da gestão de recursos:
 350 características dos recursos, as pessoas envolvidas e o processo que usam,
 351 as normas e regras que desenvolvem para governar o uso e, finalmente, uso de
 352 recursos junto com os resultados desse uso (ver Fig. <a class="xref" href="#fig-2" title="Figura 1.2. Quatro aspectos da gestão de recursos">1.2</a>).
 353       </p><div class="figure"><a name="fig-2"></a><p class="title"><b>Figura 1.2. Quatro aspectos da gestão de recursos</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png" width="100%" alt="Quatro aspectos da gestão de recursos"></td></tr></table></div></div></div><br class="figure-break"><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="characteristics"></a>Características</h3></div></div></div><p>
 354           Os recursos têm características ou atributos específicos que afetam a
 355 maneira como podem ser usados. Alguns recursos são naturais; outros são
 356 produzidos pelo homem. E – significativamente para o comum de hoje – os
 357 recursos podem ser físicos ou digitais, o que afeta o potencial inerente de
 358 um recurso.
 359         </p><p>
 360           Os recursos físicos existem em oferta limitada. Se eu tenho um recurso
 361 físico e dou a você, não o tenho mais. Quando um recurso é removido e usado,
 362 o suprimento se torna escasso ou esgotado. A escassez pode resultar em
 363 rivalidade competitiva pelo recurso. As empresas feitas com Creative Commons
 364 geralmente são baseadas em formato digital, mas alguns de nossos estudos de
 365 caso também produzem recursos na forma física. Os custos de produção e
 366 distribuição de um bem físico geralmente exigem que elas se envolvam com o
 367 mercado.
 368         </p><p>
 369           Os recursos físicos são esgotáveis, exclusivos e rivais. Os recursos
 370 digitais, por outro lado, são não esgotáveis, não exclusivos e não
 371 rivais. Se eu compartilhar um recurso digital com você, ambos teremos o
 372 recurso. Dar a você não significa que eu não o tenha mais. Os recursos
 373 digitais podem ser armazenados, copiados e distribuídos infinitamente sem se
 374 esgotarem e com custo próximo a zero. Abundância, em vez de escassez, é uma
 375 característica inerente aos recursos digitais.
 376         </p><p>
 377           A natureza não esgotável, não exclusiva e não rival dos recursos digitais
 378 significa que as regras e normas para gerenciá-los podem (e devem) ser
 379 diferentes de como os recursos físicos são gerenciados. No entanto, nem
 380 sempre é esse o caso. Os recursos digitais são frequentemente tornados
 381 artificialmente escassos. Colocar recursos digitais nos comuns os torna
 382 livre e abundantes.
 383         </p><p>
 384           Nossos estudos de caso gerenciam frequentemente recursos híbridos, que
 385 começam como digitais com a possibilidade de se tornarem um recurso
 386 físico. O arquivo digital de um livro pode ser impresso em papel e
 387 transformado em livro físico. Um projeto de mobília renderizado por
 388 computador pode ser fisicamente fabricado em madeira. Essa conversão do
 389 digital para o físico invariavelmente tem custos. Muitas vezes, os recursos
 390 digitais são gerenciados de forma livre e aberta, mas o dinheiro é cobrado
 391 para converter um recurso digital em físico.
 392         </p><p>
 393           Além dessa ideia de físico versus digital, os comuns, o mercado e o estado
 394 concebem os recursos de maneira diferente (veja Fig. <a class="xref" href="#fig-3" title="Figura 1.3. Como o mercado, os bens comuns e o estado geram recursos.">1.3</a>). O mercado vê os recursos como
 395 bens privados – mercadorias para venda – dos quais o valor é extraído. O
 396 estado vê os recursos como bens públicos que fornecem valor aos cidadãos do
 397 estado. Os comuns vêem os recursos como comuns, proporcionando uma riqueza
 398 comum que se estende além das fronteiras do estado, a ser repassada de forma
 399 inalterada ou aprimorada para as gerações futuras.
 400         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="people-and-processes"></a>Pessoas e processos</h3></div></div></div><p>
 401           Nos comuns, no mercado e no estado, diferentes pessoas e processos são
 402 usados para gerenciar os recursos. Os processos usados definem quem tem uma
 403 palavra a dizer e como um recurso é gerenciado.
 404         </p><p>
 405           No estado, um governo de funcionários eleitos é responsável por administrar
 406 os recursos em nome do público. Os cidadãos que produzem e usam esses
 407 recursos não estão diretamente envolvidos; em vez disso, essa
 408 responsabilidade é entregue ao governo. Ministérios e departamentos
 409 estaduais com funcionários públicos definem orçamentos, implementam
 410 programas e administram recursos com base nas prioridades e procedimentos do
 411 governo.
 412         </p><p>
 413           No mercado, as pessoas envolvidas são produtores, compradores, vendedores e
 414 consumidores. As empresas atuam como intermediários entre aqueles que
 415 produzem recursos e aqueles que os consomem ou usam. Os processos de mercado
 416 procuram extrair o máximo de valor monetário possível dos recursos. No
 417 mercado, os recursos são administrados como mercadorias, frequentemente
 418 produzidos em massa e vendidos aos consumidores com base em uma transação em
 419 dinheiro.
 420         </p><p>
 421           Em contraste com o estado e o mercado, os recursos em um comum são
 422 gerenciados mais diretamente pelas pessoas envolvidas.<a href="#ftn.idm176" class="footnote" name="idm176"><sup class="footnote">[7]</sup></a> Os criadores de recursos humanos produzidos podem
 423 colocá-los no comum por escolha pessoal. Nenhuma permissão do estado ou do
 424 mercado é necessária. Qualquer um pode participar dos comuns e determinar
 425 por si mesmo até que ponto deseja se envolver – como contribuidor, usuário
 426 ou gerente. As pessoas envolvidas incluem não apenas aqueles que criam e
 427 usam os recursos, mas também aqueles afetados pelo resultado do uso. Quem
 428 você é afeta a sua opinião, as ações que você pode tomar e a extensão da
 429 tomada de decisão. Nos comuns, a comunidade como um todo gerencia os
 430 recursos. Os recursos colocados nos comuns usando Creative Commons exigem
 431 que os usuários dêem crédito ao criador original. Conhecer a pessoa por trás
 432 de um recurso torna os comuns menos anônimos e mais pessoais.
 433         </p><div class="figure"><a name="fig-3"></a><p class="title"><b>Figura 1.3. Como o mercado, os bens comuns e o estado geram recursos.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png" width="100%" alt="Como o mercado, os bens comuns e o estado geram recursos."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="norms-and-rules"></a>Normas e regras</h3></div></div></div><p>
 434           As interações sociais entre as pessoas e os processos usados pelo estado,
 435 mercado e bens comuns desenvolvem normas e regras sociais. Essas normas e
 436 regras definem permissões, alocam direitos e resolvem disputas.
 437         </p><p>
 438           A autoridade do estado é governada pelas constituições nacionais. As normas
 439 relacionadas a prioridades e tomada de decisões são definidas por
 440 funcionários eleitos e procedimentos parlamentares. As regras estaduais são
 441 expressas por meio de políticas, regulamentos e leis. O estado influencia as
 442 normas e regras do mercado e dos comuns por meio das regras que passa.
 443         </p><p>
 444           As normas de mercado são influenciadas pela economia e pela competição por
 445 recursos escassos. As regras do mercado seguem as leis de propriedade,
 446 negócios e financeiras definidas pelo estado.
 447         </p><p>
 448           Tal como acontece com o mercado, um comum pode ser influenciado por
 449 políticas, regulamentos e leis estaduais. Mas as normas e regras de um comum
 450 são amplamente definidas pela comunidade. Elas pesam os custos e benefícios
 451 individuais em relação aos custos e benefícios para toda a comunidade. A
 452 consideração é dada não apenas à eficiência econômica, mas também à equidade
 453 e sustentabilidade.<a href="#ftn.idm192" class="footnote" name="idm192"><sup class="footnote">[8]</sup></a>
 454         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>Objetivos</h3></div></div></div><p>
 455           A combinação dos aspectos que discutimos até agora – as características
 456 inerentes do recurso, pessoas e processos, e normas e regras – moldam como
 457 os recursos são usados. O uso também é influenciado pelos diferentes
 458 objetivos que o estado, o mercado e os comuns têm.
 459         </p><p>
 460           No mercado, o foco é maximizar a utilidade de um recurso. O que pagamos
 461 pelos bens que consumimos é visto como uma medida objetiva da utilidade que
 462 eles fornecem. A meta então passa a ser maximizar o valor monetário total na
 463 economia.<a href="#ftn.idm199" class="footnote" name="idm199"><sup class="footnote">[9]</sup></a> As unidades consumidas se
 464 traduzem em vendas, receita, lucro e crescimento, e todas essas são maneiras
 465 de medir as metas do mercado.
 466         </p><p>
 467           O estado visa usar e administrar os recursos de uma forma que equilibre a
 468 economia com as necessidades sociais e culturais de seus cidadãos. Saúde,
 469 educação, empregos, meio ambiente, transporte, segurança, patrimônio e
 470 justiça são facetas de uma sociedade saudável, e o estado aplica seus
 471 recursos para esses objetivos. Metas estaduais são refletidas em medidas de
 472 qualidade de vida.
 473         </p><p>
 474           Nos comuns, a meta é maximizar o acesso, equidade, distribuição,
 475 participação, inovação e sustentabilidade. Você pode medir o sucesso
 476 observando quantas pessoas acessam e usam um recurso; como os usuários são
 477 distribuídos por gênero, renda e localização; se uma comunidade para
 478 estender e aumentar os recursos está sendo formada; e se os recursos estão
 479 sendo usados de maneiras inovadoras para o bem pessoal e social.
 480         </p><p>
 481           Como combinações híbridas de comuns com o mercado ou estado, o sucesso e a
 482 sustentabilidade de todas as nossas empresas de estudo de caso dependem de
 483 sua capacidade de utilizar e equilibrar estrategicamente esses diferentes
 484 aspectos de gerenciamento de recursos.
 485         </p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="a-short-history-of-the-commons"></a>Uma Breve História dos Comuns</h2></div></div></div><p>
 486         Usar os comuns para gerenciar recursos faz parte de um longo continuum
 487 histórico. No entanto, na sociedade contemporânea, o mercado e o Estado
 488 dominam o discurso sobre como os recursos são mais bem
 489 administrados. Raramente os comuns são considerados uma opção. Os comuns
 490 desapareceram amplamente da consciência e da consideração. Não há notícias
 491 ou discursos sobre os comuns.
 492       </p><p>
 493         Mas os mais de 1,1 bilhão de recursos licenciados com Creative Commons em
 494 todo o mundo são indicações de um movimento de base em direção aos
 495 comuns. Os comuns estão ressurgindo. Para entender a resiliência dos comuns
 496 e sua renovação atual, é útil saber um pouco de sua história.
 497       </p><p>
 498         Durante séculos, povos indígenas e sociedades pré-industrializadas
 499 administraram recursos, incluindo água, alimentos, lenha, irrigação, peixes,
 500 caça selvagem e muitas outras coisas coletivamente como comuns.<a href="#ftn.idm211" class="footnote" name="idm211"><sup class="footnote">[10]</sup></a> Não havia mercado, não havia economia global. O
 501 estado na forma de governantes influenciou os bens comuns, mas de forma
 502 alguma os controlou. A participação social direta em um comum era a
 503 principal maneira pela qual os recursos eram administrados e as necessidades
 504 atendidas. (Fig. <a class="xref" href="#fig-4" title="Figura 1.4. Na sociedade pré-industrializada.">1.4</a> ilustra os
 505 comuns em relação ao Estado e ao mercado.)
 506       </p><div class="figure"><a name="fig-4"></a><p class="title"><b>Figura 1.4. Na sociedade pré-industrializada.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005153EACBD62F00F6BA9.png" width="100%" alt="Na sociedade pré-industrializada."></td></tr></table></div></div></div><br class="figure-break"><p>
 507         Isso é seguido por uma longa história do Estado (uma monarquia ou
 508 governante) assumindo o controle dos comuns para seus próprios fins. Isso é
 509 chamado de cerco dos comuns.<a href="#ftn.idm224" class="footnote" name="idm224"><sup class="footnote">[11]</sup></a>
 510 Antigamente, <span class="quote">“<span class="quote">plebeus</span>”</span> eram expulsos da terra, cercas e sebes
 511 erguidas, leis aprovadas e segurança criada para proibir o
 512 acesso.<a href="#ftn.idm228" class="footnote" name="idm228"><sup class="footnote">[12]</sup></a> Gradualmente, recursos
 513 tornou-se propriedade do Estado e o Estado tornou-se o principal meio pelo
 514 qual os recursos eram administrados. (Veja Fig. <a class="xref" href="#fig-5" title="Figura 1.5. O comum é gradualmente substituído pelo Estado.">1.5</a>).
 515       </p><p>
 516         Propriedades de terra, água e caça foram distribuídas para famílias
 517 governantes e nomeados políticos. Plebeus deslocados da terra migraram para
 518 as cidades. Com o surgimento da revolução industrial, a terra e os recursos
 519 tornaram-se mercadorias vendidas a empresas para apoiar a produção. As
 520 monarquias evoluíram para parlamentos eleitos. Os plebeus tornaram-se
 521 trabalhadores que ganham dinheiro operando a maquinaria da indústria. As
 522 leis financeiras, comerciais e de propriedade foram revisadas pelos governos
 523 para apoiar os mercados, o crescimento e a produtividade. Com o tempo, o
 524 acesso imediato aos bens produzidos no mercado resultou em um padrão de vida
 525 em elevação, saúde melhorada e educação. A Fig. <a class="xref" href="#fig-6" title="Figura 1.6. Como o mercado, o estado e os comuns são hoje.">1.6</a> mostra como hoje o mercado é o
 526 principal meio pelo qual os recursos são gerenciados.
 527       </p><div class="figure"><a name="fig-5"></a><p class="title"><b>Figura 1.5. O comum é gradualmente substituído pelo Estado.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005150F069409C1CC12F0.png" width="100%" alt="O comum é gradualmente substituído pelo Estado."></td></tr></table></div></div></div><br class="figure-break"><p>
 528         No entanto, o mundo hoje está passando por tempos turbulentos. Os benefícios
 529 do mercado foram compensados pela distribuição desigual e superexploração.
 530       </p><p>
 531         A superexploração foi o tópico do influente ensaio de Garrett Hardin
 532 <span class="quote">“<span class="quote">The Tragedy of the Commons</span>”</span>, publicado na Science em
 533 1968. Hardin argumenta que todos em um bem comum procuram maximizar o ganho
 534 pessoal e continuarão a fazê-lo mesmo quando os limites de os bens comuns
 535 são alcançados. O comum é então tragicamente esgotado a ponto de não poder
 536 mais sustentar ninguém. O ensaio de Hardin tornou-se amplamente aceito como
 537 um truísmo econômico e uma justificativa para a propriedade privada e os
 538 mercados livres.
 539       </p><p>
 540         No entanto, há uma falha séria em <span class="quote">“<span class="quote">The Tragedy of the Commons</span>”</span>
 541 de Hardin – é uma ficção. Hardin não estudou realmente como funcionam os
 542 comuns reais. Elinor Ostrom ganhou o Prêmio Nobel de Economia em 2009 por
 543 seu trabalho ao estudar diferentes áreas comuns em todo o mundo. O trabalho
 544 de Ostrom mostra que os recursos naturais comuns podem ser administrados com
 545 sucesso pelas comunidades locais, sem qualquer regulamentação das
 546 autoridades centrais ou sem privatização. Governo e privatização não são as
 547 únicas opções. Existe uma terceira via: gestão pelas pessoas, onde aqueles
 548 que são diretamente impactados estão diretamente envolvidos. Com recursos
 549 naturais, existe uma localidade regional. As pessoas da região são as mais
 550 familiarizadas com o recurso natural, têm com ele a relação e a história
 551 mais direta e, portanto, estão em melhor posição para gerenciá-lo. A
 552 abordagem de Ostrom para a governança dos recursos naturais rompeu com as
 553 convenções; ela reconheceu a importância dos comuns como uma alternativa ao
 554 mercado ou estado para resolver problemas de ação coletiva.<a href="#ftn.idm247" class="footnote" name="idm247"><sup class="footnote">[13]</sup></a>
 555       </p><p>
 556         Hardin deixou de considerar a real dinâmica social dos comuns. Seu modelo
 557 pressupõe que as pessoas comuns agem de forma autônoma, por puro interesse
 558 próprio, sem interação ou consideração pelos outros. Mas, como Ostrom
 559 descobriu, na realidade, gerenciar recursos comuns em conjunto forma uma
 560 comunidade e incentiva o discurso. Isso naturalmente gera normas e regras
 561 que ajudam as pessoas a trabalhar coletivamente e garantir um bem comum
 562 sustentável. Paradoxalmente, embora o ensaio de Hardin seja chamado, em
 563 inglês, de A Tragédia dos Comuns, pode ser mais precisamente intitulado A
 564 Tragédia do Mercado.
 565       </p><p>
 566         A história de Hardin é baseada na premissa de recursos esgotáveis. Os
 567 economistas têm se concentrado quase exclusivamente nos mercados baseados na
 568 escassez. Muito pouco se sabe sobre como funciona a abundância.<a href="#ftn.idm253" class="footnote" name="idm253"><sup class="footnote">[14]</sup></a> O surgimento da tecnologia da informação e da
 569 Internet levou a uma explosão de recursos digitais e novos meios de
 570 compartilhamento e distribuição. Os recursos digitais nunca podem ser
 571 esgotados. A ausência de uma teoria ou modelo de funcionamento da
 572 abundância, no entanto, tem levado o mercado a tornar artificialmente
 573 escassos os recursos digitais e possibilitar a aplicação das normas e regras
 574 usuais de mercado.
 575       </p><p>
 576         Quando se trata de usar fundos do estado para criar bens digitais, no
 577 entanto, realmente não há justificativa para a escassez artificial. A norma
 578 para obras digitais financiadas pelo estado deve ser que elas estejam livre
 579 e abertamente disponíveis ao público que pagou por elas.
 580       </p><div class="figure"><a name="fig-6"></a><p class="title"><b>Figura 1.6. Como o mercado, o estado e os comuns são hoje.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C400000515F1CAA15B223F6BAF.png" width="100%" alt="Como o mercado, o estado e os comuns são hoje."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-digital-revolution"></a>A Revolução Digital</h2></div></div></div><p>
 581         Nos primeiros dias da computação, programadores e desenvolvedores aprenderam
 582 uns com os outros compartilhando software. Na década de 1980, o movimento do
 583 software livre codificou essa prática de compartilhamento em um conjunto de
 584 princípios e liberdades:
 585       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
 586             A liberdade de executar um programa de software como desejar, para qualquer
 587 propósito.
 588           </p></li><li class="listitem"><p>
 589             A liberdade de estudar como um programa de software funciona (porque o
 590 acesso ao código-fonte foi concedido livremente), e alterá-lo para que ele
 591 faça sua computação como você desejar.
 592           </p></li><li class="listitem"><p>
 593             A liberdade de redistribuir cópias.
 594           </p></li><li class="listitem"><p>
 595             A liberdade de distribuir cópias de suas versões modificadas para outras
 596 pessoas.<a href="#ftn.idm277" class="footnote" name="idm277"><sup class="footnote">[15]</sup></a>
 597           </p></li></ul></div><p>
 598         Esses princípios e liberdades constituem um conjunto de normas e regras que
 599 tipificam um comum digital.
 600       </p><p>
 601         No final da década de 1990, para tornar o compartilhamento de código-fonte e
 602 colaboração mais atraente para as empresas, a iniciativa de software de
 603 código-fonte aberto converteu esses princípios em licenças e padrões para
 604 gerenciar o acesso e distribuição de software. Os benefícios do código
 605 aberto – como confiabilidade, escalabilidade e qualidade verificada por
 606 revisão por pares independentes – tornaram-se amplamente reconhecidos e
 607 aceitos. Os clientes gostaram da maneira como o código aberto lhes deu
 608 controle sem ficar preso a uma tecnologia proprietária fechada. O software
 609 livre e de código aberto também gerou um efeito de rede onde o valor de um
 610 produto ou serviço aumenta com o número de pessoas que o usam.<a href="#ftn.idm283" class="footnote" name="idm283"><sup class="footnote">[16]</sup></a> O crescimento dramático da própria Internet deve
 611 muito ao fato de que ninguém tem um bloqueio proprietário nos protocolos
 612 básicos da Internet.
 613       </p><p>
 614         Embora o software de código aberto funcione como um bem comum, muitas
 615 empresas e mercados se desenvolveram em torno dele. Modelos de negócios
 616 baseados em licenças e padrões de software de código aberto evoluíram junto
 617 com organizações que gerenciavam o código de software com base em princípios
 618 de abundância em vez de escassez. O ensaio de Eric Raymond <span class="quote">“<span class="quote">The Magic
 619 Cauldron</span>”</span> faz um ótimo trabalho ao analisar a economia e os modelos
 620 de negócios associados ao software de código aberto.<a href="#ftn.idm288" class="footnote" name="idm288"><sup class="footnote">[17]</sup></a> Esses modelos podem fornecer exemplos de abordagens
 621 sustentáveis para aqueles feitos com Creative Commons.
 622       </p><p>
 623         Não se trata apenas de uma disponibilidade abundante de ativos digitais, mas
 624 também de uma abundância de participação. O crescimento da computação
 625 pessoal, da tecnologia da informação e da Internet possibilitou a
 626 participação em massa na produção e distribuição de trabalhos
 627 criativos. Fotos, livros, música e muitas outras formas de conteúdo digital
 628 agora podiam ser prontamente criados e distribuídos por quase qualquer
 629 pessoa. Apesar desse potencial de abundância, por padrão, essas obras
 630 digitais são regidas por leis de direitos autorais. De acordo com os
 631 direitos autorais, uma obra digital é propriedade do criador e, por lei,
 632 outras pessoas estão proibidas de acessá-la e usá-la sem a permissão do
 633 criador.
 634       </p><p>
 635         Mas as pessoas gostam de compartilhar. Uma das maneiras de nos definirmos é
 636 compartilhando conteúdo valioso e divertido. Fazer isso desenvolve e nutre
 637 relacionamentos, busca mudar opiniões, incentiva a ação e informa os outros
 638 sobre quem somos e com o que nos importamos. Compartilhar permite que nos
 639 sintamos mais envolvidos com o mundo.<a href="#ftn.idm295" class="footnote" name="idm295"><sup class="footnote">[18]</sup></a>
 640       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-birth-of-creative-commons"></a>O Nascimento da Creative Commons</h2></div></div></div><p>
 641         Em 2001, Creative Commons foi criada como uma organização sem fins
 642 lucrativos para apoiar todos aqueles que desejavam compartilhar conteúdo
 643 digital. Um conjunto de licenças Creative Commons foi modelado com base no
 644 software de código aberto, mas para uso com conteúdo digital em vez de
 645 código de software. As licenças oferecem a todos, de criadores individuais a
 646 grandes empresas e instituições, uma maneira simples e padronizada de
 647 conceder permissões de direitos autorais para suas obras criativas.
 648       </p><p>
 649         As licenças Creative Commons têm um design de três camadas. As normas e
 650 regras de cada licença são primeiramente expressas em linguagem jurídica
 651 completa, conforme usada pelos advogados. Essa camada é chamada de código
 652 legal. Mas como a maioria dos criadores e usuários não são advogados, as
 653 licenças também têm uma escritura comum, expressando as permissões em
 654 linguagem simples, que as pessoas comuns podem ler e entender
 655 rapidamente. Ele atua como uma interface amigável para a camada de código
 656 legal abaixo. A terceira camada é a que pode ser lida por máquina, tornando
 657 mais fácil para a web saber que uma obra é licenciada pelo Creative Commons,
 658 expressando permissões de uma forma que sistemas de software, mecanismos de
 659 busca e outros tipos de tecnologia possam entender.<a href="#ftn.idm303" class="footnote" name="idm303"><sup class="footnote">[19]</sup></a> Juntas, essas três camadas garantem que criadores,
 660 usuários e até mesmo a própria web entendam as normas e regras associadas ao
 661 conteúdo digital em um comum.
 662       </p><p>
 663         Em 2015, havia mais de um bilhão de obras licenciadas Creative Commons em um
 664 espaço comum global. Esses trabalhos foram vistos online 136 bilhões de
 665 vezes. As pessoas estão usando licenças Creative Commons em todo o mundo, em
 666 trinta e quatro idiomas. Esses recursos incluem fotos, arte, artigos de
 667 pesquisa em periódicos, recursos educacionais, música e outras faixas de
 668 áudio e vídeos.
 669       </p><p>
 670         Artistas, fotógrafos, músicos e cineastas individuais usam o Creative
 671 Commons, mas o mesmo acontece com museus, governos, indústrias criativas,
 672 fabricantes e editoras. Milhões de sites usam licenças CC, incluindo
 673 plataformas principais como Wikipédia e Flickr e outras menores como
 674 blogs.<a href="#ftn.idm309" class="footnote" name="idm309"><sup class="footnote">[20]</sup></a> Os usuários do Creative Commons
 675 são diversos e abrangem muitos setores diferentes. (Nossos estudos de caso
 676 foram escolhidos para refletir essa diversidade.)
 677       </p><p>
 678         Alguns vêem o Creative Commons como uma forma de compartilhar um presente
 679 com outras pessoas, uma forma de se tornar conhecido ou uma forma de
 680 fornecer benefício social. Outros estão simplesmente comprometidos com as
 681 normas associadas a bens comuns. E para alguns, a participação foi
 682 estimulada pelo movimento da cultura livre, um movimento social que promove
 683 a liberdade de distribuir e modificar trabalhos criativos. O movimento da
 684 cultura livre vê os comuns como proporcionando benefícios significativos em
 685 comparação com as leis restritivas de direitos autorais. Este ethos de troca
 686 livre em um comum alinha o movimento da cultura livre com o movimento do
 687 software livre e de código aberto.
 688       </p><p>
 689         Com o tempo, o Creative Commons gerou uma série de movimentos abertos,
 690 incluindo recursos educacionais abertos, acesso aberto, ciência aberta e
 691 dados abertos. O objetivo em todos os casos foi democratizar a participação
 692 e compartilhar recursos digitais sem nenhum custo, com permissões legais
 693 para qualquer pessoa acessar, usar e modificar livremente.
 694       </p><p>
 695         O Estado está cada vez mais envolvido no apoio a movimentos abertos. A
 696 Parceria para Governo Aberto foi lançada em 2011 para fornecer uma
 697 plataforma internacional para os governos se tornarem mais abertos,
 698 responsáveis e responsivos aos cidadãos. Desde então, cresceu de oito países
 699 participantes para setenta.<a href="#ftn.idm316" class="footnote" name="idm316"><sup class="footnote">[21]</sup></a> Em todos
 700 esses países, o governo e a sociedade civil estão trabalhando juntos para
 701 desenvolver e implementar reformas ambiciosas de governo aberto. Os governos
 702 estão adotando cada vez mais a Creative Commons para garantir que as obras
 703 financiadas com os dólares dos contribuintes sejam abertas e livres ao
 704 público que as pagou.
 705       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-changing-market"></a>O Mercado em Mudança</h2></div></div></div><p>
 706         O mercado de hoje é amplamente impulsionado pelo capitalismo global. Os
 707 sistemas jurídicos e financeiros são estruturados para apoiar a extração, a
 708 privatização e o crescimento corporativo. A percepção de que o mercado é
 709 mais eficiente do que o estado levou à privatização contínua de muitos
 710 recursos naturais públicos, serviços públicos, serviços e
 711 infraestruturas.<a href="#ftn.idm323" class="footnote" name="idm323"><sup class="footnote">[22]</sup></a> Embora este sistema
 712 tenha sido altamente eficiente na geração de consumismo e no crescimento do
 713 produto interno bruto, o impacto no bem-estar humano foi misto. Compensando
 714 o aumento dos padrões de vida e as melhorias na saúde e na educação, estão
 715 sempre aumentando a desigualdade de riqueza, a desigualdade social, a
 716 pobreza, a deterioração de nosso ambiente natural e o colapso da
 717 democracia.<a href="#ftn.idm326" class="footnote" name="idm326"><sup class="footnote">[23]</sup></a>
 718       </p><p>
 719         Diante desses desafios, há um crescente reconhecimento de que o crescimento
 720 do PIB não deve ser um fim em si mesmo, que o desenvolvimento precisa ser
 721 social e economicamente inclusivo, que a sustentabilidade ambiental é um
 722 requisito, não uma opção, e que precisamos equilibrar melhor o mercado ,
 723 Estado e comunidade.<a href="#ftn.idm330" class="footnote" name="idm330"><sup class="footnote">[24]</sup></a>
 724       </p><p>
 725         Essas realizações levaram a um ressurgimento do interesse pelos comuns como
 726 meio de viabilizar esse equilíbrio. Prefeituras como Bolonha, na Itália,
 727 estão colaborando com seus cidadãos para estabelecer regulamentações para o
 728 cuidado e regeneração de comuns urbanos.<a href="#ftn.idm335" class="footnote" name="idm335"><sup class="footnote">[25]</sup></a> Seul e Amsterdã se autodenominam <span class="quote">“<span class="quote">cidades
 729 compartilhadas</span>”</span>, buscando tornar mais sustentáveis e eficientes uso
 730 de recursos escassos. Eles veem o compartilhamento como uma forma de
 731 melhorar o uso dos espaços públicos, a mobilidade, a coesão social e a
 732 segurança.<a href="#ftn.idm340" class="footnote" name="idm340"><sup class="footnote">[26]</sup></a>
 733       </p><p>
 734         O próprio mercado se interessou pela economia de compartilhamento, com
 735 empresas como o Airbnb fornecendo um mercado ponto a ponto para hospedagem
 736 de curto prazo e o Uber fornecendo uma plataforma para compartilhamento de
 737 caronas. No entanto, o Airbnb e o Uber ainda estão operando em grande parte
 738 sob as normas e regras usuais do mercado, tornando-os menos comuns e mais
 739 como uma empresa tradicional em busca de ganhos financeiros. Grande parte da
 740 economia compartilhada não trata dos comuns ou da construção de uma
 741 alternativa para uma economia de mercado impulsionada pelas corporações;
 742 trata-se de estender o mercado livre desregulamentado a novas áreas de
 743 nossas vidas.<a href="#ftn.idm345" class="footnote" name="idm345"><sup class="footnote">[27]</sup></a> Embora nenhuma das
 744 pessoas que entrevistamos para nossos estudos de caso se descreva como parte
 745 da economia compartilhada, na verdade existem alguns paralelos
 746 significativos. Tanto a economia compartilhada quanto os comuns fazem melhor
 747 uso da capacidade dos ativos. A economia compartilhada vê residentes
 748 pessoais e carros como tendo capacidade ociosa latente com valor de
 749 aluguel. O acesso equitativo dos comuns amplia e diversifica o número de
 750 pessoas que podem usar e obter valor de um ativo.
 751       </p><p>
 752         Uma maneira que os estudos de caso do Feito com Creative Commons diferem
 753 daqueles da economia compartilhada é seu foco em recursos digitais. Os
 754 recursos digitais funcionam sob regras econômicas diferentes das físicas. Em
 755 um mundo onde os preços sempre parecem subir, a tecnologia da informação é
 756 uma anomalia. O poder de processamento do computador, o armazenamento e a
 757 largura de banda estão aumentando rapidamente, mas, em vez de os custos
 758 aumentarem, os custos estão diminuindo. As tecnologias digitais estão
 759 ficando mais rápidas, melhores e mais baratas. O custo de qualquer coisa
 760 construída sobre essas tecnologias sempre diminuirá até chegar perto de
 761 zero.<a href="#ftn.idm349" class="footnote" name="idm349"><sup class="footnote">[28]</sup></a>
 762       </p><p>
 763         Aquelas que são feitas com Creative Commons procuram aproveitar as
 764 características inerentes exclusivas dos recursos digitais, incluindo a
 765 redução de custos. O uso de tecnologias de gerenciamento de direitos
 766 digitais na forma de bloqueios, senhas e controles para evitar que bens
 767 digitais sejam acessados, alterados, replicados e distribuídos é mínimo ou
 768 inexistente. Em vez disso, as licenças Creative Commons são usadas para
 769 disponibilizar conteúdo digital nos comuns, aproveitando a economia
 770 exclusiva associada a ser digital. O objetivo é ver os recursos digitais
 771 usados da forma mais ampla e pelo maior número de pessoas
 772 possível. Maximizar o acesso e a participação é um objetivo comum. Eles
 773 visam a abundância em vez da escassez.
 774       </p><p>
 775         O custo incremental de armazenamento, cópia e distribuição de bens digitais
 776 é próximo a zero, tornando a abundância possível. Mas imaginar um mercado
 777 baseado na abundância e não na escassez é tão estranho ao modo como
 778 concebemos a teoria e prática econômica que lutamos para
 779 fazê-lo.<a href="#ftn.idm354" class="footnote" name="idm354"><sup class="footnote">[29]</sup></a> Aqueles que são feitos com
 780 Creative Commons são, cada um, pioneiros neste novo cenário, criando seus
 781 próprios modelos e práticas econômicas.
 782       </p><p>
 783         Alguns buscam minimizar suas interações com o mercado e operar da forma mais
 784 autônoma possível. Outros estão operando principalmente como um negócio
 785 dentro das regras e normas existentes do mercado. E ainda outros estão
 786 procurando mudar as normas e regras pelas quais o mercado opera.
 787       </p><p>
 788         Para uma empresa comum, fazer do benefício social uma parte de suas
 789 operações é difícil, pois é legalmente exigido para tomar decisões que
 790 beneficiam financeiramente os acionistas. Mas novas formas de negócios estão
 791 surgindo. Existem corporações de benefícios e empresas sociais, que ampliam
 792 seus objetivos de negócios de gerar lucro para gerar um impacto positivo na
 793 sociedade, nos trabalhadores, na comunidade e no meio ambiente.<a href="#ftn.idm359" class="footnote" name="idm359"><sup class="footnote">[30]</sup></a> Empresas de propriedade da comunidade, empresas de
 794 propriedade dos trabalhadores, cooperativas, guildas e outras formas
 795 organizacionais oferecem alternativas à corporação
 796 tradicional. Coletivamente, essas entidades de mercado alternativas estão
 797 mudando as regras e normas do mercado.<a href="#ftn.idm362" class="footnote" name="idm362"><sup class="footnote">[31]</sup></a>
 798       </p><p><span class="quote">“<span class="quote">Um livro sobre modelos de negócios abertos</span>”</span> é como o
 799 descrevemos na campanha Kickstarter deste livro. Usamos um manual chamado
 800 <span class="emphasis"><em>Business Model Generation</em></span> como nossa referência para
 801 definir o que é um modelo de negócios. Desenvolvido ao longo de nove anos
 802 usando um <span class="quote">“<span class="quote">processo aberto</span>”</span> envolvendo 470 coautores de
 803 quarenta e cinco países, é útil como uma estrutura para falar sobre modelos
 804 de negócios <a href="#ftn.idm369" class="footnote" name="idm369"><sup class="footnote">[32]</sup></a>
 805       </p><p>
 806         Ele contém uma <span class="quote">“<span class="quote">tela de modelo de negócios </span>”</span>, que concebe um
 807 modelo de negócios como tendo nove blocos de construção.<a href="#ftn.idm375" class="footnote" name="idm375"><sup class="footnote">[33]</sup></a> Essa tela em branco pode servir como uma ferramenta
 808 para qualquer pessoa projetar seu próprio modelo de negócios. Remixamos essa
 809 tela de modelo de negócios em uma tela de modelo de negócios aberta,
 810 adicionando mais três blocos de construção relevantes para o mercado
 811 híbrido, empresas comuns: bem social, licença Creative Commons e <span class="quote">“<span class="quote">tipo
 812 de ambiente aberto em que a empresa se encaixa</span>”</span>.<a href="#ftn.idm379" class="footnote" name="idm379"><sup class="footnote">[34]</sup></a> Essa tela aprimorada provou ser útil quando
 813 analisamos empresas e ajudamos as start-ups a planejar seu modelo econômico.
 814       </p><p>
 815         Em nossas entrevistas de estudo de caso, muitos expressaram desconforto em
 816 se descreverem como um modelo de negócios aberto – o termo modelo de
 817 negócios sugeria principalmente estar situado no mercado. Sua posição no
 818 espectro de bens comuns ao mercado afeta até que ponto você se vê como uma
 819 empresa no mercado. Quanto mais importantes para a missão são os recursos
 820 compartilhados e os valores comuns, menos conforto há em se descrever ou
 821 descrever o que você faz como um negócio. Nem todos os que têm
 822 empreendimentos Feitos com Creative Commons falam de negócios; para alguns,
 823 o processo foi experimental, emergente e orgânico, em vez de cuidadosamente
 824 planejado usando um modelo predefinido.
 825       </p><p>
 826         Todos os criadores, empresas e organizações que definimos se envolvem com o
 827 mercado para gerar receita de alguma forma. As maneiras pelas quais isso é
 828 feito variam amplamente. Doações, pague o que puder, assinaturas,
 829 <span class="quote">“<span class="quote">digital de graça, mas físico por uma taxa</span>”</span>, crowdfunding,
 830 matchmaking, serviços de valor agregado, patrocinadores... A lista continua
 831 e continua. (Descrição inicial de como obter receita disponível por meio da
 832 nota de referência. Para as reflexões mais recentes, consulte Como trazer
 833 dinheiro na próxima seção.)<a href="#ftn.idm387" class="footnote" name="idm387"><sup class="footnote">[35]</sup></a> Não existe
 834 uma fórmula mágica única e cada empreendimento inventou maneiras que
 835 funcionem para eles. A maioria usa mais de uma maneira. A diversificação dos
 836 fluxos de receita reduz o risco e oferece vários caminhos para a
 837 sustentabilidade.
 838       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="benefits-of-the-digital-commons"></a>Benefícios do Comum Digital</h2></div></div></div><p>
 839         Embora possa estar claro por que as organizações baseadas em comuns desejam
 840 interagir e se envolver com o mercado (elas precisam de dinheiro para
 841 sobreviver), pode ser menos óbvio por que o mercado se envolveria com os
 842 comuns. Os comuns digitais oferecem muitos benefícios.
 843       </p><p>
 844         O comum acelera a disseminação. O fluxo livre de recursos nos comuns oferece
 845 enormes economias de escala. A distribuição é descentralizada, com todos
 846 aqueles que estão nos comuns com poderes para compartilhar os recursos aos
 847 quais têm acesso. Aqueles que são feitos com Creative Commons têm uma
 848 necessidade reduzida de vendas ou marketing. A distribuição descentralizada
 849 amplia a oferta e o <span class="emphasis"><em>know-how</em></span>.
 850       </p><p>
 851         O comum garante o acesso a todos. O mercado tem operado tradicionalmente
 852 colocando recursos atrás de um paywall, que exige o pagamento antes do
 853 acesso. O comum coloca recursos à vista, fornecendo acesso antecipado sem
 854 pagamento. Aqueles que são feitos com Creative Commons fazem pouco ou nenhum
 855 uso de gestão de direitos digitais (DRM) para gerenciar recursos. Não usar o
 856 DRM os libera dos custos de aquisição de tecnologia DRM e recursos de equipe
 857 para se envolver em práticas punitivas associadas à restrição de acesso. A
 858 maneira como os comuns fornecem acesso a todos nivela o campo de jogo e
 859 promove inclusão, equidade e justiça.
 860       </p><p>
 861         O comum maximiza a participação. Os recursos nos comuns podem ser usados e
 862 contribuídos por todos. Usar os recursos dos outros, contribuir com os seus
 863 e misturar os seus com outros para criar novas obras são formas dinâmicas de
 864 participação possibilitadas pelos comuns. Ser feito com Creative Commons
 865 significa que você está envolvendo o maior número possível de usuários com
 866 seus recursos. Os usuários também estão criando, editando, remixando,
 867 fazendo curadoria, localizando, traduzindo e distribuindo. Os comuns
 868 possibilitam que as pessoas participem diretamente da cultura, da construção
 869 do conhecimento e até da democracia e de muitas outras práticas socialmente
 870 benéficas.
 871       </p><p>
 872         Os comuns estimulam a inovação. Os recursos nas mãos de mais pessoas que
 873 podem usá-los levam a novas ideias. A maneira como os recursos comuns podem
 874 ser modificados, personalizados e melhores resultados em trabalhos derivados
 875 nunca imaginados pelo criador original. Alguns empreendimentos Feitos com
 876 Creative Commons encorajam deliberadamente os usuários a pegar os recursos
 877 que estão sendo compartilhados e inová-los. Isso move a pesquisa e o
 878 desenvolvimento (R&amp;D) de apenas dentro da organização para estar na
 879 comunidade.<a href="#ftn.idm399" class="footnote" name="idm399"><sup class="footnote">[36]</sup></a> A inovação baseada na
 880 comunidade manterá uma organização ou negócio em alerta. Deve continuar a
 881 contribuir com novas ideias, absorver e construir sobre as inovações dos
 882 outros e administrar os recursos e o relacionamento com a comunidade.
 883       </p><p>
 884         O comum aumenta o alcance e o impacto. O comum digital é global. Os recursos
 885 podem ser criados para uma necessidade local ou regional, mas eles vão longe
 886 e geram um impacto global. No mundo digital, não existem fronteiras entre
 887 países. Quando você é Feito com Creative Commons, geralmente é local e
 888 global ao mesmo tempo: designs digitais sendo distribuídos globalmente, mas
 889 feitos e fabricados localmente. Livros digitais ou música sendo distribuídos
 890 globalmente, mas leituras e shows realizados localmente. O comum digital
 891 amplia o impacto ao conectar os criadores com aqueles que usam e desenvolvem
 892 sua obra local e globalmente.
 893       </p><p>
 894         O comum é gerador. Em vez de extrair valor, o comum agrega valor. Os
 895 recursos digitalizados persistem sem se esgotarem e, com o uso, são
 896 aprimorados, personalizados e localizados. Cada uso agrega valor. O mercado
 897 tem como foco a geração de valor para o negócio e para o cliente. Os comuns
 898 geram valor para uma gama mais ampla de beneficiários, incluindo a empresa,
 899 o cliente, o criador, o público e os próprios comuns. A natureza generativa
 900 dos comuns significa que é mais econômico e produz um maior retorno sobre o
 901 investimento. O valor não é medido apenas em termos financeiros. Cada novo
 902 recurso adicionado aos comuns fornece valor ao público e contribui para o
 903 valor geral dos comuns.
 904       </p><p>
 905         The commons brings people together for a common cause. The commons vests
 906 people directly with the responsibility to manage the resources for the
 907 common good. The costs and benefits for the individual are balanced with the
 908 costs and benefits for the community and for future generations. Resources
 909 are not anonymous or mass produced. Their provenance is known and
 910 acknowledged through attribution and other means. Those that are Made with
 911 Creative Commons generate awareness and reputation based on their
 912 contributions to the commons. The reach, impact, and sustainability of those
 913 contributions rest largely on their ability to forge relationships and
 914 connections with those who use and improve them. By functioning on the basis
 915 of social engagement, not monetary exchange, the commons unifies people.
 916       </p><p>
 917         The benefits of the commons are many. When these benefits align with the
 918 goals of individuals, communities, businesses in the market, or state
 919 enterprises, choosing to manage resources as a commons ought to be the
 920 option of choice.
 921       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="our-case-studies"></a>Our Case Studies</h2></div></div></div><p>
 922         The creators, organizations, and businesses in our case studies operate as
 923 nonprofits, for-profits, and social enterprises.  Regardless of legal
 924 status, they all have a social mission.  Their primary reason for being is
 925 to make the world a better place, not to profit. Money is a means to a
 926 social end, not the end itself. They factor public interest into decisions,
 927 behavior, and practices. Transparency and trust are really important. Impact
 928 and success are measured against social aims expressed in mission
 929 statements, and are not just about the financial bottom line.
 930       </p><p>
 931         The case studies are based on the narratives told to us by founders and key
 932 staff. Instead of solely using financials as the measure of success and
 933 sustainability, they emphasized their mission, practices, and means by which
 934 they measure success.  Metrics of success are a blend of how social goals
 935 are being met and how sustainable the enterprise is.
 936       </p><p>
 937         Our case studies are diverse, ranging from publishing to education and
 938 manufacturing. All of the organizations, businesses, and creators in the
 939 case studies produce digital resources. Those resources exist in many forms
 940 including books, designs, songs, research, data, cultural works, education
 941 materials, graphic icons, and video. Some are digital representations of
 942 physical resources. Others are born digital but can be made into physical
 943 resources.
 944       </p><p>
 945         They are creating new resources, or using the resources of others, or mixing
 946 existing resources together to make something new. They, and their audience,
 947 all play a direct, participatory role in managing those resources, including
 948 their preservation, curation, distribution, and enhancement. Access and
 949 participation is open to all regardless of monetary means.
 950       </p><p>
 951         And as users of Creative Commons licenses, they are automatically part of a
 952 global community. The new digital commons is global. Those we profiled come
 953 from nearly every continent in the world. To build and interact within this
 954 global community is conducive to success.
 955       </p><p>
 956         Creative Commons licenses may express legal rules around the use of
 957 resources in a commons, but success in the commons requires more than
 958 following the letter of the law and acquiring financial means. Over and over
 959 we heard in our interviews how success and sustainability are tied to a set
 960 of beliefs, values, and principles that underlie their actions: Give more
 961 than you take. Be open and inclusive. Add value. Make visible what you are
 962 using from the commons, what you are adding, and what you are
 963 monetizing. Maximize abundance. Give attribution. Express gratitude. Develop
 964 trust; don’t exploit. Build relationship and community. Be
 965 transparent. Defend the commons.
 966       </p><p>
 967         The new digital commons is here to stay. Made With Creative Commons case
 968 studies show how it’s possible to be part of this commons while still
 969 functioning within market and state systems.  The commons generates benefits
 970 neither the market nor state can achieve on their own. Rather than the
 971 market or state dominating as primary means of resource management, a more
 972 balanced alternative is possible.
 973       </p><p>
 974         Enterprise use of Creative Commons has only just begun. The case studies in
 975 this book are merely starting points. Each is changing and evolving over
 976 time. Many more are joining and inventing new models. This overview aims to
 977 provide a framework and language for thinking and talking about the new
 978 digital commons. The remaining sections go deeper providing further guidance
 979 and insights on how it works.
 980       </p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm111" class="footnote"><p><a href="#idm111" class="para"><sup class="para">[1] </sup></a>
 981           Jonathan Rowe, <span class="emphasis"><em>Our Common Wealth</em></span> (San Francisco:
 982 Berrett-Koehler, 2013), 14.
 983         </p></div><div id="ftn.idm116" class="footnote"><p><a href="#idm116" class="para"><sup class="para">[2] </sup></a>
 984           David Bollier, <span class="emphasis"><em>Think Like a Commoner: A Short Introduction to the
 985 Life of the Commons</em></span> (Gabriola Island, BC: New Society, 2014),
 986 176.
 987         </p></div><div id="ftn.idm119" class="footnote"><p><a href="#idm119" class="para"><sup class="para">[3] </sup></a>
 988           <span class="emphasis"><em>Ibid</em></span>., 15.
 989         </p></div><div id="ftn.idm125" class="footnote"><p><a href="#idm125" class="para"><sup class="para">[4] </sup></a>
 990             <span class="emphasis"><em>Ibid</em></span>., 145.
 991           </p></div><div id="ftn.idm129" class="footnote"><p><a href="#idm129" class="para"><sup class="para">[5] </sup></a>
 992             <span class="emphasis"><em>Ibid</em></span>., 175.
 993           </p></div><div id="ftn.idm148" class="footnote"><p><a href="#idm148" class="para"><sup class="para">[6] </sup></a>
 994             Daniel H. Cole, <span class="quote">“<span class="quote">Learning from Lin: Lessons and Cautions from the
 995 Natural Commons for the Knowledge Commons</span>”</span>, em <span class="emphasis"><em>Governing
 996 Knowledge Commons</em></span>, eds. Brett M. Frischmann, Michael J. Madison e
 997 Katherine J. Strandburg (Nova York: Oxford University Press, 2014), 53.
 998           </p></div><div id="ftn.idm176" class="footnote"><p><a href="#idm176" class="para"><sup class="para">[7] </sup></a>
 999               Max Haiven, <span class="emphasis"><em>Crises of Imagination, Crises of Power: Capitalism,
1000 Creativity and the Commons</em></span> (Nova York: Zed Books, 2014), 93.
1001             </p></div><div id="ftn.idm192" class="footnote"><p><a href="#idm192" class="para"><sup class="para">[8] </sup></a>
1002               Bollier, <span class="emphasis"><em>Think Like a Commoner</em></span>, 175.
1003             </p></div><div id="ftn.idm199" class="footnote"><p><a href="#idm199" class="para"><sup class="para">[9] </sup></a>
1004               Joshua Farley e Ida Kubiszewski, <span class="quote">“<span class="quote">The Economics of Information in a
1005 Post-Carbon Economy</span>”</span> em <span class="emphasis"><em>Free Knowledge: Confronting the
1006 Commodification of Human Discovery</em></span>, eds. Patricia W. Elliott e
1007 Daryl H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4.
1008             </p></div><div id="ftn.idm211" class="footnote"><p><a href="#idm211" class="para"><sup class="para">[10] </sup></a>
1009             Rowe, <span class="emphasis"><em>Our Common Wealth</em></span>, 19; e Heather Menzies,
1010 <span class="emphasis"><em>Reclaiming the Commons for the Common Good: A Memoir and
1011 Manifesto</em></span> (Gabriola Island, BC: New Society, 2014), 42–43.
1012           </p></div><div id="ftn.idm224" class="footnote"><p><a href="#idm224" class="para"><sup class="para">[11] </sup></a>
1013             Bollier, <span class="emphasis"><em>Think Like a Commoner</em></span>, 55–78.
1014           </p></div><div id="ftn.idm228" class="footnote"><p><a href="#idm228" class="para"><sup class="para">[12] </sup></a>
1015             Fritjof Capra e Ugo Mattei, <span class="emphasis"><em>The Ecology of Law: Toward a Legal
1016 System in Tune with Nature and Community</em></span> (Oakland, CA:
1017 Berrett-Koehler, 2015), 46–57; e Bollier, <span class="emphasis"><em>Think Like a
1018 Commoner</em></span>, 88.
1019           </p></div><div id="ftn.idm247" class="footnote"><p><a href="#idm247" class="para"><sup class="para">[13] </sup></a>
1020             Brett M. Frischmann, Michael J. Madison e Katherine J. Strandburg,
1021 <span class="quote">“<span class="quote">Governing Knowledge Commons</span>”</span>, em Frischmann, Madison e
1022 Strandburg, <span class="emphasis"><em>Governing Knowledge Commons</em></span>, 12.
1023           </p></div><div id="ftn.idm253" class="footnote"><p><a href="#idm253" class="para"><sup class="para">[14] </sup></a>
1024             Farley e Kubiszewski, <span class="quote">“<span class="quote">Economics of Information</span>”</span>, em Elliott y
1025 Hepting, <span class="emphasis"><em>Free Knowledge</em></span>, 203.
1026           </p></div><div id="ftn.idm277" class="footnote"><p><a href="#idm277" class="para"><sup class="para">[15] </sup></a><span class="quote">“<span class="quote">O que é software livre?</span>”</span> Sistema operacional GNU, o
1027 Laboratório de licenciamento e conformidade da Free Software Foundation,
1028 acessado em 30 de dezembro de 2016, <a class="ulink" href="http://www.gnu.org/philosophy/free-sw" target="_top">http://www.gnu.org/philosophy/free-sw</a>.
1029               </p></div><div id="ftn.idm283" class="footnote"><p><a href="#idm283" class="para"><sup class="para">[16] </sup></a>
1030             Wikipédia, s.v. <span class="quote">“<span class="quote">Open-source software</span>”</span>, última modificação em
1031 22 de novembro de 2016.
1032           </p></div><div id="ftn.idm288" class="footnote"><p><a href="#idm288" class="para"><sup class="para">[17] </sup></a>
1033             Eric S. Raymond, <span class="quote">“<span class="quote">The Magic Cauldron</span>”</span>, em <span class="emphasis"><em>The
1034 Cathedral and the Bazaar: Musings on Linux and Open Source by an Accidental
1035 Revolutionary</em></span>, rev. ed. Sebastopol, CA: O’Reilly Media, 2001,
1036 <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
1037           </p></div><div id="ftn.idm295" class="footnote"><p><a href="#idm295" class="para"><sup class="para">[18] </sup></a>
1038             New York Times Customer Insight Group, <span class="emphasis"><em>The Psychology of Sharing:
1039 Why Do People Share Online?</em></span> (Nova York: New York Times Customer
1040 Insight Group, 2011), <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
1041           </p></div><div id="ftn.idm303" class="footnote"><p><a href="#idm303" class="para"><sup class="para">[19] </sup></a><span class="quote">“<span class="quote">Licensing Considerations</span>”</span>, Creative Commons, acessado em 30 de
1042 dezembro de 2016, <a class="ulink" href="http://creativecommons.org/share-your-work/licensing-considerations/" target="_top">http://creativecommons.org/share-your-work/licensing-considerations/</a>.
1043           </p></div><div id="ftn.idm309" class="footnote"><p><a href="#idm309" class="para"><sup class="para">[20] </sup></a>
1044             Creative Commons, <span class="emphasis"><em>2015 State of the Commons</em></span> (Mountain
1045 View, CA: Creative Commons, 2015), <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
1046           </p></div><div id="ftn.idm316" class="footnote"><p><a href="#idm316" class="para"><sup class="para">[21] </sup></a>
1047             Wikipédia, s.v. <span class="quote">“<span class="quote">Open Government Partnership</span>”</span>, última
1048 modificação em 24 de setembro de 2016, <a class="ulink" href="http://en.wikipedia.org/wiki/Open_Government_Partnership" target="_top">http://en.wikipedia.org/wiki/Open_Government_Partnership</a>.
1049           </p></div><div id="ftn.idm323" class="footnote"><p><a href="#idm323" class="para"><sup class="para">[22] </sup></a>
1050             Capra e Mattei, <span class="emphasis"><em>Ecology of Law</em></span>, 114.
1051           </p></div><div id="ftn.idm326" class="footnote"><p><a href="#idm326" class="para"><sup class="para">[23] </sup></a>
1052             <span class="emphasis"><em>Ibid</em></span>., 116.
1053           </p></div><div id="ftn.idm330" class="footnote"><p><a href="#idm330" class="para"><sup class="para">[24] </sup></a>
1054             A Agência Sueca de Cooperação para o Desenvolvimento Internacional,
1055 <span class="quote">“<span class="quote">Stockholm Statement</span>”</span> acessada em 15 de fevereiro de 2017,
1056 <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
1057           </p></div><div id="ftn.idm335" class="footnote"><p><a href="#idm335" class="para"><sup class="para">[25] </sup></a>
1058             Cidade de Bolonha, <span class="emphasis"><em>Regulation on Collaboration between Citizens
1059 and the City for the Care and Regeneration of Urban Commons</em></span>,
1060 trans. LabGov (LABoratory for the GOVernance of Commons) (Bolonha, Itália:
1061 Cidade de Bolonha, 2014), <a class="ulink" href="http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf" target="_top">http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf</a>.
1062           </p></div><div id="ftn.idm340" class="footnote"><p><a href="#idm340" class="para"><sup class="para">[26] </sup></a>
1063             O site de Seoul Sharing City website é <a class="ulink" href="http://english.sharehub.kr" target="_top">http://english.sharehub.kr</a>; para Amsterdam Sharing City, acesse
1064 <a class="ulink" href="http://www.sharenl.nl/amsterdam-sharing-city/" target="_top">http://www.sharenl.nl/amsterdam-sharing-city/</a>.
1065           </p></div><div id="ftn.idm345" class="footnote"><p><a href="#idm345" class="para"><sup class="para">[27] </sup></a>
1066             Tom Slee, <span class="emphasis"><em>What’s Yours Is Mine: Against the Sharing
1067 Economy</em></span> (Nova York: OR Books, 2015), 42.
1068           </p></div><div id="ftn.idm349" class="footnote"><p><a href="#idm349" class="para"><sup class="para">[28] </sup></a>
1069             Chris Anderson, <span class="emphasis"><em>Free: How Today’s Smartest Businesses Profit by
1070 Giving Something for Nothing</em></span>, reimpressão com novo
1071 prefácio. (Nova York: Hyperion, 2010), 78.
1072           </p></div><div id="ftn.idm354" class="footnote"><p><a href="#idm354" class="para"><sup class="para">[29] </sup></a>
1073             Jeremy Rifkin, <span class="emphasis"><em>The Zero Marginal Cost Society: The Internet of
1074 Things, the Collaborative Commons, and the Eclipse of Capitalism</em></span>
1075 (Nova York: Palgrave Macmillan, 2014) , 273.
1076           </p></div><div id="ftn.idm359" class="footnote"><p><a href="#idm359" class="para"><sup class="para">[30] </sup></a>
1077             Gar Alperovitz, <span class="emphasis"><em>What Then Must We Do? Straight Talk about the Next
1078 American Revolution: Democratizing Wealth and Building a
1079 Community-Sustaining Economy from the Ground Up</em></span> (White River
1080 Junction, VT: Chelsea Green, 2013), 39.
1081           </p></div><div id="ftn.idm362" class="footnote"><p><a href="#idm362" class="para"><sup class="para">[31] </sup></a>
1082             Marjorie Kelly, <span class="emphasis"><em>Owning Our Future: The Emerging Ownership
1083 Revolution; Journeys to a Generative Economy</em></span> (São Francisco:
1084 Berrett-Koehler, 2012), 8–9.
1085           </p></div><div id="ftn.idm369" class="footnote"><p><a href="#idm369" class="para"><sup class="para">[32] </sup></a>
1086             Alex Osterwalder e Yves Pigneur, <span class="emphasis"><em>Business Model
1087 Generation</em></span> (Hoboken, NJ: John Wiley and Sons, 2010). Uma
1088 pré-visualização do livro está disponível em <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
1089           </p></div><div id="ftn.idm375" class="footnote"><p><a href="#idm375" class="para"><sup class="para">[33] </sup></a>
1090             Esta tela de modelo de negócios está disponível para download em <a class="ulink" href="http://strategyzer.com/canvas/business-model-canvas" target="_top">http://strategyzer.com/canvas/business-model-canvas</a>.
1091           </p></div><div id="ftn.idm379" class="footnote"><p><a href="#idm379" class="para"><sup class="para">[34] </sup></a>
1092             Fizemos o <span class="quote">“<span class="quote">Open Business Model Canvas</span>”</span>, projetado pelo co-autor
1093 Paul Stacey, disponível online em <a class="ulink" href="http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit" target="_top">http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit</a>.
1094 Você também pode encontrar as perguntas do Open Business Model Canvas em
1095 <a class="ulink" href="http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit" target="_top">http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit</a>.
1096           </p></div><div id="ftn.idm387" class="footnote"><p><a href="#idm387" class="para"><sup class="para">[35] </sup></a>
1097             Uma lista mais abrangente de fluxos de receita está disponível neste post
1098 que escrevi no Medium em 6 de março de 2016. <span class="quote">“<span class="quote">What Is an Open Business
1099 Model and How Can You Generate Revenue?</span>”</span>, disponível em <a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
1100           </p></div><div id="ftn.idm399" class="footnote"><p><a href="#idm399" class="para"><sup class="para">[36] </sup></a>
1101             Henry Chesbrough, <span class="emphasis"><em>Open Innovation: The New Imperative for Creating
1102 and Profiting from Technology</em></span> (Boston: Harvard Business Review
1103 Press, 2006), 31–44.
1104           </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>Capítulo 2. How to Be Made with Creative Commons</h2></div></div></div><div class="toc"><p><b>Índice</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
1105     \textit{ Sarah Hinchliff Pearson}
1106     \end{flushright}</td></tr></table></div><p>
1107       When we began this project in August 2015, we set out to write a book about
1108 business models that involve Creative Commons licenses in some significant
1109 way—what we call being Made with Creative Commons. With the help of our
1110 Kickstarter backers, we chose twenty-four endeavors from all around the
1111 world that are Made with Creative Commons. The mix is diverse, from an
1112 individual musician to a university-textbook publisher to an electronics
1113 manufacturer.  Some make their own content and share under Creative Commons
1114 licensing. Others are platforms for CC-licensed creative work made by
1115 others. Many sit somewhere in between, both using and contributing creative
1116 work that’s shared with the public. Like all who use the licenses, these
1117 endeavors share their work—whether it’s open data or furniture designs—in a
1118 way that enables the public not only to access it but also to make use of
1119 it.
1120     </p><p>
1121       We analyzed the revenue models, customer segments, and value propositions of
1122 each endeavor. We searched for ways that putting their content under
1123 Creative Commons licenses helped boost sales or increase reach. Using
1124 traditional measures of economic success, we tried to map these business
1125 models in a way that meaningfully incorporated the impact of Creative
1126 Commons. In our interviews, we dug into the motivations, the role of CC
1127 licenses, modes of revenue generation, definitions of success.
1128     </p><p>
1129       In fairly short order, we realized the book we set out to write was quite
1130 different from the one that was revealing itself in our interviews and
1131 research.
1132     </p><p>
1133       It isn’t that we were wrong to think you can make money while using Creative
1134 Commons licenses. In many instances, CC can help make you more money. Nor
1135 were we wrong that there are business models out there that others who want
1136 to use CC licensing as part of their livelihood or business could
1137 replicate. What we didn’t realize was just how misguided it would be to
1138 write a book about being Made with Creative Commons using only a business
1139 lens.
1140     </p><p>
1141       According to the seminal handbook Business Model Generation, a business
1142 model <span class="quote">“<span class="quote">describes the rationale of how an organization creates,
1143 delivers, and captures value.</span>”</span><a href="#ftn.idm427" class="footnote" name="idm427"><sup class="footnote">[37]</sup></a>
1144 Thinking about sharing in terms of creating and capturing value always felt
1145 inappropriately transactional and out of place, something we heard time and
1146 time again in our interviews. And as Cory Doctorow told us in our interview
1147 with him, <span class="quote">“<span class="quote">Business model can mean anything you want it to
1148 mean.</span>”</span>
1149     </p><p>
1150       Eventually, we got it. Being Made with Creative Commons is more than a
1151 business model. While we will talk about specific revenue models as one
1152 piece of our analysis (and in more detail in the case studies), we scrapped
1153 that as our guiding rubric for the book.
1154     </p><p>
1155       Admittedly, it took me a long time to get there. When Paul and I divided up
1156 our writing after finishing the research, my charge was to distill
1157 everything we learned from the case studies and write up the practical
1158 lessons and takeaways. I spent months trying to jam what we learned into the
1159 business-model box, convinced there must be some formula for the way things
1160 interacted. But there is no formula. You’ll probably have to discard that
1161 way of thinking before you read any further.
1162     </p><p>
1163       In every interview, we started from the same simple questions.  Amid all the
1164 diversity among the creators, organizations, and businesses we profiled,
1165 there was one constant. Being Made with Creative Commons may be good for
1166 business, but that is not why they do it. Sharing work with Creative Commons
1167 is, at its core, a moral decision. The commercial and other self-interested
1168 benefits are secondary. Most decided to use CC licenses first and found a
1169 revenue model later. This was our first hint that writing a book solely
1170 about the impact of sharing on business might be a little off track.
1171     </p><p>
1172       But we also started to realize something about what it means to be Made with
1173 Creative Commons. When people talked to us about how and why they used CC,
1174 it was clear that it meant something more than using a copyright license. It
1175 also represented a set of values.  There is symbolism behind using CC, and
1176 that symbolism has many layers.
1177     </p><p>
1178       At one level, being Made with Creative Commons expresses an affinity for the
1179 value of Creative Commons. While there are many different flavors of CC
1180 licenses and nearly infinite ways to be Made with Creative Commons, the
1181 basic value system is rooted in a fundamental belief that knowledge and
1182 creativity are building blocks of our culture rather than just commodities
1183 from which to extract market value. These values reflect a belief that the
1184 common good should always be part of the equation when we determine how to
1185 regulate our cultural outputs. They reflect a belief that everyone has
1186 something to contribute, and that no one can own our shared culture. They
1187 reflect a belief in the promise of sharing.
1188     </p><p>
1189       Whether the public makes use of the opportunity to copy and adapt your work,
1190 sharing with a Creative Commons license is a symbol of how you want to
1191 interact with the people who consume your work.  Whenever you create
1192 something, <span class="quote">“<span class="quote">all rights reserved</span>”</span> under copyright is automatic,
1193 so the copyright symbol (©) on the work does not necessarily come across as
1194 a marker of distrust or excessive protectionism. But using a CC license can
1195 be a symbol of the opposite—of wanting a real human relationship, rather
1196 than an impersonal market transaction. It leaves open the possibility of
1197 connection.
1198     </p><p>
1199       Being Made with Creative Commons not only demonstrates values connected to
1200 CC and sharing. It also demonstrates that something other than profit drives
1201 what you do. In our interviews, we always asked what success looked like for
1202 them. It was stunning how rarely money was mentioned. Most have a deeper
1203 purpose and a different vision of success.
1204     </p><p>
1205       The driving motivation varies depending on the type of endeavor.  For
1206 individual creators, it is most often about personal inspiration. In some
1207 ways, this is nothing new. As Doctorow has written, <span class="quote">“<span class="quote">Creators usually
1208 start doing what they do for love.</span>”</span><a href="#ftn.idm441" class="footnote" name="idm441"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
1209 dynamic is even more pronounced. Similarly, for technological innovators, it
1210 is often less about creating a specific new thing that will make you rich
1211 and more about solving a specific problem you have. The creators of Arduino
1212 told us that the key question when creating something is <span class="quote">“<span class="quote">Do you as
1213 the creator want to use it? It has to have personal use and meaning.</span>”</span>
1214     </p><p>
1215       Many that are Made with Creative Commons have an express social mission that
1216 underpins everything they do. In many cases, sharing with Creative Commons
1217 expressly advances that social mission, and using the licenses can be the
1218 difference between legitimacy and hypocrisy. Noun Project co-founder Edward
1219 Boatman told us they could not have stated their social mission of sharing
1220 with a straight face if they weren’t willing to show the world that it was
1221 OK to share their content using a Creative Commons license.
1222     </p><p>
1223       This dynamic is probably one reason why there are so many nonprofit examples
1224 of being Made with Creative Commons. The content is the result of a labor of
1225 love or a tool to drive social change, and money is like gas in the car,
1226 something that you need to keep going but not an end in itself. Being Made
1227 with Creative Commons is a different vision of a business or livelihood,
1228 where profit is not paramount, and producing social good and human
1229 connection are integral to success.
1230     </p><p>
1231       Even if profit isn’t the end goal, you have to bring in money to be
1232 successfully Made with Creative Commons. At a bare minimum, you have to make
1233 enough money to keep the lights on.
1234     </p><p>
1235       The costs of doing business vary widely for those made with CC, but there is
1236 generally a much lower threshold for sustainability than there used to be
1237 for any creative endeavor. Digital technology has made it easier than ever
1238 to create, and easier than ever to distribute. As Doctorow put it in his
1239 book Information Doesn’t Want to Be Free, <span class="quote">“<span class="quote">If analog dollars have
1240 turned into digital dimes (as the critics of ad-supported media have it),
1241 there is the fact that it’s possible to run a business that gets the same
1242 amount of advertising as its forebears at a fraction of the price.</span>”</span>
1243     </p><p>
1244       Some creation costs are the same as they always were. It takes the same
1245 amount of time and money to write a peer-reviewed journal article or paint a
1246 painting. Technology can’t change that. But other costs are dramatically
1247 reduced by technology, particularly in production-heavy domains like
1248 filmmaking.<a href="#ftn.idm450" class="footnote" name="idm450"><sup class="footnote">[39]</sup></a> CC-licensed content and
1249 content in the public domain, as well as the work of volunteer
1250 collaborators, can also dramatically reduce costs if they’re being used as
1251 resources to create something new. And, of course, there is the reality that
1252 some content would be created whether or not the creator is paid because it
1253 is a labor of love.
1254     </p><p>
1255       Distributing content is almost universally cheaper than ever. Once content
1256 is created, the costs to distribute copies digitally are essentially
1257 zero.<a href="#ftn.idm453" class="footnote" name="idm453"><sup class="footnote">[40]</sup></a> The costs to distribute physical
1258 copies are still significant, but lower than they have been
1259 historically. And it is now much easier to print and distribute physical
1260 copies on-demand, which also reduces costs. Depending on the endeavor, there
1261 can be a whole host of other possible expenses like marketing and promotion,
1262 and even expenses associated with the various ways money is being made, like
1263 touring or custom training.
1264     </p><p>
1265       It’s important to recognize that the biggest impact of technology on
1266 creative endeavors is that creators can now foot the costs of creation and
1267 distribution themselves. People now often have a direct route to their
1268 potential public without necessarily needing intermediaries like record
1269 labels and book publishers. Doctorow wrote, <span class="quote">“<span class="quote">If you’re a creator who
1270 never got the time of day from one of the great imperial powers, this is
1271 your time. Where once you had no means of reaching an audience without the
1272 assistance of the industry-dominating megacompanies, now you have hundreds
1273 of ways to do it without them.</span>”</span><a href="#ftn.idm457" class="footnote" name="idm457"><sup class="footnote">[41]</sup></a>
1274 Previously, distribution of creative work involved the costs associated with
1275 sustaining a monolithic entity, now creators can do the work
1276 themselves. That means the financial needs of creative endeavors can be a
1277 lot more modest.
1278     </p><p>
1279       Whether for an individual creator or a larger endeavor, it usually isn’t
1280 enough to break even if you want to make what you’re doing a livelihood. You
1281 need to build in some support for the general operation. This extra bit
1282 looks different for everyone, but importantly, in nearly all cases for those
1283 Made with Creative Commons, the definition of <span class="quote">“<span class="quote">enough money</span>”</span>
1284 looks a lot different than it does in the world of venture capital and stock
1285 options. It is more about sustainability and less about unlimited growth and
1286 profit. SparkFun founder Nathan Seidle told us, <span class="quote">“<span class="quote">Business model is a
1287 really grandiose word for it. It is really just about keeping the operation
1288 going day to day.</span>”</span>
1289     </p><p>
1290       This book is a testament to the notion that it is possible to make money
1291 while using CC licenses and CC-licensed content, but we are still very much
1292 at an experimental stage. The creators, organizations, and businesses we
1293 profile in this book are blazing the trail and adapting in real time as they
1294 pursue this new way of operating.
1295     </p><p>
1296       There are, however, plenty of ways in which CC licensing can be good for
1297 business in fairly predictable ways. The first is how it helps solve
1298 <span class="quote">“<span class="quote">problem zero.</span>”</span>
1299     </p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="problem-zero-getting-discovered"></a>Problem Zero: Getting Discovered</h2></div></div></div><p>
1300         Once you create or collect your content, the next step is finding users,
1301 customers, fans—in other words, your people. As Amanda Palmer wrote,
1302 <span class="quote">“<span class="quote">It has to start with the art. The songs had to touch people
1303 initially, and mean something, for anything to work at
1304 all.</span>”</span><a href="#ftn.idm469" class="footnote" name="idm469"><sup class="footnote">[42]</sup></a> There isn’t any magic to
1305 finding your people, and there is certainly no formula. Your work has to
1306 connect with people and offer them some artistic and/or utilitarian
1307 value. In some ways, this is easier than ever. Online we are not limited by
1308 shelf space, so there is room for every obscure interest, taste, and need
1309 imaginable. This is what Chris Anderson dubbed the Long Tail, where
1310 consumption becomes less about mainstream mass <span class="quote">“<span class="quote">hits</span>”</span> and more
1311 about micromarkets for every particular niche. As Anderson wrote, <span class="quote">“<span class="quote">We
1312 are all different, with different wants and needs, and the Internet now has
1313 a place for all of them in the way that physical markets did
1314 not.</span>”</span><a href="#ftn.idm473" class="footnote" name="idm473"><sup class="footnote">[43]</sup></a> We are no longer limited
1315 to what appeals to the masses.
1316       </p><p>
1317         While finding <span class="quote">“<span class="quote">your people</span>”</span> online is theoretically easier than
1318 in the analog world, as a practical matter it can still be difficult to
1319 actually get noticed. The Internet is a firehose of content, one that only
1320 grows larger by the minute.  As a content creator, not only are you
1321 competing for attention against more content creators than ever before, you
1322 are competing against creativity generated outside the market as
1323 well.<a href="#ftn.idm477" class="footnote" name="idm477"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">“<span class="quote">The
1324 greatest change of the past decade has been the shift in time people spend
1325 consuming amateur content instead of professional
1326 content.</span>”</span><a href="#ftn.idm480" class="footnote" name="idm480"><sup class="footnote">[45]</sup></a> To top it all off, you
1327 have to compete against the rest of their lives, too—<span class="quote">“<span class="quote">friends, family,
1328 music playlists, soccer games, and nights on the town.</span>”</span><a href="#ftn.idm483" class="footnote" name="idm483"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
1329 right people.
1330       </p><p>
1331         When you come to the Internet armed with an all-rights-reserved mentality
1332 from the start, you are often restricting access to your work before there
1333 is even any demand for it. In many cases, requiring payment for your work is
1334 part of the traditional copyright system. Even a tiny cost has a big effect
1335 on demand.  It’s called the penny gap—the large difference in demand between
1336 something that is available at the price of one cent versus the price of
1337 zero.<a href="#ftn.idm486" class="footnote" name="idm486"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
1338 charge money for your content. It simply means you need to recognize the
1339 effect that doing so will have on demand. The same principle applies to
1340 restricting access to copy the work. If your problem is how to get
1341 discovered and find <span class="quote">“<span class="quote">your people,</span>”</span> prohibiting people from
1342 copying your work and sharing it with others is counterproductive.
1343       </p><p>
1344         Of course, it’s not that being discovered by people who like your work will
1345 make you rich—far from it. But as Cory Doctorow says, <span class="quote">“<span class="quote">Recognition is
1346 one of many necessary preconditions for artistic
1347 success.</span>”</span><a href="#ftn.idm491" class="footnote" name="idm491"><sup class="footnote">[48]</sup></a>
1348       </p><p>
1349         Choosing not to spend time and energy restricting access to your work and
1350 policing infringement also builds goodwill. Lumen Learning, a for-profit
1351 company that publishes online educational materials, made an early decision
1352 not to prevent students from accessing their content, even in the form of a
1353 tiny paywall, because it would negatively impact student success in a way
1354 that would undermine the social mission behind what they do. They believe
1355 this decision has generated an immense amount of goodwill within the
1356 community.
1357       </p><p>
1358         It is not just that restricting access to your work may undermine your
1359 social mission. It also may alienate the people who most value your creative
1360 work. If people like your work, their natural instinct will be to share it
1361 with others. But as David Bollier wrote, <span class="quote">“<span class="quote">Our natural human impulses
1362 to imitate and share—the essence of culture—have been
1363 criminalized.</span>”</span><a href="#ftn.idm496" class="footnote" name="idm496"><sup class="footnote">[49]</sup></a>
1364       </p><p>
1365         The fact that copying can carry criminal penalties undoubtedly deters
1366 copying it, but copying with the click of a button is too easy and
1367 convenient to ever fully stop it. Try as the copyright industry might to
1368 persuade us otherwise, copying a copyrighted work just doesn’t feel like
1369 stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
1370 creative work has no impact on anyone else’s ability to make use of it.
1371       </p><p>
1372         If you take some amount of copying and sharing your work as a given, you can
1373 invest your time and resources elsewhere, rather than wasting them on
1374 playing a cat and mouse game with people who want to copy and share your
1375 work. Lizzy Jongma from the Rijksmuseum said, <span class="quote">“<span class="quote">We could spend a lot of
1376 money trying to protect works, but people are going to do it anyway. And
1377 they will use bad-quality versions.</span>”</span> Instead, they started releasing
1378 high-resolution digital copies of their collection into the public domain
1379 and making them available for free on their website. For them, sharing was a
1380 form of quality control over the copies that were inevitably being shared
1381 online. Doing this meant forgoing the revenue they previously got from
1382 selling digital images. But Lizzy says that was a small price to pay for all
1383 of the opportunities that sharing unlocked for them.
1384       </p><p>
1385         Being Made with Creative Commons means you stop thinking about ways to
1386 artificially make your content scarce, and instead leverage it as the
1387 potentially abundant resource it is.<a href="#ftn.idm502" class="footnote" name="idm502"><sup class="footnote">[50]</sup></a>
1388 When you see information abundance as a feature, not a bug, you start
1389 thinking about the ways to use the idling capacity of your content to your
1390 advantage. As my friend and colleague Eric Steuer once said, <span class="quote">“<span class="quote">Using CC
1391 licenses shows you get the Internet.</span>”</span>
1392       </p><p>
1393         Cory Doctorow says it costs him nothing when other people make copies of his
1394 work, and it opens the possibility that he might get something in
1395 return.<a href="#ftn.idm506" class="footnote" name="idm506"><sup class="footnote">[51]</sup></a> Similarly, the makers of the
1396 Arduino boards knew it was impossible to stop people from copying their
1397 hardware, so they decided not to even try and instead look for the benefits
1398 of being open. For them, the result is one of the most ubiquitous pieces of
1399 hardware in the world, with a thriving online community of tinkerers and
1400 innovators that have done things with their work they never could have done
1401 otherwise.
1402       </p><p>
1403         There are all kinds of way to leverage the power of sharing and remix to
1404 your benefit. Here are a few.
1405       </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-grow-a-larger-audience"></a>Use CC to grow a larger audience</h3></div></div></div><p>
1406           Putting a Creative Commons license on your content won’t make it
1407 automatically go viral, but eliminating legal barriers to copying the work
1408 certainly can’t hurt the chances that your work will be shared. The CC
1409 license symbolizes that sharing is welcome. It can act as a little tap on
1410 the shoulder to those who come across the work—a nudge to copy the work if
1411 they have any inkling of doing so. All things being equal, if one piece of
1412 content has a sign that says Share and the other says Don’t Share (which is
1413 what <span class="quote">“<span class="quote">©</span>”</span> means), which do you think people are more likely to
1414 share?
1415         </p><p>
1416           The Conversation is an online news site with in-depth articles written by
1417 academics who are experts on particular topics. All of the articles are
1418 CC-licensed, and they are copied and reshared on other sites by design. This
1419 proliferating effect, which they track, is a central part of the value to
1420 their academic authors who want to reach as many readers as possible.
1421         </p><p>
1422           The idea that more eyeballs equates with more success is a form of the max
1423 strategy, adopted by Google and other technology companies. According to
1424 Google’s Eric Schmidt, the idea is simple: <span class="quote">“<span class="quote">Take whatever it is you
1425 are doing and do it at the max in terms of distribution. The other way of
1426 saying this is that since marginal cost of distribution is free, you might
1427 as well put things everywhere.</span>”</span><a href="#ftn.idm516" class="footnote" name="idm516"><sup class="footnote">[52]</sup></a>
1428 This strategy is what often motivates companies to make their products and
1429 services free (i.e., no cost), but the same logic applies to making content
1430 freely shareable. Because CC-licensed content is free (as in cost) and can
1431 be freely copied, CC licensing makes it even more accessible and likely to
1432 spread.
1433         </p><p>
1434           If you are successful in reaching more users, readers, listeners, or other
1435 consumers of your work, you can start to benefit from the bandwagon
1436 effect. The simple fact that there are other people consuming or following
1437 your work spurs others to want to do the same.<a href="#ftn.idm519" class="footnote" name="idm519"><sup class="footnote">[53]</sup></a> This is, in part, because we simply have a tendency to engage in
1438 herd behavior, but it is also because a large following is at least a
1439 partial indicator of quality or usefulness.<a href="#ftn.idm521" class="footnote" name="idm521"><sup class="footnote">[54]</sup></a>
1440         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-get-attribution-and-name-recognition"></a>Use CC to get attribution and name recognition</h3></div></div></div><p>
1441           Every Creative Commons license requires that credit be given to the author,
1442 and that reusers supply a link back to the original source of the
1443 material. CC0, not a license but a tool used to put work in the public
1444 domain, does not make attribution a legal requirement, but many communities
1445 still give credit as a matter of best practices and social norms. In fact,
1446 it is social norms, rather than the threat of legal enforcement, that most
1447 often motivate people to provide attribution and otherwise comply with the
1448 CC license terms anyway. This is the mark of any well-functioning community,
1449 within both the marketplace and the society at large.<a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[55]</sup></a> CC licenses reflect a set of wishes on the part of
1450 creators, and in the vast majority of circumstances, people are naturally
1451 inclined to follow those wishes. This is particularly the case for something
1452 as straightforward and consistent with basic notions of fairness as
1453 providing credit.
1454         </p><p>
1455           The fact that the name of the creator follows a CC-licensed work makes the
1456 licenses an important means to develop a reputation or, in corporate speak,
1457 a brand. The drive to associate your name with your work is not just based
1458 on commercial motivations, it is fundamental to authorship.  Knowledge
1459 Unlatched is a nonprofit that helps to subsidize the print production of
1460 CC-licensed academic texts by pooling contributions from libraries around
1461 the United States. The CEO, Frances Pinter, says that the Creative Commons
1462 license on the works has a huge value to authors because reputation is the
1463 most important currency for academics. Sharing with CC is a way of having
1464 the most people see and cite your work.
1465         </p><p>
1466           Attribution can be about more than just receiving credit. It can also be
1467 about establishing provenance. People naturally want to know where content
1468 came from—the source of a work is sometimes just as interesting as the work
1469 itself. Opendesk is a platform for furniture designers to share their
1470 designs.  Consumers who like those designs can then get matched with local
1471 makers who turn the designs into real-life furniture.  The fact that I,
1472 sitting in the middle of the United States, can pick out a design created by
1473 a designer in Tokyo and then use a maker within my own community to
1474 transform the design into something tangible is part of the power of their
1475 platform. The provenance of the design is a special part of the product.
1476         </p><p>
1477           Knowing the source of a work is also critical to ensuring its
1478 credibility. Just as a trademark is designed to give consumers a way to
1479 identify the source and quality of a particular good and service, knowing
1480 the author of a work gives the public a way to assess its credibility. In a
1481 time when online discourse is plagued with misinformation, being a trusted
1482 information source is more valuable than ever.
1483         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-licensed-content-as-a-marketing-tool"></a>Use CC-licensed content as a marketing tool</h3></div></div></div><p>
1484           As we will cover in more detail later, many endeavors that are Made with
1485 Creative Commons make money by providing a product or service other than the
1486 CC-licensed work. Sometimes that other product or service is completely
1487 unrelated to the CC content. Other times it’s a physical copy or live
1488 performance of the CC content. In all cases, the CC content can attract
1489 people to your other product or service.
1490         </p><p>
1491           Knowledge Unlatched’s Pinter told us she has seen time and again how
1492 offering CC-licensed content—that is, digitally for free—actually increases
1493 sales of the printed goods because it functions as a marketing tool. We see
1494 this phenomenon regularly with famous artwork. The Mona Lisa is likely the
1495 most recognizable painting on the planet. Its ubiquity has the effect of
1496 catalyzing interest in seeing the painting in person, and in owning physical
1497 goods with the image. Abundant copies of the content often entice more
1498 demand, not blunt it.  Another example came with the advent of the
1499 radio. Although the music industry did not see it coming (and fought it!),
1500 free music on the radio functioned as advertising for the paid version
1501 people bought in music stores.<a href="#ftn.idm536" class="footnote" name="idm536"><sup class="footnote">[56]</sup></a> Free can
1502 be a form of promotion.
1503         </p><p>
1504           In some cases, endeavors that are Made with Creative Commons do not even
1505 need dedicated marketing teams or marketing budgets. Cards Against Humanity
1506 is a CC-licensed card game available as a free download. And because of this
1507 (thanks to the CC license on the game), the creators say it is one of the
1508 best-marketed games in the world, and they have never spent a dime on
1509 marketing. The textbook publisher OpenStax has also avoided hiring a
1510 marketing team. Their products are free, or cheaper to buy in the case of
1511 physical copies, which makes them much more attractive to students who then
1512 demand them from their universities. They also partner with service
1513 providers who build atop the CC-licensed content and, in turn, spend money
1514 and resources marketing those services (and by extension, the OpenStax
1515 textbooks).
1516         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-enable-hands-on-engagement-with-your-work"></a>Use CC to enable hands-on engagement with your work</h3></div></div></div><p>
1517           The great promise of Creative Commons licensing is that it signifies an
1518 embrace of remix culture. Indeed, this is the great promise of digital
1519 technology. The Internet opened up a whole new world of possibilities for
1520 public participation in creative work.
1521         </p><p>
1522           Four of the six CC licenses enable reusers to take apart, build upon, or
1523 otherwise adapt the work. Depending on the context, adaptation can mean
1524 wildly different things—translating, updating, localizing, improving,
1525 transforming. It enables a work to be customized for particular needs, uses,
1526 people, and communities, which is another distinct value to offer the
1527 public.<a href="#ftn.idm543" class="footnote" name="idm543"><sup class="footnote">[57]</sup></a> Adaptation is more game
1528 changing in some contexts than others. With educational materials, the
1529 ability to customize and update the content is critically important for its
1530 usefulness. For photography, the ability to adapt a photo is less important.
1531         </p><p>
1532           This is a way to counteract a potential downside of the abundance of free
1533 and open content described above. As Anderson wrote in Free, <span class="quote">“<span class="quote">People
1534 often don’t care as much about things they don’t pay for, and as a result
1535 they don’t think as much about how they consume them.</span>”</span><a href="#ftn.idm547" class="footnote" name="idm547"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
1536 penny for something changes our perception of that thing, then surely the
1537 act of remixing it enhances our perception exponentially.<a href="#ftn.idm549" class="footnote" name="idm549"><sup class="footnote">[59]</sup></a> We know that people will pay more for products they
1538 had a part in creating.<a href="#ftn.idm551" class="footnote" name="idm551"><sup class="footnote">[60]</sup></a> And we know
1539 that creating something, no matter what quality, brings with it a type of
1540 creative satisfaction that can never be replaced by consuming something
1541 created by someone else.<a href="#ftn.idm553" class="footnote" name="idm553"><sup class="footnote">[61]</sup></a>
1542         </p><p>
1543           Actively engaging with the content helps us avoid the type of aimless
1544 consumption that anyone who has absentmindedly scrolled through their
1545 social-media feeds for an hour knows all too well. In his book, Cognitive
1546 Surplus, Clay Shirky says, <span class="quote">“<span class="quote">To participate is to act as if your
1547 presence matters, as if, when you see something or hear something, your
1548 response is part of the event.</span>”</span><a href="#ftn.idm557" class="footnote" name="idm557"><sup class="footnote">[62]</sup></a>
1549 Opening the door to your content can get people more deeply tied to your
1550 work.
1551         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-differentiate-yourself"></a>Use CC to differentiate yourself</h3></div></div></div><p>
1552           Operating under a traditional copyright regime usually means operating under
1553 the rules of establishment players in the media. Business strategies that
1554 are embedded in the traditional copyright system, like using digital rights
1555 management (DRM) and signing exclusivity contracts, can tie the hands of
1556 creators, often at the expense of the creator’s best interest.<a href="#ftn.idm562" class="footnote" name="idm562"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
1557 function without those barriers and, in many cases, use the increased
1558 openness as a competitive advantage. David Harris from OpenStax said they
1559 specifically pursue strategies they know that traditional publishers
1560 cannot. <span class="quote">“<span class="quote">Don’t go into a market and play by the incumbent
1561 rules,</span>”</span> David said.  <span class="quote">“<span class="quote">Change the rules of engagement.</span>”</span>
1562         </p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-money"></a>Making Money</h2></div></div></div><p>
1563         Like any moneymaking endeavor, those that are Made with Creative Commons
1564 have to generate some type of value for their audience or
1565 customers. Sometimes that value is subsidized by funders who are not
1566 actually beneficiaries of that value. Funders, whether philanthropic
1567 institutions, governments, or concerned individuals, provide money to the
1568 organization out of a sense of pure altruism. This is the way traditional
1569 nonprofit funding operates.<a href="#ftn.idm569" class="footnote" name="idm569"><sup class="footnote">[64]</sup></a> But in many
1570 cases, the revenue streams used by endeavors that are Made with Creative
1571 Commons are directly tied to the value they generate, where the recipient is
1572 paying for the value they receive like any standard market transaction. In
1573 still other cases, rather than the quid pro quo exchange of money for value
1574 that typically drives market transactions, the recipient gives money out of
1575 a sense of reciprocity.
1576       </p><p>
1577         Most who are Made with Creative Commons use a variety of methods to bring in
1578 revenue, some market-based and some not. One common strategy is using grant
1579 funding for content creation when research-and-development costs are
1580 particularly high, and then finding a different revenue stream (or streams)
1581 for ongoing expenses. As Shirky wrote, <span class="quote">“<span class="quote">The trick is in knowing when
1582 markets are an optimal way of organizing interactions and when they are
1583 not.</span>”</span><a href="#ftn.idm575" class="footnote" name="idm575"><sup class="footnote">[65]</sup></a>
1584       </p><p>
1585         Our case studies explore in more detail the various revenue-generating
1586 mechanisms used by the creators, organizations, and businesses we
1587 interviewed. There is nuance hidden within the specific ways each of them
1588 makes money, so it is a bit dangerous to generalize too much about what we
1589 learned.  Nonetheless, zooming out and viewing things from a higher level of
1590 abstraction can be instructive.
1591       </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="market-based-revenue-streams"></a>Market-based revenue streams</h3></div></div></div><p>
1592           In the market, the central question when determining how to bring in revenue
1593 is what value people are willing to pay for.<a href="#ftn.idm581" class="footnote" name="idm581"><sup class="footnote">[66]</sup></a> By definition, if you are Made with Creative Commons, the content
1594 you provide is available for free and not a market commodity. Like the
1595 ubiquitous freemium business model, any possible market transaction with a
1596 consumer of your content has to be based on some added value you
1597 provide.<a href="#ftn.idm583" class="footnote" name="idm583"><sup class="footnote">[67]</sup></a>
1598         </p><p>
1599           In many ways, this is the way of the future for all content-driven
1600 endeavors. In the market, value lives in things that are scarce. Because the
1601 Internet makes a universe of content available to all of us for free, it is
1602 difficult to get people to pay for content online. The struggling newspaper
1603 industry is a testament to this fact. This is compounded by the fact that at
1604 least some amount of copying is probably inevitable. That means you may end
1605 up competing with free versions of your own content, whether you condone it
1606 or not.<a href="#ftn.idm586" class="footnote" name="idm586"><sup class="footnote">[68]</sup></a> If people can easily find your
1607 content for free, getting people to buy it will be difficult, particularly
1608 in a context where access to content is more important than owning it. In
1609 Free, Anderson wrote, <span class="quote">“<span class="quote">Copyright protection schemes, whether coded
1610 into either law or software, are simply holding up a price against the force
1611 of gravity.</span>”</span>
1612         </p><p>
1613           Of course, this doesn’t mean that content-driven endeavors have no future in
1614 the traditional marketplace. In Free, Anderson explains how when one product
1615 or service becomes free, as information and content largely have in the
1616 digital age, other things become more valuable. <span class="quote">“<span class="quote">Every abundance
1617 creates a new scarcity,</span>”</span> he wrote. You just have to find some way
1618 other than the content to provide value to your audience or customers. As
1619 Anderson says, <span class="quote">“<span class="quote">It’s easy to compete with Free: simply offer something
1620 better or at least different from the free version.</span>”</span><a href="#ftn.idm592" class="footnote" name="idm592"><sup class="footnote">[69]</sup></a>
1621         </p><p>
1622           In light of this reality, in some ways endeavors that are Made with Creative
1623 Commons are at a level playing field with all content-based endeavors in the
1624 digital age. In fact, they may even have an advantage because they can use
1625 the abundance of content to derive revenue from something scarce. They can
1626 also benefit from the goodwill that stems from the values behind being Made
1627 with Creative Commons.
1628         </p><p>
1629           For content creators and distributors, there are nearly infinite ways to
1630 provide value to the consumers of your work, above and beyond the value that
1631 lives within your free digital content. Often, the CC-licensed content
1632 functions as a marketing tool for the paid product or service.
1633         </p><p>
1634           Here are the most common high-level categories.
1635         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-custom-service-to-consumers-of-your-work-market-based"></a>Providing a custom service to consumers of your work
1636 <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1637           In this age of information abundance, we don’t lack for content. The trick
1638 is finding content that matches our needs and wants, so customized services
1639 are particularly valuable.  As Anderson wrote, <span class="quote">“<span class="quote">Commodity information
1640 (everybody gets the same version) wants to be free. Customized information
1641 (you get something unique and meaningful to you)  wants to be
1642 expensive.</span>”</span><a href="#ftn.idm602" class="footnote" name="idm602"><sup class="footnote">[70]</sup></a> This can be anything
1643 from the artistic and cultural consulting services provided by Ártica to the
1644 custom-song business of Jonathan <span class="quote">“<span class="quote">Song-A-Day</span>”</span> Mann.
1645         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-physical-copy-market-based"></a>Charging for the physical copy <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1646           In his book about maker culture, Anderson characterizes this model as giving
1647 away the bits and selling the atoms (where bits refers to digital content
1648 and atoms refer to a physical object).<a href="#ftn.idm609" class="footnote" name="idm609"><sup class="footnote">[71]</sup></a>
1649 This is particularly successful in domains where the digital version of the
1650 content isn’t as valuable as the analog version, like book publishing where
1651 a significant subset of people still prefer reading something they can hold
1652 in their hands. Or in domains where the content isn’t useful until it is in
1653 physical form, like furniture designs. In those situations, a significant
1654 portion of consumers will pay for the convenience of having someone else put
1655 the physical version together for them. Some endeavors squeeze even more out
1656 of this revenue stream by using a Creative Commons license that only allows
1657 noncommercial uses, which means no one else can sell physical copies of
1658 their work in competition with them. This strategy of reserving commercial
1659 rights can be particularly important for items like books, where every
1660 printed copy of the same work is likely to be the same quality, so it is
1661 harder to differentiate one publishing service from another. On the other
1662 hand, for items like furniture or electronics, the provider of the physical
1663 goods can compete with other providers of the same works based on quality,
1664 service, or other traditional business principles.
1665         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-in-person-version-market-based"></a>Charging for the in-person version <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1666           As anyone who has ever gone to a concert will tell you, experiencing
1667 creativity in person is a completely different experience from consuming a
1668 digital copy on your own. Far from acting as a substitute for face-to-face
1669 interaction, CC-licensed content can actually create demand for the
1670 in-person version of experience. You can see this effect when people go view
1671 original art in person or pay to attend a talk or training course.
1672         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="selling-merchandise-market-based"></a>Selling merchandise <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1673           In many cases, people who like your work will pay for products demonstrating
1674 a connection to your work. As a child of the 1980s, I can personally attest
1675 to the power of a good concert T-shirt. This can also be an important
1676 revenue stream for museums and galleries.
1677         </p><p>
1678           Sometimes the way to find a market-based revenue stream is by providing
1679 value to people other than those who consume your CC-licensed content. In
1680 these revenue streams, the free content is being subsidized by an entirely
1681 different category of people or businesses. Often, those people or
1682 businesses are paying to access your main audience. The fact that the
1683 content is free increases the size of the audience, which in turn makes the
1684 offer more valuable to the paying customers. This is a variation of a
1685 traditional business model built on free called multi-sided
1686 platforms.<a href="#ftn.idm620" class="footnote" name="idm620"><sup class="footnote">[72]</sup></a> Access to your audience
1687 isn’t the only thing people are willing to pay for—there are other services
1688 you can provide as well.
1689         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-advertisers-or-sponsors-market-based"></a>Charging advertisers or sponsors <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1690           The traditional model of subsidizing free content is advertising. In this
1691 version of multi-sided platforms, advertisers pay for the opportunity to
1692 reach the set of eyeballs the content creators provide in the form of their
1693 audience.<a href="#ftn.idm626" class="footnote" name="idm626"><sup class="footnote">[73]</sup></a> The Internet has made this
1694 model more difficult because the number of potential channels available to
1695 reach those eyeballs has become essentially infinite.<a href="#ftn.idm628" class="footnote" name="idm628"><sup class="footnote">[74]</sup></a> Nonetheless, it remains a viable revenue stream for
1696 many content creators, including those who are Made with Creative
1697 Commons. Often, instead of paying to display advertising, the advertiser
1698 pays to be an official sponsor of particular content or projects, or of the
1699 overall endeavor.
1700         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-your-content-creators-market-based"></a>Charging your content creators <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1701           Another type of multisided platform is where the content creators themselves
1702 pay to be featured on the platform.  Obviously, this revenue stream is only
1703 available to those who rely on work created, at least in part, by
1704 others. The most well-known version of this model is the
1705 <span class="quote">“<span class="quote">author-processing charge</span>”</span> of open-access journals like those
1706 published by the Public Library of Science, but there are other
1707 variations. The Conversation is primarily funded by a university-membership
1708 model, where universities pay to have their faculties participate as writers
1709 of the content on the Conversation website.
1710         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-a-transaction-fee-market-based"></a>Charging a transaction fee <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1711           This is a version of a traditional business model based on brokering
1712 transactions between parties.<a href="#ftn.idm639" class="footnote" name="idm639"><sup class="footnote">[75]</sup></a> Curation
1713 is an important element of this model.  Platforms like the Noun Project add
1714 value by wading through CC-licensed content to curate a high-quality set and
1715 then derive revenue when creators of that content make transactions with
1716 customers. Other platforms make money when service providers transact with
1717 their customers; for example, Opendesk makes money every time someone on
1718 their site pays a maker to make furniture based on one of the designs on the
1719 platform.
1720         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-service-to-your-creators-market-based"></a>Providing a service to your creators <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1721           As mentioned above, endeavors can make money by providing customized
1722 services to their users. Platforms can undertake a variation of this service
1723 model directed at the creators that provide the content they feature. The
1724 data platforms Figure.NZ and Figshare both capitalize on this model by
1725 providing paid tools to help their users make the data they contribute to
1726 the platform more discoverable and reusable.
1727         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="licensing-a-trademark-market-based"></a>Licensing a trademark <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1728           Finally, some that are Made with Creative Commons make money by selling use
1729 of their trademarks. Well known brands that consumers associate with
1730 quality, credibility, or even an ethos can license that trademark to
1731 companies that want to take advantage of that goodwill. By definition,
1732 trademarks are scarce because they represent a particular source of a good
1733 or service. Charging for the ability to use that trademark is a way of
1734 deriving revenue from something scarce while taking advantage of the
1735 abundance of CC content.
1736         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="reciprocity-based-revenue-streams"></a>Reciprocity-based revenue streams</h3></div></div></div><p>
1737           Even if we set aside grant funding, we found that the traditional economic
1738 framework of understanding the market failed to fully capture the ways the
1739 endeavors we analyzed were making money. It was not simply about monetizing
1740 scarcity.
1741         </p><p>
1742           Rather than devising a scheme to get people to pay money in exchange for
1743 some direct value provided to them, many of the revenue streams were more
1744 about providing value, building a relationship, and then eventually finding
1745 some money that flows back out of a sense of reciprocity. While some look
1746 like traditional nonprofit funding models, they aren’t charity. The endeavor
1747 exchange value with people, just not necessarily synchronously or in a way
1748 that requires that those values be equal. As David Bollier wrote in Think
1749 Like a Commoner, <span class="quote">“<span class="quote">There is no self-serving calculation of whether the
1750 value given and received is strictly equal.</span>”</span>
1751         </p><p>
1752           This should be a familiar dynamic—it is the way you deal with your friends
1753 and family. We give without regard for what and when we will get back. David
1754 Bollier wrote, <span class="quote">“<span class="quote">Reciprocal social exchange lies at the heart of human
1755 identity, community and culture. It is a vital brain function that helps the
1756 human species survive and evolve.</span>”</span>
1757         </p><p>
1758           What is rare is to incorporate this sort of relationship into an endeavor
1759 that also engages with the market.<a href="#ftn.idm657" class="footnote" name="idm657"><sup class="footnote">[76]</sup></a> We
1760 almost can’t help but think of relationships in the market as being centered
1761 on an even-steven exchange of value.<a href="#ftn.idm659" class="footnote" name="idm659"><sup class="footnote">[77]</sup></a>
1762         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="memberships-and-individual-donations-reciprocity-based"></a>Memberships and individual donations
1763 <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1764           While memberships and donations are traditional nonprofit funding models, in
1765 the Made with Creative Commons context, they are directly tied to the
1766 reciprocal relationship that is cultivated with the beneficiaries of their
1767 work. The bigger the pool of those receiving value from the content, the
1768 more likely this strategy will work, given that only a small percentage of
1769 people are likely to contribute. Since using CC licenses can grease the
1770 wheels for content to reach more people, this strategy can be more effective
1771 for endeavors that are Made with Creative Commons. The greater the argument
1772 that the content is a public good or that the entire endeavor is furthering
1773 a social mission, the more likely this strategy is to succeed.
1774         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="the-pay-what-you-want-model-reciprocity-based"></a>The pay-what-you-want model <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1775           In the pay-what-you-want model, the beneficiary of Creative Commons content
1776 is invited to give—at any amount they can and feel is appropriate, based on
1777 the public and personal value they feel is generated by the open
1778 content. Critically, these models are not touted as <span class="quote">“<span class="quote">buying</span>”</span>
1779 something free.  They are similar to a tip jar. People make financial
1780 contributions as an act of gratitude. These models capitalize on the fact
1781 that we are naturally inclined to give money for things we value in the
1782 marketplace, even in situations where we could find a way to get it for
1783 free.
1784         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="crowdfunding-reciprocity-based"></a>Crowdfunding <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1785           Crowdfunding models are based on recouping the costs of creating and
1786 distributing content before the content is created. If the endeavor is Made
1787 with Creative Commons, anyone who wants the work in question could simply
1788 wait until it’s created and then access it for free. That means, for this
1789 model to work, people have to care about more than just receiving the
1790 work. They have to want you to succeed. Amanda Palmer credits the success of
1791 her crowdfunding on Kickstarter and Patreon to the years she spent building
1792 her community and creating a connection with her fans. She wrote in The Art
1793 of Asking, <span class="quote">“<span class="quote">Good art is made, good art is shared, help is offered,
1794 ears are bent, emotions are exchanged, the compost of real, deep connection
1795 is sprayed all over the fields. Then one day, the artist steps up and asks
1796 for something. And if the ground has been fertilized enough, the audience
1797 says, without hesitation: of course.</span>”</span>
1798         </p><p>
1799           Other types of crowdfunding rely on a sense of responsibility that a
1800 particular community may feel. Knowledge Unlatched pools funds from major
1801 U.S. libraries to subsidize CC-licensed academic work that will be, by
1802 definition, available to everyone for free. Libraries with bigger budgets
1803 tend to give more out of a sense of commitment to the library community and
1804 to the idea of open access generally.
1805         </p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-human-connections"></a>Making Human Connections</h2></div></div></div><p>
1806         Regardless of how they made money, in our interviews, we repeatedly heard
1807 language like <span class="quote">“<span class="quote">persuading people to buy</span>”</span> and <span class="quote">“<span class="quote">inviting
1808 people to pay.</span>”</span> We heard it even in connection with revenue streams
1809 that sit squarely within the market. Cory Doctorow told us, <span class="quote">“<span class="quote">I have to
1810 convince my readers that the right thing to do is to pay me.</span>”</span> The
1811 founders of the for-profit company Lumen Learning showed us the letter they
1812 send to those who opt not to pay for the services they provide in connection
1813 with their CC-licensed educational content. It isn’t a cease-and-desist
1814 letter; it’s an invitation to pay because it’s the right thing to do. This
1815 sort of behavior toward what could be considered nonpaying customers is
1816 largely unheard of in the traditional marketplace. But it seems to be part
1817 of the fabric of being Made with Creative Commons.
1818       </p><p>
1819         Nearly every endeavor we profiled relied, at least in part, on people being
1820 invested in what they do. The closer the Creative Commons content is to
1821 being <span class="quote">“<span class="quote">the product,</span>”</span> the more pronounced this dynamic has to
1822 be. Rather than simply selling a product or service, they are making
1823 ideological, personal, and creative connections with the people who value
1824 what they do.
1825       </p><p>
1826         It took me a very long time to see how this avoidance of thinking about what
1827 they do in pure market terms was deeply tied to being Made with Creative
1828 Commons.
1829       </p><p>
1830         I came to the research with preconceived notions about what Creative Commons
1831 is and what it means to be Made with Creative Commons. It turned out I was
1832 wrong on so many counts.
1833       </p><p>
1834         Obviously, being Made with Creative Commons means using Creative Commons
1835 licenses. That much I knew. But in our interviews, people spoke of so much
1836 more than copyright permissions when they explained how sharing fit into
1837 what they do. I was thinking about sharing too narrowly, and as a result, I
1838 was missing vast swaths of the meaning packed within Creative
1839 Commons. Rather than parsing the specific and narrow role of the copyright
1840 license in the equation, it is important not to disaggregate the rest of
1841 what comes with sharing. You have to widen the lens.
1842       </p><p>
1843         Being Made with Creative Commons is not just about the simple act of
1844 licensing a copyrighted work under a set of standardized terms, but also
1845 about community, social good, contributing ideas, expressing a value system,
1846 working together. These components of sharing are hard to cultivate if you
1847 think about what you do in purely market terms. Decent social behavior isn’t
1848 as intuitive when we are doing something that involves monetary exchange. It
1849 takes a conscious effort to foster the context for real sharing, based not
1850 strictly on impersonal market exchange, but on connections with the people
1851 with whom you share—connections with you, with your work, with your values,
1852 with each other.
1853       </p><p>
1854         The rest of this section will explore some of the common strategies that
1855 creators, companies, and organizations use to remind us that there are
1856 humans behind every creative endeavor.  To remind us we have obligations to
1857 each other. To remind us what sharing really looks like.
1858       </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-human"></a>Be human</h3></div></div></div><p>
1859           Humans are social animals, which means we are naturally inclined to treat
1860 each other well.<a href="#ftn.idm692" class="footnote" name="idm692"><sup class="footnote">[78]</sup></a> But the further
1861 removed we are from the person with whom we are interacting, the less caring
1862 our behavior will be. While the Internet has democratized cultural
1863 production, increased access to knowledge, and connected us in extraordinary
1864 ways, it can also make it easy forget we are dealing with another human.
1865         </p><p>
1866           To counteract the anonymous and impersonal tendencies of how we operate
1867 online, individual creators and corporations who use Creative Commons
1868 licenses work to demonstrate their humanity. For some, this means pouring
1869 their lives out on the page. For others, it means showing their creative
1870 process, giving a glimpse into how they do what they do. As writer Austin
1871 Kleon wrote, <span class="quote">“<span class="quote">Our work doesn’t speak for itself.  Human beings want to
1872 know where things came from, how they were made, and who made them. The
1873 stories you tell about the work you do have a huge effect on how people feel
1874 and what they understand about your work, and how people feel and what they
1875 understand about your work affects how they value it.</span>”</span><a href="#ftn.idm696" class="footnote" name="idm696"><sup class="footnote">[79]</sup></a>
1876         </p><p>
1877           A critical component to doing this effectively is not worrying about being a
1878 <span class="quote">“<span class="quote">brand.</span>”</span> That means not being afraid to be vulnerable. Amanda
1879 Palmer says, <span class="quote">“<span class="quote">When you’re afraid of someone’s judgment, you can’t
1880 connect with them. You’re too preoccupied with the task of impressing
1881 them.</span>”</span> Not everyone is suited to live life as an open book like
1882 Palmer, and that’s OK. There are a lot of ways to be human. The trick is
1883 just avoiding pretense and the temptation to artificially craft an
1884 image. People don’t just want the glossy version of you. They can’t relate
1885 to it, at least not in a meaningful way.
1886         </p><p>
1887           This advice is probably even more important for businesses and organizations
1888 because we instinctively conceive of them as nonhuman (though in the United
1889 States, corporations are people!). When corporations and organizations make
1890 the people behind them more apparent, it reminds people that they are
1891 dealing with something other than an anonymous corporate entity. In
1892 business-speak, this is about <span class="quote">“<span class="quote">humanizing your interactions</span>”</span>
1893 with the public.<a href="#ftn.idm703" class="footnote" name="idm703"><sup class="footnote">[80]</sup></a> But it can’t be a
1894 gimmick. You can’t fake being human.
1895         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-open-and-accountable"></a>Be open and accountable</h3></div></div></div><p>
1896           Transparency helps people understand who you are and why you do what you do,
1897 but it also inspires trust. Max Temkin of Cards Against Humanity told us,
1898 <span class="quote">“<span class="quote">One of the most surprising things you can do in capitalism is just be
1899 honest with people.</span>”</span> That means sharing the good and the bad.  As
1900 Amanda Palmer wrote, <span class="quote">“<span class="quote">You can fix almost anything by authentically
1901 communicating.</span>”</span><a href="#ftn.idm710" class="footnote" name="idm710"><sup class="footnote">[81]</sup></a> It isn’t about
1902 trying to satisfy everyone or trying to sugarcoat mistakes or bad news, but
1903 instead about explaining your rationale and then being prepared to defend it
1904 when people are critical.<a href="#ftn.idm712" class="footnote" name="idm712"><sup class="footnote">[82]</sup></a>
1905         </p><p>
1906           Being accountable does not mean operating on consensus.  According to James
1907 Surowiecki, consensus-driven groups tend to resort to
1908 lowest-common-denominator solutions and avoid the sort of candid exchange of
1909 ideas that cultivates healthy collaboration.<a href="#ftn.idm715" class="footnote" name="idm715"><sup class="footnote">[83]</sup></a> Instead, it can be as simple as asking for input and then giving
1910 context and explanation about decisions you make, even if soliciting
1911 feedback and inviting discourse is time-consuming. If you don’t go through
1912 the effort to actually respond to the input you receive, it can be worse
1913 than not inviting input in the first place.<a href="#ftn.idm717" class="footnote" name="idm717"><sup class="footnote">[84]</sup></a> But when you get it right, it can guarantee the type of diversity
1914 of thought that helps endeavors excel. And it is another way to get people
1915 involved and invested in what you do.
1916         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="design-for-the-good-actors"></a>Design for the good actors</h3></div></div></div><p>
1917           Traditional economics assumes people make decisions based solely on their
1918 own economic self-interest.<a href="#ftn.idm722" class="footnote" name="idm722"><sup class="footnote">[85]</sup></a> Any
1919 relatively introspective human knows this is a fiction—we are much more
1920 complicated beings with a whole range of needs, emotions, and
1921 motivations. In fact, we are hardwired to work together and ensure
1922 fairness.<a href="#ftn.idm724" class="footnote" name="idm724"><sup class="footnote">[86]</sup></a> Being Made with Creative
1923 Commons requires an assumption that people will largely act on those social
1924 motivations, motivations that would be considered <span class="quote">“<span class="quote">irrational</span>”</span>
1925 in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">“<span class="quote">It is
1926 best to ignore people who try to scare you about free riding. That fear is
1927 based on a very shallow view of what motivates human behavior.</span>”</span> There
1928 will always be people who will act in purely selfish ways, but endeavors
1929 that are Made with Creative Commons design for the good actors.
1930         </p><p>
1931           The assumption that people will largely do the right thing can be a
1932 self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">“<span class="quote">Systems
1933 that assume people will act in ways that create public goods, and that give
1934 them opportunities and rewards for doing so, often let them work together
1935 better than neoclassical economics would predict.</span>”</span><a href="#ftn.idm730" class="footnote" name="idm730"><sup class="footnote">[87]</sup></a> When we acknowledge that people are often motivated
1936 by something other than financial self-interest, we design our endeavors in
1937 ways that encourage and accentuate our social instincts.
1938         </p><p>
1939           Rather than trying to exert control over people’s behavior, this mode of
1940 operating requires a certain level of trust. We might not realize it, but
1941 our daily lives are already built on trust. As Surowiecki wrote in The
1942 Wisdom of Crowds, <span class="quote">“<span class="quote">It’s impossible for a society to rely on law alone
1943 to make sure citizens act honestly and responsibly. And it’s impossible for
1944 any organization to rely on contracts alone to make sure that its managers
1945 and workers live up to their obligation.</span>”</span> Instead, we largely trust
1946 that people—mostly strangers—will do what they are supposed to
1947 do.<a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[88]</sup></a> And most often, they do.
1948         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="treat-humans-like-well-humans"></a>Treat humans like, well, humans</h3></div></div></div><p>
1949           For creators, treating people as humans means not treating them like
1950 fans. As Kleon says, <span class="quote">“<span class="quote">If you want fans, you have to be a fan
1951 first.</span>”</span><a href="#ftn.idm740" class="footnote" name="idm740"><sup class="footnote">[89]</sup></a> Even if you happen to be
1952 one of the few to reach celebrity levels of fame, you are better off
1953 remembering that the people who follow your work are human, too. Cory
1954 Doctorow makes a point to answer every single email someone sends him.
1955 Amanda Palmer spends vast quantities of time going online to communicate
1956 with her public, making a point to listen just as much as she
1957 talks.<a href="#ftn.idm742" class="footnote" name="idm742"><sup class="footnote">[90]</sup></a>
1958         </p><p>
1959           The same idea goes for businesses and organizations. Rather than automating
1960 its customer service, the music platform Tribe of Noise makes a point to
1961 ensure its employees have personal, one-on-one interaction with users.
1962         </p><p>
1963           When we treat people like humans, they typically return the gift in
1964 kind. It’s called karma. But social relationships are fragile. It is all too
1965 easy to destroy them if you make the mistake of treating people as anonymous
1966 customers or free labor.<a href="#ftn.idm746" class="footnote" name="idm746"><sup class="footnote">[91]</sup></a> Platforms that
1967 rely on content from contributors are especially at risk of creating an
1968 exploitative dynamic. It is important to find ways to acknowledge and pay
1969 back the value that contributors generate. That does not mean you can solve
1970 this problem by simply paying contributors for their time or
1971 contributions. As soon as we introduce money into a relationship—at least
1972 when it takes a form of paying monetary value in exchange for other value—it
1973 can dramatically change the dynamic.<a href="#ftn.idm748" class="footnote" name="idm748"><sup class="footnote">[92]</sup></a>
1974         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="state-your-principles-and-stick-to-them"></a>State your principles and stick to them</h3></div></div></div><p>
1975           Being Made with Creative Commons makes a statement about who you are and
1976 what you do. The symbolism is powerful. Using Creative Commons licenses
1977 demonstrates adherence to a particular belief system, which generates
1978 goodwill and connects like-minded people to your work. Sometimes people will
1979 be drawn to endeavors that are Made with Creative Commons as a way of
1980 demonstrating their own commitment to the Creative Commons value system,
1981 akin to a political statement. Other times people will identify and feel
1982 connected with an endeavor’s separate social mission. Often both.
1983         </p><p>
1984           The expression of your values doesn’t have to be implicit. In fact, many of
1985 the people we interviewed talked about how important it is to state your
1986 guiding principles up front.  Lumen Learning attributes a lot of their
1987 success to having been outspoken about the fundamental values that guide
1988 what they do. As a for-profit company, they think their expressed commitment
1989 to low-income students and open licensing has been critical to their
1990 credibility in the OER (open educational resources) community in which they
1991 operate.
1992         </p><p>
1993           When your end goal is not about making a profit, people trust that you
1994 aren’t just trying to extract value for your own gain. People notice when
1995 you have a sense of purpose that transcends your own
1996 self-interest.<a href="#ftn.idm755" class="footnote" name="idm755"><sup class="footnote">[93]</sup></a> It attracts committed
1997 employees, motivates contributors, and builds trust.
1998         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="build-a-community"></a>Build a community</h3></div></div></div><p>
1999           Endeavors that are Made with Creative Commons thrive when community is built
2000 around what they do. This may mean a community collaborating together to
2001 create something new, or it may simply be a collection of like-minded people
2002 who get to know each other and rally around common interests or
2003 beliefs.<a href="#ftn.idm760" class="footnote" name="idm760"><sup class="footnote">[94]</sup></a> To a certain extent, simply
2004 being Made with Creative Commons automatically brings with it some element
2005 of community, by helping connect you to like-minded others who recognize and
2006 are drawn to the values symbolized by using CC.
2007         </p><p>
2008           To be sustainable, though, you have to work to nurture community. People
2009 have to care—about you and each other. One critical piece to this is
2010 fostering a sense of belonging. As Jono Bacon writes in The Art of
2011 Community, <span class="quote">“<span class="quote">If there is no belonging, there is no community.</span>”</span>
2012 For Amanda Palmer and her band, that meant creating an accepting and
2013 inclusive environment where people felt a part of their <span class="quote">“<span class="quote">weird little
2014 family.</span>”</span><a href="#ftn.idm765" class="footnote" name="idm765"><sup class="footnote">[95]</sup></a> For organizations like
2015 Red Hat, that means connecting around common beliefs or goals. As the CEO
2016 Jim Whitehurst wrote in The Open Organization, <span class="quote">“<span class="quote">Tapping into passion
2017 is especially important in building the kinds of participative communities
2018 that drive open organizations.</span>”</span><a href="#ftn.idm768" class="footnote" name="idm768"><sup class="footnote">[96]</sup></a>
2019         </p><p>
2020           Communities that collaborate together take deliberate planning. Surowiecki
2021 wrote, <span class="quote">“<span class="quote">It takes a lot of work to put the group together. It’s
2022 difficult to ensure that people are working in the group’s interest and not
2023 in their own. And when there’s a lack of trust between the members of the
2024 group (which isn’t surprising given that they don’t really know each other),
2025 considerable energy is wasted trying to determine each other’s bona
2026 fides.</span>”</span><a href="#ftn.idm772" class="footnote" name="idm772"><sup class="footnote">[97]</sup></a> Building true community
2027 requires giving people within the community the power to create or influence
2028 the rules that govern the community.<a href="#ftn.idm774" class="footnote" name="idm774"><sup class="footnote">[98]</sup></a> If
2029 the rules are created and imposed in a top-down manner, people feel like
2030 they don’t have a voice, which in turn leads to disengagement.
2031         </p><p>
2032           Community takes work, but working together, or even simply being connected
2033 around common interests or values, is in many ways what sharing is about.
2034         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="give-more-to-the-commons-than-you-take"></a>Give more to the commons than you take</h3></div></div></div><p>
2035           Conventional wisdom in the marketplace dictates that people should try to
2036 extract as much money as possible from resources. This is essentially what
2037 defines so much of the so-called sharing economy. In an article on the
2038 Harvard Business Review website called <span class="quote">“<span class="quote">The Sharing Economy Isn’t
2039 about Sharing at All,</span>”</span> authors Giana Eckhardt and Fleura Bardhi
2040 explained how the anonymous market-driven trans-actions in most
2041 sharing-economy businesses are purely about monetizing access.<a href="#ftn.idm781" class="footnote" name="idm781"><sup class="footnote">[99]</sup></a> As Lisa Gansky put it in her book The Mesh, the
2042 primary strategy of the sharing economy is to sell the same product multiple
2043 times, by selling access rather than ownership.<a href="#ftn.idm785" class="footnote" name="idm785"><sup class="footnote">[100]</sup></a> That is not sharing.
2044         </p><p>
2045           Sharing requires adding as much or more value to the ecosystem than you
2046 take. You can’t simply treat open content as a free pool of resources from
2047 which to extract value. Part of giving back to the ecosystem is contributing
2048 content back to the public under CC licenses. But it doesn’t have to just be
2049 about creating content; it can be about adding value in other ways.  The
2050 social blogging platform Medium provides value to its community by
2051 incentivizing good behavior, and the result is an online space with
2052 remarkably high-quality user-generated content and limited
2053 trolling.<a href="#ftn.idm788" class="footnote" name="idm788"><sup class="footnote">[101]</sup></a> Opendesk contributes to its
2054 community by committing to help its designers make money, in part by
2055 actively curating and displaying their work on its platform effectively.
2056         </p><p>
2057           In all cases, it is important to openly acknowledge the amount of value you
2058 add versus that which you draw on that was created by others. Being
2059 transparent about this builds credibility and shows you are a contributing
2060 player in the commons. When your endeavor is making money, that also means
2061 apportioning financial compensation in a way that reflects the value
2062 contributed by others, providing more to contributors when the value they
2063 add outweighs the value provided by you.
2064         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="involve-people-in-what-you-do"></a>Involve people in what you do</h3></div></div></div><p>
2065           Thanks to the Internet, we can tap into the talents and expertise of people
2066 around the globe. Chris Anderson calls it the Long Tail of
2067 talent.<a href="#ftn.idm796" class="footnote" name="idm796"><sup class="footnote">[102]</sup></a> But to make collaboration work,
2068 the group has to be effective at what it is doing, and the people within the
2069 group have to find satisfaction from being involved.<a href="#ftn.idm798" class="footnote" name="idm798"><sup class="footnote">[103]</sup></a> This is easier to facilitate for some types of
2070 creative work than it is for others. Groups tied together online collaborate
2071 best when people can work independently and asynchronously, and particularly
2072 for larger groups with loose ties, when contributors can make simple
2073 improvements without a particularly heavy time commitment.<a href="#ftn.idm800" class="footnote" name="idm800"><sup class="footnote">[104]</sup></a>
2074         </p><p>
2075           As the success of Wikipedia demonstrates, editing an online encyclopedia is
2076 exactly the sort of activity that is perfect for massive co-creation because
2077 small, incremental edits made by a diverse range of people acting on their
2078 own are immensely valuable in the aggregate. Those same sorts of small
2079 contributions would be less useful for many other types of creative work,
2080 and people are inherently less motivated to contribute when it doesn’t
2081 appear that their efforts will make much of a difference.<a href="#ftn.idm803" class="footnote" name="idm803"><sup class="footnote">[105]</sup></a>
2082         </p><p>
2083           It is easy to romanticize the opportunities for global cocreation made
2084 possible by the Internet, and, indeed, the successful examples of it are
2085 truly incredible and inspiring.  But in a wide range of
2086 circumstances—perhaps more often than not—community cocreation is not part
2087 of the equation, even within endeavors built on CC content. Shirky wrote,
2088 <span class="quote">“<span class="quote">Sometimes the value of professional work trumps the value of amateur
2089 sharing or a feeling of belonging.<a href="#ftn.idm807" class="footnote" name="idm807"><sup class="footnote">[106]</sup></a> The
2090 textbook publisher OpenStax, which distributes all of its material for free
2091 under CC licensing, is an example of this dynamic. Rather than tapping the
2092 community to help cocreate their college textbooks, they invest a
2093 significant amount of time and money to develop professional content. For
2094 individual creators, where the creative work is the basis for what they do,
2095 community cocreation is only rarely a part of the picture. Even musician
2096 Amanda Palmer, who is famous for her openness and involvement with her fans,
2097 said,</span>”</span>The only department where I wasn’t open to input was the
2098 writing, the music itself."<a href="#ftn.idm809" class="footnote" name="idm809"><sup class="footnote">[107]</sup></a>
2099         </p><p>
2100           While we tend to immediately think of cocreation and remixing when we hear
2101 the word collaboration, you can also involve others in your creative process
2102 in more informal ways, by sharing half-baked ideas and early drafts, and
2103 interacting with the public to incubate ideas and get feedback. So-called
2104 <span class="quote">“<span class="quote">making in public</span>”</span> opens the door to letting people feel more
2105 invested in your creative work.<a href="#ftn.idm813" class="footnote" name="idm813"><sup class="footnote">[108]</sup></a> And it
2106 shows a nonterritorial approach to ideas and information. Stephen Covey (of
2107 The 7 Habits of Highly Effective People fame) calls this the abundance
2108 mentality—treating ideas like something plentiful—and it can create an
2109 environment where collaboration flourishes.<a href="#ftn.idm815" class="footnote" name="idm815"><sup class="footnote">[109]</sup></a>
2110         </p><p>
2111           There is no one way to involve people in what you do. They key is finding a
2112 way for people to contribute on their terms, compelled by their own
2113 motivations.<a href="#ftn.idm818" class="footnote" name="idm818"><sup class="footnote">[110]</sup></a> What that looks like
2114 varies wildly depending on the project. Not every endeavor that is Made with
2115 Creative Commons can be Wikipedia, but every endeavor can find ways to
2116 invite the public into what they do. The goal for any form of collaboration
2117 is to move away from thinking of consumers as passive recipients of your
2118 content and transition them into active participants.<a href="#ftn.idm820" class="footnote" name="idm820"><sup class="footnote">[111]</sup></a>
2119         </p></div></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm427" class="footnote"><p><a href="#idm427" class="para"><sup class="para">[37] </sup></a>
2120           Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
2121 John Wiley and Sons, 2010), 14. A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
2122         </p></div><div id="ftn.idm441" class="footnote"><p><a href="#idm441" class="para"><sup class="para">[38] </sup></a>
2123           Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
2124 Age (San Francisco, CA: McSweeney’s, 2014) 68.
2125         </p></div><div id="ftn.idm450" class="footnote"><p><a href="#idm450" class="para"><sup class="para">[39] </sup></a>
2126           Ibid., 55.
2127         </p></div><div id="ftn.idm453" class="footnote"><p><a href="#idm453" class="para"><sup class="para">[40] </sup></a>
2128           Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
2129 Something for Nothing, reprint with new preface (New York: Hyperion, 2010),
2130 224.
2131         </p></div><div id="ftn.idm457" class="footnote"><p><a href="#idm457" class="para"><sup class="para">[41] </sup></a>
2132           Doctorow, Information Doesn’t Want to Be Free, 44.
2133         </p></div><div id="ftn.idm469" class="footnote"><p><a href="#idm469" class="para"><sup class="para">[42] </sup></a>
2134             Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let
2135 People Help (New York: Grand Central, 2014), 121.
2136           </p></div><div id="ftn.idm473" class="footnote"><p><a href="#idm473" class="para"><sup class="para">[43] </sup></a>
2137             Chris Anderson, Makers: The New Industrial Revolution (New York: Signal,
2138 2012), 64.
2139           </p></div><div id="ftn.idm477" class="footnote"><p><a href="#idm477" class="para"><sup class="para">[44] </sup></a>
2140             David Bollier, Think Like a Commoner: A Short Introduction to the Life of
2141 the Commons (Gabriola Island, BC: New Society, 2014), 70.
2142           </p></div><div id="ftn.idm480" class="footnote"><p><a href="#idm480" class="para"><sup class="para">[45] </sup></a>
2143             Anderson, Makers, 66.
2144           </p></div><div id="ftn.idm483" class="footnote"><p><a href="#idm483" class="para"><sup class="para">[46] </sup></a>
2145             Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy (New
2146 York: Morgan James, 2016), 10.
2147           </p></div><div id="ftn.idm486" class="footnote"><p><a href="#idm486" class="para"><sup class="para">[47] </sup></a>
2148             Anderson, Free, 62.
2149           </p></div><div id="ftn.idm491" class="footnote"><p><a href="#idm491" class="para"><sup class="para">[48] </sup></a>
2150             Doctorow, Information Doesn’t Want to Be Free, 38.
2151           </p></div><div id="ftn.idm496" class="footnote"><p><a href="#idm496" class="para"><sup class="para">[49] </sup></a>
2152             Bollier, Think Like a Commoner, 68.
2153           </p></div><div id="ftn.idm502" class="footnote"><p><a href="#idm502" class="para"><sup class="para">[50] </sup></a>
2154             Anderson, Free, 86.
2155           </p></div><div id="ftn.idm506" class="footnote"><p><a href="#idm506" class="para"><sup class="para">[51] </sup></a>
2156             Doctorow, Information Doesn’t Want to Be Free, 144.
2157           </p></div><div id="ftn.idm516" class="footnote"><p><a href="#idm516" class="para"><sup class="para">[52] </sup></a>
2158               Anderson, Free, 123.
2159             </p></div><div id="ftn.idm519" class="footnote"><p><a href="#idm519" class="para"><sup class="para">[53] </sup></a>
2160               Ibid., 132.
2161             </p></div><div id="ftn.idm521" class="footnote"><p><a href="#idm521" class="para"><sup class="para">[54] </sup></a>
2162               Ibid., 70.
2163             </p></div><div id="ftn.idm526" class="footnote"><p><a href="#idm526" class="para"><sup class="para">[55] </sup></a>
2164               James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005),
2165 124. Surowiecki says, <span class="quote">“<span class="quote">The measure of success of laws and contracts is
2166 how rarely they are invoked.</span>”</span>
2167             </p></div><div id="ftn.idm536" class="footnote"><p><a href="#idm536" class="para"><sup class="para">[56] </sup></a>
2168               Anderson, Free, 44.
2169             </p></div><div id="ftn.idm543" class="footnote"><p><a href="#idm543" class="para"><sup class="para">[57] </sup></a>
2170               Osterwalder and Pigneur, Business Model Generation, 23.
2171             </p></div><div id="ftn.idm547" class="footnote"><p><a href="#idm547" class="para"><sup class="para">[58] </sup></a>
2172               Anderson, Free, 67.
2173             </p></div><div id="ftn.idm549" class="footnote"><p><a href="#idm549" class="para"><sup class="para">[59] </sup></a>
2174               Ibid., 58.
2175             </p></div><div id="ftn.idm551" class="footnote"><p><a href="#idm551" class="para"><sup class="para">[60] </sup></a>
2176               Anderson, Makers, 71.
2177             </p></div><div id="ftn.idm553" class="footnote"><p><a href="#idm553" class="para"><sup class="para">[61] </sup></a>
2178               Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into
2179 Collaborators (London: Penguin Books, 2010), 78.
2180             </p></div><div id="ftn.idm557" class="footnote"><p><a href="#idm557" class="para"><sup class="para">[62] </sup></a>
2181               Ibid., 21.
2182             </p></div><div id="ftn.idm562" class="footnote"><p><a href="#idm562" class="para"><sup class="para">[63] </sup></a>
2183               Doctorow, Information Doesn’t Want to Be Free, 43.
2184             </p></div><div id="ftn.idm569" class="footnote"><p><a href="#idm569" class="para"><sup class="para">[64] </sup></a>
2185             William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">“<span class="quote">Ten
2186 Nonprofit Funding Models,</span>”</span> Stanford Social Innovation Review, Spring
2187 2009, <a class="ulink" href="http://ssir.org/articles/entry/ten_nonprofit_funding_models" target="_top">http://ssir.org/articles/entry/ten_nonprofit_funding_models</a>.
2188           </p></div><div id="ftn.idm575" class="footnote"><p><a href="#idm575" class="para"><sup class="para">[65] </sup></a>
2189             Shirky, Cognitive Surplus, 111.
2190           </p></div><div id="ftn.idm581" class="footnote"><p><a href="#idm581" class="para"><sup class="para">[66] </sup></a>
2191               Osterwalder and Pigneur, Business Model Generation, 30.
2192             </p></div><div id="ftn.idm583" class="footnote"><p><a href="#idm583" class="para"><sup class="para">[67] </sup></a>
2193               Jim Whitehurst, The Open Organization: Igniting Passion and Performance
2194 (Boston: Harvard Business Review Press, 2015), 202.
2195             </p></div><div id="ftn.idm586" class="footnote"><p><a href="#idm586" class="para"><sup class="para">[68] </sup></a>
2196               Anderson, Free, 71.
2197             </p></div><div id="ftn.idm592" class="footnote"><p><a href="#idm592" class="para"><sup class="para">[69] </sup></a>
2198               Ibid., 231.
2199             </p></div><div id="ftn.idm602" class="footnote"><p><a href="#idm602" class="para"><sup class="para">[70] </sup></a>
2200               Ibid., 97.
2201             </p></div><div id="ftn.idm609" class="footnote"><p><a href="#idm609" class="para"><sup class="para">[71] </sup></a>
2202               Anderson, Makers, 107.
2203             </p></div><div id="ftn.idm620" class="footnote"><p><a href="#idm620" class="para"><sup class="para">[72] </sup></a>
2204               Osterwalder and Pigneur, Business Model Generation, 89.
2205             </p></div><div id="ftn.idm626" class="footnote"><p><a href="#idm626" class="para"><sup class="para">[73] </sup></a>
2206               Ibid., 92.
2207             </p></div><div id="ftn.idm628" class="footnote"><p><a href="#idm628" class="para"><sup class="para">[74] </sup></a>
2208               Anderson, Free, 142.
2209             </p></div><div id="ftn.idm639" class="footnote"><p><a href="#idm639" class="para"><sup class="para">[75] </sup></a>
2210               Osterwalder and Pigneur, Business Model Generation, 32.
2211             </p></div><div id="ftn.idm657" class="footnote"><p><a href="#idm657" class="para"><sup class="para">[76] </sup></a>
2212               Bollier, Think Like a Commoner, 150.
2213             </p></div><div id="ftn.idm659" class="footnote"><p><a href="#idm659" class="para"><sup class="para">[77] </sup></a>
2214               Ibid., 134.
2215             </p></div><div id="ftn.idm692" class="footnote"><p><a href="#idm692" class="para"><sup class="para">[78] </sup></a>
2216               Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our
2217 Decisions, rev. ed. (New York: Harper Perennial, 2010), 109.
2218             </p></div><div id="ftn.idm696" class="footnote"><p><a href="#idm696" class="para"><sup class="para">[79] </sup></a>
2219               Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and Get
2220 Discovered (New York: Workman, 2014), 93.
2221             </p></div><div id="ftn.idm703" class="footnote"><p><a href="#idm703" class="para"><sup class="para">[80] </sup></a>
2222               Kramer, Shareology, 76.
2223             </p></div><div id="ftn.idm710" class="footnote"><p><a href="#idm710" class="para"><sup class="para">[81] </sup></a>
2224               Palmer, Art of Asking, 252.
2225             </p></div><div id="ftn.idm712" class="footnote"><p><a href="#idm712" class="para"><sup class="para">[82] </sup></a>
2226               Whitehurst, Open Organization, 145.
2227             </p></div><div id="ftn.idm715" class="footnote"><p><a href="#idm715" class="para"><sup class="para">[83] </sup></a>
2228               Surowiecki, Wisdom of Crowds, 203.
2229             </p></div><div id="ftn.idm717" class="footnote"><p><a href="#idm717" class="para"><sup class="para">[84] </sup></a>
2230               Whitehurst, Open Organization, 80.
2231             </p></div><div id="ftn.idm722" class="footnote"><p><a href="#idm722" class="para"><sup class="para">[85] </sup></a>
2232               Bollier, Think Like a Commoner, 25.
2233             </p></div><div id="ftn.idm724" class="footnote"><p><a href="#idm724" class="para"><sup class="para">[86] </sup></a>
2234               Ibid., 31.
2235             </p></div><div id="ftn.idm730" class="footnote"><p><a href="#idm730" class="para"><sup class="para">[87] </sup></a>
2236               Shirky, Cognitive Surplus, 112.
2237             </p></div><div id="ftn.idm734" class="footnote"><p><a href="#idm734" class="para"><sup class="para">[88] </sup></a>
2238               Surowiecki, Wisdom of Crowds, 124.
2239             </p></div><div id="ftn.idm740" class="footnote"><p><a href="#idm740" class="para"><sup class="para">[89] </sup></a>
2240               Kleon, Show Your Work, 127.
2241             </p></div><div id="ftn.idm742" class="footnote"><p><a href="#idm742" class="para"><sup class="para">[90] </sup></a>
2242               Palmer, Art of Asking, 121.
2243             </p></div><div id="ftn.idm746" class="footnote"><p><a href="#idm746" class="para"><sup class="para">[91] </sup></a>
2244               Ariely, Predictably Irrational, 87.
2245             </p></div><div id="ftn.idm748" class="footnote"><p><a href="#idm748" class="para"><sup class="para">[92] </sup></a>
2246               Ibid., 105.
2247             </p></div><div id="ftn.idm755" class="footnote"><p><a href="#idm755" class="para"><sup class="para">[93] </sup></a>
2248               Ibid., 36.
2249             </p></div><div id="ftn.idm760" class="footnote"><p><a href="#idm760" class="para"><sup class="para">[94] </sup></a>
2250               Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
2251 2012), 36.
2252             </p></div><div id="ftn.idm765" class="footnote"><p><a href="#idm765" class="para"><sup class="para">[95] </sup></a>
2253               Palmer, Art of Asking, 98.
2254             </p></div><div id="ftn.idm768" class="footnote"><p><a href="#idm768" class="para"><sup class="para">[96] </sup></a>
2255               Whitehurst, Open Organization, 34.
2256             </p></div><div id="ftn.idm772" class="footnote"><p><a href="#idm772" class="para"><sup class="para">[97] </sup></a>
2257               Surowiecki, Wisdom of Crowds, 200.
2258             </p></div><div id="ftn.idm774" class="footnote"><p><a href="#idm774" class="para"><sup class="para">[98] </sup></a>
2259               Bollier, Think Like a Commoner, 29.
2260             </p></div><div id="ftn.idm781" class="footnote"><p><a href="#idm781" class="para"><sup class="para">[99] </sup></a>
2261               Giana Eckhardt and Fleura Bardhi, <span class="quote">“<span class="quote">The Sharing Economy Isn’t about
2262 Sharing at All,</span>”</span> Harvard Business Review (website), January 28, 2015,
2263 <a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
2264             </p></div><div id="ftn.idm785" class="footnote"><p><a href="#idm785" class="para"><sup class="para">[100] </sup></a>
2265               Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with
2266 new epilogue (New York: Portfolio, 2012).
2267             </p></div><div id="ftn.idm788" class="footnote"><p><a href="#idm788" class="para"><sup class="para">[101] </sup></a>
2268               David Lee, <span class="quote">“<span class="quote">Inside Medium: An Attempt to Bring Civility to the
2269 Internet,</span>”</span> BBC News, March 3, 2016, <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
2270             </p></div><div id="ftn.idm796" class="footnote"><p><a href="#idm796" class="para"><sup class="para">[102] </sup></a>
2271               Anderson, Makers, 148.
2272             </p></div><div id="ftn.idm798" class="footnote"><p><a href="#idm798" class="para"><sup class="para">[103] </sup></a>
2273               Shirky, Cognitive Surplus, 164.
2274             </p></div><div id="ftn.idm800" class="footnote"><p><a href="#idm800" class="para"><sup class="para">[104] </sup></a>
2275               Whitehurst, foreword to Open Organization.
2276             </p></div><div id="ftn.idm803" class="footnote"><p><a href="#idm803" class="para"><sup class="para">[105] </sup></a>
2277               Shirky, Cognitive Surplus, 144.
2278             </p></div><div id="ftn.idm807" class="footnote"><p><a href="#idm807" class="para"><sup class="para">[106] </sup></a>
2279               Ibid., 154.
2280             </p></div><div id="ftn.idm809" class="footnote"><p><a href="#idm809" class="para"><sup class="para">[107] </sup></a>
2281               Palmer, Art of Asking, 163.
2282             </p></div><div id="ftn.idm813" class="footnote"><p><a href="#idm813" class="para"><sup class="para">[108] </sup></a>
2283               Anderson, Makers, 173.
2284             </p></div><div id="ftn.idm815" class="footnote"><p><a href="#idm815" class="para"><sup class="para">[109] </sup></a>
2285               Tom Kelley and David Kelley, Creative Confidence: Unleashing the Potential
2286 within Us All (New York: Crown, 2013), 82.
2287             </p></div><div id="ftn.idm818" class="footnote"><p><a href="#idm818" class="para"><sup class="para">[110] </sup></a>
2288               Whitehurst, foreword to Open Organization.
2289             </p></div><div id="ftn.idm820" class="footnote"><p><a href="#idm820" class="para"><sup class="para">[111] </sup></a>
2290               Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
2291 Collaborative Consumption (New York: Harper Business, 2010), 188.
2292             </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Capítulo 3. The Creative Commons Licenses</h2></div></div></div><p>
2293       All of the Creative Commons licenses grant a basic set of permissions. At a
2294 minimum, a CC- licensed work can be copied and shared in its original form
2295 for noncommercial purposes so long as attribution is given to the
2296 creator. There are six licenses in the CC license suite that build on that
2297 basic set of permissions, ranging from the most restrictive (allowing only
2298 those basic permissions to share unmodified copies for noncommercial
2299 purposes)  to the most permissive (reusers can do anything they want with
2300 the work, even for commercial purposes, as long as they give the creator
2301 credit). The licenses are built on copyright and do not cover other types of
2302 rights that creators might have in their works, like patents or trademarks.
2303     </p><p>
2304       Here are the six licenses:
2305     </p><p>
2306         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D83BF99FC0821C489.png" width="40.0%"></span>
2307       </p><p>
2308       The Attribution license (CC BY) lets others distribute, remix, tweak, and
2309 build upon your work, even commercially, as long as they credit you for the
2310 original creation. This is the most accommodating of licenses
2311 offered. Recommended for maximum dissemination and use of licensed
2312 materials.
2313     </p><p>
2314         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DFD3592CB17C4EC38.png" width="40.0%"></span>
2315       </p><p>
2316       The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak, and
2317 build upon your work, even for commercial purposes, as long as they credit
2318 you and license their new creations under identical terms. This license is
2319 often compared to <span class="quote">“<span class="quote">copyleft</span>”</span> free and open source software
2320 licenses.  All new works based on yours will carry the same license, so any
2321 derivatives will also allow commercial use.
2322     </p><p>
2323         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D254882DE24793FEA.png" width="40.0%"></span>
2324       </p><p>
2325       The Attribution-NoDerivs license (CC BY-ND) allows for redistribution,
2326 commercial and noncommercial, as long as it is passed along unchanged with
2327 credit to you.
2328     </p><p>
2329         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png" width="40.0%"></span>
2330       </p><p>
2331       The Attribution-NonCommercial license (CC BY-NC) lets others remix, tweak,
2332 and build upon your work noncommercially. Although their new works must also
2333 acknowledge you, they don’t have to license their derivative works on the
2334 same terms.
2335     </p><p>
2336         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
2337       </p><p>
2338       The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA)  lets others
2339 remix, tweak, and build upon your work noncommercially, as long as they
2340 credit you and license their new creations under the same terms.
2341     </p><p>
2342         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DC3FEF92B21310965.png" width="40.0%"></span>
2343       </p><p>
2344       The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
2345 restrictive of our six main licenses, only allowing others to download your
2346 works and share them with others as long as they credit you, but they can’t
2347 change them or use them commercially.
2348     </p><p>
2349       In addition to these six licenses, Creative Commons has two public-domain
2350 tools—one for creators and the other for those who manage collections of
2351 existing works by authors whose terms of copyright have expired:
2352     </p><p>
2353         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008DBE3414994CD27786.png" width="40.0%"></span>
2354       </p><p>
2355       CC0 enables authors and copyright owners to dedicate their works to the
2356 worldwide public domain (<span class="quote">“<span class="quote">no rights reserved</span>”</span>).
2357     </p><p>
2358         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
2359       </p><p>
2360       The Creative Commons Public Domain Mark facilitates the labeling and
2361 discovery of works that are already free of known copyright restrictions.
2362     </p><p>
2363       In our case studies, some use just one Creative Commons license, others use
2364 several. Attribution (found in thirteen case studies)  and
2365 Attribution-ShareAlike (found in eight studies) were the most common, with
2366 the other licenses coming up in four or so case studies, including the
2367 public-domain tool CC0. Some of the organizations we profiled offer both
2368 digital content and software: by using open-source-software licenses for the
2369 software code and Creative Commons licenses for digital content, they
2370 amplify their involvement with and commitment to sharing.
2371     </p><p>
2372       There is a popular misconception that the three NonCommercial licenses
2373 offered by CC are the only options for those who want to make money off
2374 their work. As we hope this book makes clear, there are many ways to make
2375 endeavors that are Made with Creative Commons sustainable. Reserving
2376 commercial rights is only one of those ways. It is certainly true that a
2377 license that allows others to make commercial use of your work (CC BY, CC
2378 BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you
2379 apply an Attribution (CC BY) license to your book, you can’t force a film
2380 company to pay you royalties if they turn your book into a feature-length
2381 film, or prevent another company from selling physical copies of your work.
2382     </p><p>
2383       The decision to choose a NonCommercial and/or NoDerivs license comes down to
2384 how much you need to retain control over the creative work. The
2385 NonCommercial and NoDerivs licenses are ways of reserving some significant
2386 portion of the exclusive bundle of rights that copyright grants to
2387 creators. In some cases, reserving those rights is important to how you
2388 bring in revenue. In other cases, creators use a NonCommercial or NoDerivs
2389 license because they can’t give up on the dream of hitting the creative
2390 jackpot.  The music platform Tribe of Noise told us the NonCommercial
2391 licenses were popular among their users because people still held out the
2392 dream of having a major record label discover their work.
2393     </p><p>
2394       Other times the decision to use a more restrictive license is due to a
2395 concern about the integrity of the work. For example, the nonprofit
2396 TeachAIDS uses a NoDerivs license for its educational materials because the
2397 medical subject matter is particularly important to get right.
2398     </p><p>
2399       There is no one right way. The NonCommercial and NoDerivs restrictions
2400 reflect the values and preferences of creators about how their creative work
2401 should be reused, just as the ShareAlike license reflects a different set of
2402 values, one that is less about controlling access to their own work and more
2403 about ensuring that whatever gets created with their work is available to
2404 all on the same terms. Since the beginning of the commons, people have been
2405 setting up structures that helped regulate the way in which shared resources
2406 were used. The CC licenses are an attempt to standardize norms across all
2407 domains.
2408     </p><p>
2409       Note
2410     </p><p>
2411       For more about the licenses including examples and tips on sharing your work
2412 in the digital commons, start with the Creative Commons page called
2413 <span class="quote">“<span class="quote">Share Your Work</span>”</span> at <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
2414     </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Parte II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
2415     The twenty-four case studies in this section were chosen from hundreds of
2416 nominations received from Kickstarter backers, Creative Commons staff, and
2417 the global Creative Commons community. We selected eighty potential
2418 candidates that represented a mix of industries, content types, revenue
2419 streams, and parts of the world.  Twelve of the case studies were selected
2420 from that group based on votes cast by Kickstarter backers, and the other
2421 twelve were selected by us.
2422   </p><p>
2423     We did background research and conducted interviews for each case study,
2424 based on the same set of basic questions about the endeavor.  The idea for
2425 each case study is to tell the story about the endeavor and the role sharing
2426 plays within it, largely the way in which it was told to us by those we
2427 interviewed.
2428   </p><div class="toc"><p><b>Índice</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>Capítulo 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
2429         Arduino is a for-profit open-source electronics platform and computer
2430 hardware and software company. Founded in 2005 in Italy.
2431       </p><p>
2432           <a class="ulink" href="http://www.arduino.cc" target="_top">http://www.arduino.cc</a>
2433         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
2434 copies (sales of boards, modules, shields, and kits), licensing a trademark
2435 (fees paid by those who want to sell Arduino products using their name)
2436       </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
2437       </p><p><span class="strong"><strong>Interviewees</strong></span>: David Cuartielles and Tom
2438 Igoe, cofounders
2439       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
2440     \textit{
2441         Profile written by Paul Stacey
2442       }
2443     \end{flushright}</td></tr></table></div><p>
2444       In 2005, at the Interaction Design Institute Ivrea in northern Italy,
2445 teachers and students needed an easy way to use electronics and programming
2446 to quickly prototype design ideas. As musicians, artists, and designers,
2447 they needed a platform that didn’t require engineering expertise. A group of
2448 teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe,
2449 Gianluca Martino, and David Mellis, built a platform that combined different
2450 open technologies. They called it Arduino. The platform integrated software,
2451 hardware, microcontrollers, and electronics. All aspects of the platform
2452 were openly licensed: hardware designs and documentation with the
2453 Attribution-Share-Alike license (CC BY-SA), and software with the GNU
2454 General Public License.
2455     </p><p>
2456       Arduino boards are able to read inputs—light on a sensor, a finger on a
2457 button, or a Twitter message—and turn it into outputs—activating a motor,
2458 turning on an LED, publishing something online. You send a set of
2459 instructions to the microcontroller on the board by using the Arduino
2460 programming language and Arduino software (based on a piece of open-source
2461 software called Processing, a programming tool used to make visual art).
2462     </p><p><span class="quote">“<span class="quote">The reasons for making Arduino open source are complicated,</span>”</span>
2463 Tom says. Partly it was about supporting flexibility. The open-source nature
2464 of Arduino empowers users to modify it and create a lot of different
2465 variations, adding on top of what the founders build. David says this
2466 <span class="quote">“<span class="quote">ended up strengthening the platform far beyond what we had even
2467 thought of building.</span>”</span>
2468     </p><p>
2469       For Tom another factor was the impending closure of the Ivrea design
2470 school. He’d seen other organizations close their doors and all their work
2471 and research just disappear. Open-sourcing ensured that Arduino would
2472 outlive the Ivrea closure. Persistence is one thing Tom really likes about
2473 open source. If key people leave, or a company shuts down, an open-source
2474 product lives on. In Tom’s view, <span class="quote">“<span class="quote">Open sourcing makes it easier to
2475 trust a product.</span>”</span>
2476     </p><p>
2477       With the school closing, David and some of the other Arduino founders
2478 started a consulting firm and multidisciplinary design studio they called
2479 Tinker, in London. Tinker designed products and services that bridged the
2480 digital and the physical, and they taught people how to use new technologies
2481 in creative ways.  Revenue from Tinker was invested in sustaining and
2482 enhancing Arduino.
2483     </p><p>
2484       For Tom, part of Arduino’s success is because the founders made themselves
2485 the first customer of their product. They made products they themselves
2486 personally wanted. It was a matter of <span class="quote">“<span class="quote">I need this thing,</span>”</span> not
2487 <span class="quote">“<span class="quote">If we make this, we’ll make a lot of money.</span>”</span> Tom notes that
2488 being your own first customer makes you more confident and convincing at
2489 selling your product.
2490     </p><p>
2491       Arduino’s business model has evolved over time—and Tom says model is a
2492 grandiose term for it. Originally, they just wanted to make a few boards and
2493 get them out into the world. They started out with two hundred boards, sold
2494 them, and made a little profit. They used that to make another thousand,
2495 which generated enough revenue to make five thousand. In the early days,
2496 they simply tried to generate enough funding to keep the venture going day
2497 to day. When they hit the ten thousand mark, they started to think about
2498 Arduino as a company. By then it was clear you can open-source the design
2499 but still manufacture the physical product. As long as it’s a quality
2500 product and sold at a reasonable price, people will buy it.
2501     </p><p>
2502       Arduino now has a worldwide community of makers—students, hobbyists,
2503 artists, programmers, and professionals. Arduino provides a wiki called
2504 Playground (a wiki is where all users can edit and add pages, contributing
2505 to and benefiting from collective research). People share code, circuit
2506 diagrams, tutorials, DIY instructions, and tips and tricks, and show off
2507 their projects. In addition, there’s a multilanguage discussion forum where
2508 users can get help using Arduino, discuss topics like robotics, and make
2509 suggestions for new Arduino product designs. As of January 2017, 324,928
2510 members had made 2,989,489 posts on 379,044 topics. The worldwide community
2511 of makers has contributed an incredible amount of accessible knowledge
2512 helpful to novices and experts alike.
2513     </p><p>
2514       Transitioning Arduino from a project to a company was a big step.  Other
2515 businesses who made boards were charging a lot of money for them. Arduino
2516 wanted to make theirs available at a low price to people across a wide range
2517 of industries. As with any business, pricing was key. They wanted prices
2518 that would get lots of customers but were also high enough to sustain the
2519 business.
2520     </p><p>
2521       For a business, getting to the end of the year and not being in the red is a
2522 success. Arduino may have an open-licensing strategy, but they are still a
2523 business, and all the things needed to successfully run one still
2524 apply. David says, <span class="quote">“<span class="quote">If you do those other things well, sharing things
2525 in an open-source way can only help you.</span>”</span>
2526     </p><p>
2527       While openly licensing the designs, documentation, and software ensures
2528 longevity, it does have risks. There’s a possibility that others will create
2529 knockoffs, clones, and copies. The CC BY-SA license means anyone can produce
2530 copies of their boards, redesign them, and even sell boards that copy the
2531 design. They don’t have to pay a license fee to Arduino or even ask
2532 permission. However, if they republish the design of the board, they have to
2533 give attribution to Arduino. If they change the design, they must release
2534 the new design using the same Creative Commons license to ensure that the
2535 new version is equally free and open.
2536     </p><p>
2537       Tom and David say that a lot of people have built companies off of Arduino,
2538 with dozens of Arduino derivatives out there. But in contrast to closed
2539 business models that can wring money out of the system over many years
2540 because there is no competition, Arduino founders saw competition as keeping
2541 them honest, and aimed for an environment of collaboration. A benefit of
2542 open over closed is the many new ideas and designs others have contributed
2543 back to the Arduino ecosystem, ideas and designs that Arduino and the
2544 Arduino community use and incorporate into new products.
2545     </p><p>
2546       Over time, the range of Arduino products has diversified, changing and
2547 adapting to new needs and challenges. In addition to simple entry level
2548 boards, new products have been added ranging from enhanced boards that
2549 provide advanced functionality and faster performance, to boards for
2550 creating Internet of Things applications, wearables, and 3-D printing. The
2551 full range of official Arduino products includes boards, modules (a smaller
2552 form-factor of classic boards), shields (elements that can be plugged onto a
2553 board to give it extra features), and kits.<a href="#ftn.idm915" class="footnote" name="idm915"><sup class="footnote">[112]</sup></a>
2554     </p><p>
2555       Arduino’s focus is on high-quality boards, well-designed support materials,
2556 and the building of community; this focus is one of the keys to their
2557 success. And being open lets you build a real community. David says
2558 Arduino’s community is a big strength and something that really does
2559 matter—in his words, <span class="quote">“<span class="quote">It’s good business.</span>”</span> When they started,
2560 the Arduino team had almost entirely no idea how to build a community. They
2561 started by conducting numerous workshops, working directly with people using
2562 the platform to make sure the hardware and software worked the way it was
2563 meant to work and solved people’s problems. The community grew organically
2564 from there.
2565     </p><p>
2566       A key decision for Arduino was trademarking the name. The founders needed a
2567 way to guarantee to people that they were buying a quality product from a
2568 company committed to open-source values and knowledge sharing. Trademarking
2569 the Arduino name and logo expresses that guarantee and helps customers
2570 easily identify their products, and the products sanctioned by them. If
2571 others want to sell boards using the Arduino name and logo, they have to pay
2572 a small fee to Arduino. This allows Arduino to scale up manufacturing and
2573 distribution while at the same time ensuring the Arduino brand isn’t hurt by
2574 low-quality copies.
2575     </p><p>
2576       Current official manufacturers are Smart Projects in Italy, SparkFun in the
2577 United States, and Dog Hunter in Taiwan/China.  These are the only
2578 manufacturers that are allowed to use the Arduino logo on their
2579 boards. Trademarking their brand provided the founders with a way to protect
2580 Arduino, build it out further, and fund software and tutorial
2581 development. The trademark-licensing fee for the brand became Arduino’s
2582 revenue-generating model.
2583     </p><p>
2584       How far to open things up wasn’t always something the founders perfectly
2585 agreed on. David, who was always one to advocate for opening things up more,
2586 had some fears about protecting the Arduino name, thinking people would be
2587 mad if they policed their brand. There was some early backlash with a
2588 project called Freeduino, but overall, trademarking and branding has been a
2589 critical tool for Arduino.
2590     </p><p>
2591       David encourages people and businesses to start by sharing everything as a
2592 default strategy, and then think about whether there is anything that really
2593 needs to be protected and why. There are lots of good reasons to not open up
2594 certain elements. This strategy of sharing everything is certainly the
2595 complete opposite of how today’s world operates, where nothing is
2596 shared. Tom suggests a business formalize which elements are based on open
2597 sharing and which are closed. An Arduino blog post from 2013 entitled
2598 <span class="quote">“<span class="quote">Send In the Clones,</span>”</span> by one of the founders Massimo Banzi,
2599 does a great job of explaining the full complexities of how trademarking
2600 their brand has played out, distinguishing between official boards and those
2601 that are clones, derivatives, compatibles, and counterfeits.<a href="#ftn.idm925" class="footnote" name="idm925"><sup class="footnote">[113]</sup></a>
2602     </p><p>
2603       For David, an exciting aspect of Arduino is the way lots of people can use
2604 it to adapt technology in many different ways. Technology is always making
2605 more things possible but doesn’t always focus on making it easy to use and
2606 adapt. This is where Arduino steps in.  Arduino’s goal is <span class="quote">“<span class="quote">making
2607 things that help other people make things.</span>”</span>
2608     </p><p>
2609       Arduino has been hugely successful in making technology and electronics
2610 reach a larger audience. For Tom, Arduino has been about <span class="quote">“<span class="quote">the
2611 democratization of technology.</span>”</span> Tom sees Arduino’s open-source
2612 strategy as helping the world get over the idea that technology has to be
2613 protected. Tom says, <span class="quote">“<span class="quote">Technology is a literacy everyone should
2614 learn.</span>”</span>
2615     </p><p>
2616       Ultimately, for Arduino, going open has been good business—good for product
2617 development, good for distribution, good for pricing, and good for
2618 manufacturing.
2619     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm915" class="footnote"><p><a href="#idm915" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm925" class="footnote"><p><a href="#idm925" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>Capítulo 5. Ártica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
2620         Ártica provides online courses and consulting services focused on how to use
2621 digital technology to share knowledge and enable collaboration in arts and
2622 culture. Founded in 2011 in Uruguay.
2623       </p><p>
2624           <a class="ulink" href="http://www.articaonline.com" target="_top">http://www.articaonline.com</a>
2625         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
2626 services
2627       </p><p><span class="strong"><strong>Interview date</strong></span>: March 9, 2016
2628       </p><p><span class="strong"><strong>Interviewees</strong></span>: Mariana Fossatti and Jorge
2629 Gemetto, cofounders
2630       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
2631     \textit{
2632         Profile written by Sarah Hinchliff Pearson
2633       }
2634     \end{flushright}</td></tr></table></div><p>
2635       The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
2636 ultimate example of DIY. Not only are they successful entrepreneurs, the
2637 niche in which their small business operates is essentially one they built
2638 themselves.
2639     </p><p>
2640       Their dream jobs didn’t exist, so they created them.
2641     </p><p>
2642       In 2011, Mariana was a sociologist working for an international organization
2643 to develop research and online education about rural-development
2644 issues. Jorge was a psychologist, also working in online education. Both
2645 were bloggers and heavy users of social media, and both had a passion for
2646 arts and culture. They decided to take their skills in digital technology
2647 and online learning and apply them to a topic area they loved. They launched
2648 Ártica, an online business that provides education and consulting for people
2649 and institutions creating artistic and cultural projects on the Internet.
2650     </p><p>
2651       Ártica feels like a uniquely twenty-first century business. The small
2652 company has a global online presence with no physical offices. Jorge and
2653 Mariana live in Uruguay, and the other two full-time employees, who Jorge
2654 and Mariana have never actually met in person, live in Spain. They started
2655 by creating a MOOC (massive open online course) about remix culture and
2656 collaboration in the arts, which gave them a direct way to reach an
2657 international audience, attracting students from across Latin America and
2658 Spain.  In other words, it is the classic Internet story of being able to
2659 directly tap into an audience without relying upon gatekeepers or
2660 intermediaries.
2661     </p><p>
2662       Ártica offers personalized education and consulting services, and helps
2663 clients implement projects. All of these services are customized. They call
2664 it an <span class="quote">“<span class="quote">artisan</span>”</span> process because of the time and effort it takes
2665 to adapt their work for the particular needs of students and
2666 clients. <span class="quote">“<span class="quote">Each student or client is paying for a specific solution to
2667 his or her problems and questions,</span>”</span> Mariana said. Rather than sell
2668 access to their content, they provide it for free and charge for the
2669 personalized services.
2670     </p><p>
2671       When they started, they offered a smaller number of courses designed to
2672 attract large audiences. <span class="quote">“<span class="quote">Over the years, we realized that online
2673 communities are more specific than we thought,</span>”</span> Mariana said. Ártica
2674 now provides more options for classes and has lower enrollment in each
2675 course. This means they can provide more attention to individual students
2676 and offer classes on more specialized topics.
2677     </p><p>
2678       Online courses are their biggest revenue stream, but they also do more than
2679 a dozen consulting projects each year, ranging from digitization to event
2680 planning to marketing campaigns. Some are significant in scope, particularly
2681 when they work with cultural institutions, and some are smaller projects
2682 commissioned by individual artists.
2683     </p><p>
2684       Ártica also seeks out public and private funding for specific
2685 projects. Sometimes, even if they are unsuccessful in subsidizing a project
2686 like a new course or e-book, they will go ahead because they believe in
2687 it. They take the stance that every new project leads them to something new,
2688 every new resource they create opens new doors.
2689     </p><p>
2690       Ártica relies heavily on their free Creative Commons–licensed content to
2691 attract new students and clients. Everything they create—online education,
2692 blog posts, videos—is published under an Attribution-ShareAlike license (CC
2693 BY-SA). <span class="quote">“<span class="quote">We use a ShareAlike license because we want to give the
2694 greatest freedom to our students and readers, and we also want that freedom
2695 to be viral,</span>”</span> Jorge said. For them, giving others the right to reuse
2696 and remix their content is a fundamental value. <span class="quote">“<span class="quote">How can you offer an
2697 online educational service without giving permission to download, make and
2698 keep copies, or print the educational resources?</span>”</span> Jorge
2699 said. <span class="quote">“<span class="quote">If we want to do the best for our students—those who trust in
2700 us to the point that they are willing to pay online without face-to-face
2701 contact—we have to offer them a fair and ethical agreement.</span>”</span>
2702     </p><p>
2703       They also believe sharing their ideas and expertise openly helps them build
2704 their reputation and visibility. People often share and cite their work. A
2705 few years ago, a publisher even picked up one of their e-books and
2706 distributed printed copies. Ártica views reuse of their work as a way to
2707 open up new opportunities for their business.
2708     </p><p>
2709       This belief that openness creates new opportunities reflects another
2710 belief—in serendipity. When describing their process for creating content,
2711 they spoke of all of the spontaneous and organic ways they find
2712 inspiration. <span class="quote">“<span class="quote">Sometimes, the collaborative process starts with a
2713 conversation between us, or with friends from other projects,</span>”</span> Jorge
2714 said. <span class="quote">“<span class="quote">That can be the first step for a new blog post or another
2715 simple piece of content, which can evolve to a more complex product in the
2716 future, like a course or a book.</span>”</span>
2717     </p><p>
2718       Rather than planning their work in advance, they let their creative process
2719 be dynamic. <span class="quote">“<span class="quote">This doesn’t mean that we don’t need to work hard in
2720 order to get good professional results, but the design process is more
2721 flexible,</span>”</span> Jorge said. They share early and often, and they adjust
2722 based on what they learn, always exploring and testing new ideas and ways of
2723 operating. In many ways, for them, the process is just as important as the
2724 final product.
2725     </p><p>
2726       People and relationships are also just as important, sometimes
2727 more. <span class="quote">“<span class="quote">In the educational and cultural business, it is more important
2728 to pay attention to people and process, rather than content or specific
2729 formats or materials,</span>”</span> Mariana said.  <span class="quote">“<span class="quote">Materials and content
2730 are fluid. The important thing is the relationships.</span>”</span>
2731     </p><p>
2732       Ártica believes in the power of the network. They seek to make connections
2733 with people and institutions across the globe so they can learn from them
2734 and share their knowledge.
2735     </p><p>
2736       At the core of everything Ártica does is a set of values.  <span class="quote">“<span class="quote">Good
2737 content is not enough,</span>”</span> Jorge said. <span class="quote">“<span class="quote">We also think that it is
2738 very important to take a stand for some things in the cultural
2739 sector.</span>”</span> Mariana and Jorge are activists. They defend free culture
2740 (the movement promoting the freedom to modify and distribute creative work)
2741 and work to demonstrate the intersection between free culture and other
2742 social-justice movements. Their efforts to involve people in their work and
2743 enable artists and cultural institutions to better use technology are all
2744 tied closely to their belief system.  Ultimately, what drives their work is
2745 a mission to democratize art and culture.
2746     </p><p>
2747       Of course, Ártica also has to make enough money to cover its expenses. Human
2748 resources are, by far, their biggest expense. They tap a network of
2749 collaborators on a case-by-case basis and hire contractors for specific
2750 projects. Whenever possible, they draw from artistic and cultural resources
2751 in the commons, and they rely on free software. Their operation is small,
2752 efficient, and sustainable, and because of that, it is a success.
2753     </p><p><span class="quote">“<span class="quote">There are lots of people offering online courses,</span>”</span> Jorge
2754 said. <span class="quote">“<span class="quote">But it is easy to differentiate us. We have an approach that is
2755 very specific and personal.</span>”</span> Ártica’s model is rooted in the personal
2756 at every level. For Mariana and Jorge, success means doing what brings them
2757 personal meaning and purpose, and doing it sustainably and collaboratively.
2758     </p><p>
2759       In their work with younger artists, Mariana and Jorge try to emphasize that
2760 this model of success is just as valuable as the picture of success we get
2761 from the media. <span class="quote">“<span class="quote">If they seek only the traditional type of success,
2762 they will get frustrated,</span>”</span> Mariana said. <span class="quote">“<span class="quote">We try to show them
2763 another image of what it looks like.</span>”</span>
2764     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Capítulo 6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
2765         The Blender Institute is an animation studio that creates 3-D films using
2766 Blender software. Founded in 2006 in the Netherlands.
2767       </p><p>
2768           <a class="ulink" href="http://www.blender.org" target="_top">http://www.blender.org</a>
2769         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
2770 (subscription-based), charging for physical copies, selling merchandise
2771       </p><p><span class="strong"><strong>Interview date</strong></span>: March 8, 2016
2772       </p><p><span class="strong"><strong>Interviewee</strong></span>: Francesco Siddi, production
2773 coordinator
2774       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
2775     \textit{
2776         Profile written by Sarah Hinchliff Pearson
2777       }
2778     \end{flushright}</td></tr></table></div><p>
2779       For Ton Roosendaal, the creator of Blender software and its related
2780 entities, sharing is practical. Making their 3-D content creation software
2781 available under a free software license has been integral to its development
2782 and popularity. Using that software to make movies that were licensed with
2783 Creative Commons pushed that development even further. Sharing enables
2784 people to participate and to interact with and build upon the technology and
2785 content they create in a way that benefits Blender and its community in
2786 concrete ways.
2787     </p><p>
2788       Each open-movie project Blender runs produces a host of openly licensed
2789 outputs, not just the final film itself but all of the source material as
2790 well. The creative process also enhances the development of the Blender
2791 software because the technical team responds directly to the needs of the
2792 film production team, creating tools and features that make their lives
2793 easier. And, of course, each project involves a long, rewarding process for
2794 the creative and technical community working together.
2795     </p><p>
2796       Rather than just talking about the theoretical benefits of sharing and free
2797 culture, Ton is very much about doing and making free culture. Blender’s
2798 production coordinator Francesco Siddi told us, <span class="quote">“<span class="quote">Ton believes if you
2799 don’t make content using your tools, then you’re not doing anything.</span>”</span>
2800     </p><p>
2801       Blender’s history begins in the late 1990s, when Ton created the Blender
2802 software. Originally, the software was an in-house resource for his
2803 animation studio based in the Netherlands.  Investors became interested in
2804 the software, so he began marketing the software to the public, offering a
2805 free version in addition to a paid version. Sales were disappointing, and
2806 his investors gave up on the endeavor in the early 2000s. He made a deal
2807 with investors—if he could raise enough money, he could then make the
2808 Blender software available under the GNU General Public License.
2809     </p><p>
2810       This was long before Kickstarter and other online crowdfunding sites
2811 existed, but Ton ran his own version of a crowdfunding campaign and quickly
2812 raised the money he needed. The Blender software became freely available for
2813 anyone to use. Simply applying the General Public License to the software,
2814 however, was not enough to create a thriving community around it. Francesco
2815 told us, <span class="quote">“<span class="quote">Software of this complexity relies on people and their
2816 vision of how people work together. Ton is a fantastic community builder and
2817 manager, and he put a lot of work into fostering a community of developers
2818 so that the project could live.</span>”</span>
2819     </p><p>
2820       Like any successful free and open-source software project, Blender developed
2821 quickly because the community could make fixes and
2822 improvements. <span class="quote">“<span class="quote">Software should be free and open to hack,</span>”</span>
2823 Francesco said. <span class="quote">“<span class="quote">Otherwise, everyone is doing the same thing in the
2824 dark for ten years.</span>”</span> Ton set up the Blender Foundation to oversee and
2825 steward the software development and maintenance.
2826     </p><p>
2827       After a few years, Ton began looking for new ways to push development of the
2828 software. He came up with the idea of creating CC-licensed films using the
2829 Blender software. Ton put a call online for all interested and skilled
2830 artists. Francesco said the idea was to get the best artists available, put
2831 them in a building together with the best developers, and have them work
2832 together.  They would not only produce high-quality openly licensed content,
2833 they would improve the Blender software in the process.
2834     </p><p>
2835       They turned to crowdfunding to subsidize the costs of the project.  They had
2836 about twenty people working full-time for six to ten months, so the costs
2837 were significant. Francesco said that when their crowdfunding campaign
2838 succeeded, people were astounded.  <span class="quote">“<span class="quote">The idea that making money was
2839 possible by producing CC-licensed material was mind-blowing to
2840 people,</span>”</span> he said.  <span class="quote">“<span class="quote">They were like, <span class="quote">‘<span class="quote">I have to see it to
2841 believe it.</span>’</span></span>”</span>
2842     </p><p>
2843       The first film, which was released in 2006, was an experiment. It was so
2844 successful that Ton decided to set up the Blender Institute, an entity
2845 dedicated to hosting open-movie projects. The Blender Institute’s next
2846 project was an even bigger success. The film, Big Buck Bunny, went viral,
2847 and its animated characters were picked up by marketers.
2848     </p><p>
2849       Francesco said that, over time, the Blender Institute projects have gotten
2850 bigger and more prominent. That means the filmmaking process has become more
2851 complex, combining technical experts and artists who focus on
2852 storytelling. Francesco says the process is almost on an industrial scale
2853 because of the number of moving parts. This requires a lot of specialized
2854 assistance, but the Blender Institute has no problem finding the talent it
2855 needs to help on projects. <span class="quote">“<span class="quote">Blender hardly does any recruiting for
2856 film projects because the talent emerges naturally,</span>”</span> Francesco
2857 said. <span class="quote">“<span class="quote">So many people want to work with us, and we can’t always hire
2858 them because of budget constraints.</span>”</span>
2859     </p><p>
2860       Blender has had a lot of success raising money from its community over the
2861 years. In many ways, the pitch has gotten easier to make.  Not only is
2862 crowdfunding simply more familiar to the public, but people know and trust
2863 Blender to deliver, and Ton has developed a reputation as an effective
2864 community leader and visionary for their work. <span class="quote">“<span class="quote">There is a whole
2865 community who sees and understands the benefit of these projects,</span>”</span>
2866 Francesco said.
2867     </p><p>
2868       While these benefits of each open-movie project make a compelling pitch for
2869 crowdfunding campaigns, Francesco told us the Blender Institute has found
2870 some limitations in the standard crowdfunding model where you propose a
2871 specific project and ask for funding.  <span class="quote">“<span class="quote">Once a project is over,
2872 everyone goes home,</span>”</span> he said. <span class="quote">“<span class="quote">It is great fun, but then it
2873 ends. That is a problem.</span>”</span>
2874     </p><p>
2875       To make their work more sustainable, they needed a way to receive ongoing
2876 support rather than on a project-by-project basis. Their solution is Blender
2877 Cloud, a subscription-style crowdfunding model akin to the online
2878 crowdfunding platform, Patreon. For about ten euros each month, subscribers
2879 get access to download everything the Blender Institute produces—software,
2880 art, training, and more.  All of the assets are available under an
2881 Attribution license (CC BY) or placed in the public domain (CC0), but they
2882 are initially made available only to subscribers. Blender Cloud enables
2883 subscribers to follow Blender’s movie projects as they develop, sharing
2884 detailed information and content used in the creative process. Blender Cloud
2885 also has extensive training materials and libraries of characters and other
2886 assets used in various projects.
2887     </p><p>
2888       The continuous financial support provided by Blender Cloud subsidizes five
2889 to six full-time employees at the Blender Institute. Francesco says their
2890 goal is to grow their subscriber base. <span class="quote">“<span class="quote">This is our freedom,</span>”</span>
2891 he told us, <span class="quote">“<span class="quote">and for artists, freedom is everything.</span>”</span>
2892     </p><p>
2893       Blender Cloud is the primary revenue stream of the Blender Institute. The
2894 Blender Foundation is funded primarily by donations, and that money goes
2895 toward software development and maintenance. The revenue streams of the
2896 Institute and Foundation are deliberately kept separate. Blender also has
2897 other revenue streams, such as the Blender Store, where people can purchase
2898 DVDs, T-shirts, and other Blender products.
2899     </p><p>
2900       Ton has worked on projects relating to his Blender software for nearly
2901 twenty years. Throughout most of that time, he has been committed to making
2902 the software and the content produced with the software free and
2903 open. Selling a license has never been part of the business model.
2904     </p><p>
2905       Since 2006, he has been making films available along with all of their
2906 source material. He says he has hardly ever seen people stepping into
2907 Blender’s shoes and trying to make money off of their content. Ton believes
2908 this is because the true value of what they do is in the creative and
2909 production process. <span class="quote">“<span class="quote">Even when you share everything, all your original
2910 sources, it still takes a lot of talent, skills, time, and budget to
2911 reproduce what you did,</span>”</span> Ton said.
2912     </p><p>
2913       For Ton and Blender, it all comes back to doing.
2914     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Capítulo 7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
2915         Cards Against Humanity is a private, for-profit company that makes a popular
2916 party game by the same name. Founded in 2011 in the U.S.
2917       </p><p>
2918           <a class="ulink" href="http://www.cardsagainsthumanity.com" target="_top">http://www.cardsagainsthumanity.com</a>
2919         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
2920 copies
2921       </p><p><span class="strong"><strong>Interview date</strong></span>: February 3, 2016
2922       </p><p><span class="strong"><strong>Interviewee</strong></span>: Max Temkin, cofounder
2923       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
2924     \textit{
2925         Profile written by Sarah Hinchliff Pearson
2926       }
2927     \end{flushright}</td></tr></table></div><p>
2928       If you ask cofounder Max Temkin, there is nothing particularly interesting
2929 about the Cards Against Humanity business model.  <span class="quote">“<span class="quote">We make a
2930 product. We sell it for money. Then we spend less money than we
2931 make,</span>”</span> Max said.
2932     </p><p>
2933       He is right. Cards Against Humanity is a simple party game, modeled after
2934 the game Apples to Apples. To play, one player asks a question or
2935 fill-in-the-blank statement from a black card, and the other players submit
2936 their funniest white card in response.  The catch is that all of the cards
2937 are filled with crude, gruesome, and otherwise awful things. For the right
2938 kind of people (<span class="quote">“<span class="quote">horrible people,</span>”</span> according to Cards Against
2939 Humanity advertising), this makes for a hilarious and fun game.
2940     </p><p>
2941       The revenue model is simple. Physical copies of the game are sold for a
2942 profit. And it works. At the time of this writing, Cards Against Humanity is
2943 the number-one best-selling item out of all toys and games on Amazon. There
2944 are official expansion packs available, and several official themed packs
2945 and international editions as well.
2946     </p><p>
2947       But Cards Against Humanity is also available for free. Anyone can download a
2948 digital version of the game on the Cards Against Humanity website. More than
2949 one million people have downloaded the game since the company began tracking
2950 the numbers.
2951     </p><p>
2952       The game is available under an Attribution-NonCommercial-ShareAlike license
2953 (CC BY-NC-SA). That means, in addition to copying the game, anyone can
2954 create new versions of the game as long as they make it available under the
2955 same noncommercial terms. The ability to adapt the game is like an entire
2956 new game unto itself.
2957     </p><p>
2958       All together, these factors—the crass tone of the game and company, the free
2959 download, the openness to fans remixing the game—give the game a massive
2960 cult following.
2961     </p><p>
2962       Their success is not the result of a grand plan. Instead, Cards Against
2963 Humanity was the last in a long line of games and comedy projects that Max
2964 Temkin and his friends put together for their own amusement. As Max tells
2965 the story, they made the game so they could play it themselves on New Year’s
2966 Eve because they were too nerdy to be invited to other parties. The game was
2967 a hit, so they decided to put it up online as a free PDF. People started
2968 asking if they could pay to have the game printed for them, and eventually
2969 they decided to run a Kickstarter to fund the printing.  They set their
2970 Kickstarter goal at $4,000—and raised $15,000. The game was officially
2971 released in May 2011.
2972     </p><p>
2973       The game caught on quickly, and it has only grown more popular over
2974 time. Max says the eight founders never had a meeting where they decided to
2975 make it an ongoing business. <span class="quote">“<span class="quote">It kind of just happened,</span>”</span> he
2976 said.
2977     </p><p>
2978       But this tale of a <span class="quote">“<span class="quote">happy accident</span>”</span> belies marketing
2979 genius. Just like the game, the Cards Against Humanity brand is irreverent
2980 and memorable. It is hard to forget a company that calls the FAQ on their
2981 website <span class="quote">“<span class="quote">Your dumb questions.</span>”</span>
2982     </p><p>
2983       Like most quality satire, however, there is more to the joke than vulgarity
2984 and shock value. The company’s marketing efforts around Black Friday
2985 illustrate this particularly well. For those outside the United States,
2986 Black Friday is the term for the day after the Thanksgiving holiday, the
2987 biggest shopping day of the year. It is an incredibly important day for
2988 Cards Against Humanity, like it is for all U.S. retailers. Max said they
2989 struggled with what to do on Black Friday because they didn’t want to
2990 support what he called the <span class="quote">“<span class="quote">orgy of consumerism</span>”</span> the day has
2991 become, particularly since it follows a day that is about being grateful for
2992 what you have. In 2013, after deliberating, they decided to have an
2993 Everything Costs $5 More sale.
2994     </p><p><span class="quote">“<span class="quote">We sweated it out the night before Black Friday, wondering if our
2995 fans were going to hate us for it,</span>”</span> he said.  <span class="quote">“<span class="quote">But it made us
2996 laugh so we went with it. People totally caught the joke.</span>”</span>
2997     </p><p>
2998       This sort of bold transparency delights the media, but more importantly, it
2999 engages their fans. <span class="quote">“<span class="quote">One of the most surprising things you can do in
3000 capitalism is just be honest with people,</span>”</span> Max said. <span class="quote">“<span class="quote">It shocks
3001 people that there is transparency about what you are doing.</span>”</span>
3002     </p><p>
3003       Max also likened it to a grand improv scene. <span class="quote">“<span class="quote">If we do something a
3004 little subversive and unexpected, the public wants to be a part of the
3005 joke.</span>”</span> One year they did a Give Cards Against Humanity $5 event,
3006 where people literally paid them five dollars for no reason. Their fans
3007 wanted to make the joke funnier by making it successful. They made $70,000
3008 in a single day.
3009     </p><p>
3010       This remarkable trust they have in their customers is what inspired their
3011 decision to apply a Creative Commons license to the game. Trusting your
3012 customers to reuse and remix your work requires a leap of faith. Cards
3013 Against Humanity obviously isn’t afraid of doing the unexpected, but there
3014 are lines even they do not want to cross. Before applying the license, Max
3015 said they worried that some fans would adapt the game to include all of the
3016 jokes they intentionally never made because they crossed that
3017 line. <span class="quote">“<span class="quote">It happened, and the world didn’t end,</span>”</span> Max
3018 said. <span class="quote">“<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
3019 times over because there are so many benefits.</span>”</span>
3020     </p><p>
3021       Any successful product inspires its biggest fans to create remixes of it,
3022 but unsanctioned adaptations are more likely to fly under the radar. The
3023 Creative Commons license gives fans of Cards Against Humanity the freedom to
3024 run with the game and copy, adapt, and promote their creations openly. Today
3025 there are thousands of fan expansions of the game.
3026     </p><p>
3027       Max said, <span class="quote">“<span class="quote">CC was a no-brainer for us because it gets the most people
3028 involved. Making the game free and available under a CC license led to the
3029 unbelievable situation where we are one of the best-marketed games in the
3030 world, and we have never spent a dime on marketing.</span>”</span>
3031     </p><p>
3032       Of course, there are limits to what the company allows its customers to do
3033 with the game. They chose the Attribution-NonCommercial-ShareAlike license
3034 because it restricts people from using the game to make money. It also
3035 requires that adaptations of the game be made available under the same
3036 licensing terms if they are shared publicly. Cards Against Humanity also
3037 polices its brand. <span class="quote">“<span class="quote">We feel like we’re the only ones who can use our
3038 brand and our game and make money off of it,</span>”</span> Max said. About 99.9
3039 percent of the time, they just send an email to those making commercial use
3040 of the game, and that is the end of it. There have only been a handful of
3041 instances where they had to get a lawyer involved.
3042     </p><p>
3043       Just as there is more than meets the eye to the Cards Against Humanity
3044 business model, the same can be said of the game itself.  To be playable,
3045 every white card has to work syntactically with enough black cards. The
3046 eight creators invest an incredible amount of work into creating new cards
3047 for the game. <span class="quote">“<span class="quote">We have daylong arguments about commas,</span>”</span> Max
3048 said. <span class="quote">“<span class="quote">The slacker tone of the cards gives people the impression that
3049 it is easy to write them, but it is actually a lot of work and
3050 quibbling.</span>”</span>
3051     </p><p>
3052       That means cocreation with their fans really doesn’t work. The company has a
3053 submission mechanism on their website, and they get thousands of
3054 suggestions, but it is very rare that a submitted card is adopted. Instead,
3055 the eight initial creators remain the primary authors of expansion decks and
3056 other new products released by the company. Interestingly, the creativity of
3057 their customer base is really only an asset to the company once their
3058 original work is created and published when people make their own
3059 adaptations of the game.
3060     </p><p>
3061       For all of their success, the creators of Cards Against Humanity are only
3062 partially motivated by money. Max says they have always been interested in
3063 the Walt Disney philosophy of financial success. <span class="quote">“<span class="quote">We don’t make jokes
3064 and games to make money—we make money so we can make more jokes and
3065 games,</span>”</span> he said.
3066     </p><p>
3067       In fact, the company has given more than $4 million to various charities and
3068 causes. <span class="quote">“<span class="quote">Cards is not our life plan,</span>”</span> Max said. <span class="quote">“<span class="quote">We all
3069 have other interests and hobbies. We are passionate about other things going
3070 on in our lives. A lot of the activism we have done comes out of us taking
3071 things from the rest of our lives and channeling some of the excitement from
3072 the game into it.</span>”</span>
3073     </p><p>
3074       Seeing money as fuel rather than the ultimate goal is what has enabled them
3075 to embrace Creative Commons licensing without reservation. CC licensing
3076 ended up being a savvy marketing move for the company, but nonetheless,
3077 giving up exclusive control of your work necessarily means giving up some
3078 opportunities to extract more money from customers.
3079     </p><p><span class="quote">“<span class="quote">It’s not right for everyone to release everything under CC
3080 licensing,</span>”</span> Max said. <span class="quote">“<span class="quote">If your only goal is to make a lot of
3081 money, then CC is not best strategy. This kind of business model, though,
3082 speaks to your values, and who you are and why you’re making things.</span>”</span>
3083     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Capítulo 8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3084         The Conversation is an independent source of news, sourced from the academic
3085 and research community and delivered direct to the public over the
3086 Internet. Founded in 2011 in Australia.
3087       </p><p>
3088           <a class="ulink" href="http://theconversation.com" target="_top">http://theconversation.com</a>
3089         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
3090 (universities pay membership fees to have their faculties serve as writers),
3091 grant funding
3092       </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
3093       </p><p><span class="strong"><strong>Interviewee</strong></span>: Andrew Jaspan, founder
3094       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
3095     \textit{
3096         Profile written by Paul Stacey
3097       }
3098     \end{flushright}</td></tr></table></div><p>
3099       Andrew Jaspan spent years as an editor of major newspapers including the
3100 Observer in London, the Sunday Herald in Glasgow, and the Age in Melbourne,
3101 Australia. He experienced firsthand the decline of newspapers, including the
3102 collapse of revenues, layoffs, and the constant pressure to reduce
3103 costs. After he left the Age in 2005, his concern for the future journalism
3104 didn’t go away. Andrew made a commitment to come up with an alternative
3105 model.
3106     </p><p>
3107       Around the time he left his job as editor of the Melbourne Age, Andrew
3108 wondered where citizens would get news grounded in fact and evidence rather
3109 than opinion or ideology. He believed there was still an appetite for
3110 journalism with depth and substance but was concerned about the increasing
3111 focus on the sensational and sexy.
3112     </p><p>
3113       While at the Age, he’d become friends with a vice-chancellor of a university
3114 in Melbourne who encouraged him to talk to smart people across campus—an
3115 astrophysicist, a Nobel laureate, earth scientists, economists . . . These
3116 were the kind of smart people he wished were more involved in informing the
3117 world about what is going on and correcting the errors that appear in
3118 media. However, they were reluctant to engage with mass media. Often,
3119 journalists didn’t understand what they said, or unilaterally chose what
3120 aspect of a story to tell, putting out a version that these people felt was
3121 wrong or mischaracterized. Newspapers want to attract a mass
3122 audience. Scholars want to communicate serious news, findings, and
3123 insights. It’s not a perfect match. Universities are massive repositories of
3124 knowledge, research, wisdom, and expertise. But a lot of that stays behind a
3125 wall of their own making—there are the walled garden and ivory tower
3126 metaphors, and in more literal terms, the paywall. Broadly speaking,
3127 universities are part of society but disconnected from it. They are an
3128 enormous public resource but not that good at presenting their expertise to
3129 the wider public.
3130     </p><p>
3131       Andrew believed he could to help connect academics back into the public
3132 arena, and maybe help society find solutions to big problems. He thought
3133 about pairing professional editors with university and research experts,
3134 working one-on-one to refine everything from story structure to headline,
3135 captions, and quotes.  The editors could help turn something that is
3136 academic into something understandable and readable. And this would be a key
3137 difference from traditional journalism—the subject matter expert would get a
3138 chance to check the article and give final approval before it is
3139 published. Compare this with reporters just picking and choosing the quotes
3140 and writing whatever they want.
3141     </p><p>
3142       The people he spoke to liked this idea, and Andrew embarked on raising money
3143 and support with the help of the Commonwealth Scientific and Industrial
3144 Research Organisation (CSIRO), the University of Melbourne, Monash
3145 University, the University of Technology Sydney, and the University of
3146 Western Australia. These founding partners saw the value of an independent
3147 information channel that would also showcase the talent and knowledge of the
3148 university and research sector. With their help, in 2011, the Conversation,
3149 was launched as an independent news site in Australia. Everything published
3150 in the Conversation is openly licensed with Creative Commons.
3151     </p><p>
3152       The Conversation is founded on the belief that underpinning a functioning
3153 democracy is access to independent, high-quality, informative
3154 journalism. The Conversation’s aim is for people to have a better
3155 understanding of current affairs and complex issues—and hopefully a better
3156 quality of public discourse. The Conversation sees itself as a source of
3157 trusted information dedicated to the public good. Their core mission is
3158 simple: to provide readers with a reliable source of evidence-based
3159 information.
3160     </p><p>
3161       Andrew worked hard to reinvent a methodology for creating reliable, credible
3162 content. He introduced strict new working practices, a charter, and codes of
3163 conduct.<a href="#ftn.idm1106" class="footnote" name="idm1106"><sup class="footnote">[114]</sup></a> These include fully disclosing
3164 who every author is (with their relevant expertise); who is funding their
3165 research; and if there are any potential or real conflicts of interest. Also
3166 important is where the content originates, and even though it comes from the
3167 university and research community, it still needs to be fully disclosed. The
3168 Conversation does not sit behind a paywall. Andrew believes access to
3169 information is an issue of equality—everyone should have access, like access
3170 to clean water.  The Conversation is committed to an open and free
3171 Internet.  Everyone should have free access to their content, and be able to
3172 share it or republish it.
3173     </p><p>
3174       Creative Commons help with these goals; articles are published with the
3175 Attribution- NoDerivs license (CC BY-ND). They’re freely available for
3176 others to republish elsewhere as long as attribution is given and the
3177 content is not edited. Over five years, more than twenty-two thousand sites
3178 have republished their content. The Conversation website gets about 2.9
3179 million unique views per month, but through republication they have
3180 thirty-five million readers. This couldn’t have been done without the
3181 Creative Commons license, and in Andrew’s view, Creative Commons is central
3182 to everything the Conversation does.
3183     </p><p>
3184       When readers come across the Conversation, they seem to like what they find
3185 and recommend it to their friends, peers, and networks.  Readership has
3186 grown primarily through word of mouth. While they don’t have sales and
3187 marketing, they do promote their work through social media (including
3188 Twitter and Facebook), and by being an accredited supplier to Google News.
3189     </p><p>
3190       It’s usual for the founders of any company to ask themselves what kind of
3191 company it should be. It quickly became clear to the founders of the
3192 Conversation that they wanted to create a public good rather than make money
3193 off of information. Most media companies are working to aggregate as many
3194 eyeballs as possible and sell ads. The Conversation founders didn’t want
3195 this model. It takes no advertising and is a not-for-profit venture.
3196     </p><p>
3197       There are now different editions of the Conversation for Africa, the United
3198 Kingdom, France, and the United States, in addition to the one for
3199 Australia. All five editions have their own editorial mastheads, advisory
3200 boards, and content. The Conversation’s global virtual newsroom has roughly
3201 ninety staff working with thirty-five thousand academics from over sixteen
3202 hundred universities around the world. The Conversation would like to be
3203 working with university scholars from even more parts of the world.
3204     </p><p>
3205       Additionally, each edition has its own set of founding partners, strategic
3206 partners, and funders. They’ve received funding from foundations,
3207 corporates, institutions, and individual donations, but the Conversation is
3208 shifting toward paid memberships by universities and research institutions
3209 to sustain operations. This would safeguard the current service and help
3210 improve coverage and features.
3211     </p><p>
3212       When professors from member universities write an article, there is some
3213 branding of the university associated with the article. On the Conversation
3214 website, paying university members are listed as <span class="quote">“<span class="quote">members and
3215 funders.</span>”</span> Early participants may be designated as <span class="quote">“<span class="quote">founding
3216 members,</span>”</span> with seats on the editorial advisory board.
3217     </p><p>
3218       Academics are not paid for their contributions, but they get free editing
3219 from a professional (four to five hours per piece, on average). They also
3220 get access to a large audience. Every author and member university has
3221 access to a special analytics dashboard where they can check the reach of an
3222 article. The metrics include what people are tweeting, the comments,
3223 countries the readership represents, where the article is being republished,
3224 and the number of readers per article.
3225     </p><p>
3226       The Conversation plans to expand the dashboard to show not just reach but
3227 impact. This tracks activities, behaviors, and events that occurred as a
3228 result of publication, including things like a scholar being asked to go on
3229 a show to discuss their piece, give a talk at a conference, collaborate,
3230 submit a journal paper, and consult a company on a topic.
3231     </p><p>
3232       These reach and impact metrics show the benefits of membership.  With the
3233 Conversation, universities can engage with the public and show why they’re
3234 of value.
3235     </p><p>
3236       With its tagline, <span class="quote">“<span class="quote">Academic Rigor, Journalistic Flair,</span>”</span> the
3237 Conversation represents a new form of journalism that contributes to a more
3238 informed citizenry and improved democracy around the world. Its open
3239 business model and use of Creative Commons show how it’s possible to
3240 generate both a public good and operational revenue at the same time.
3241     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1106" class="footnote"><p><a href="#idm1106" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>Capítulo 9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3242         Cory Doctorow is a science fiction writer, activist, blogger, and
3243 journalist. Based in the U.S.
3244       </p><p><a class="ulink" href="http://craphound.com" target="_top">http://craphound.com</a> and <a class="ulink" href="http://boingboing.net" target="_top">http://boingboing.net</a>
3245       </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
3246 copies (book sales), pay-what-you-want, selling translation rights to books
3247       </p><p><span class="strong"><strong>Interview date</strong></span>: January 12, 2016
3248       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
3249     \textit{
3250         Profile written by Sarah Hinchliff Pearson
3251       }
3252     \end{flushright}</td></tr></table></div><p>
3253       Cory Doctorow hates the term <span class="quote">“<span class="quote">business model,</span>”</span> and he is
3254 adamant that he is not a brand. <span class="quote">“<span class="quote">To me, branding is the idea that you
3255 can take a thing that has certain qualities, remove the qualities, and go on
3256 selling it,</span>”</span> he said. <span class="quote">“<span class="quote">I’m not out there trying to figure out
3257 how to be a brand. I’m doing this thing that animates me to work crazy
3258 insane hours because it’s the most important thing I know how to do.</span>”</span>
3259     </p><p>
3260       Cory calls himself an entrepreneur. He likes to say his success came from
3261 making stuff people happened to like and then getting out of the way of them
3262 sharing it.
3263     </p><p>
3264       He is a science fiction writer, activist, blogger, and journalist.
3265 Beginning with his first novel, Down and Out in the Magic Kingdom, in 2003,
3266 his work has been published under a Creative Commons license. Cory is
3267 coeditor of the popular CC-licensed site Boing Boing, where he writes about
3268 technology, politics, and intellectual property. He has also written several
3269 nonfiction books, including the most recent Information Doesn’t Want to Be
3270 Free, about the ways in which creators can make a living in the Internet
3271 age.
3272     </p><p>
3273       Cory primarily makes money by selling physical books, but he also takes on
3274 paid speaking gigs and is experimenting with pay-what-you-want models for
3275 his work.
3276     </p><p>
3277       While Cory’s extensive body of fiction work has a large following, he is
3278 just as well known for his activism. He is an outspoken opponent of
3279 restrictive copyright and digital-rights-management (DRM) technology used to
3280 lock up content because he thinks both undermine creators and the public
3281 interest. He is currently a special adviser at the Electronic Frontier
3282 Foundation, where he is involved in a lawsuit challenging the U.S. law that
3283 protects DRM.  Cory says his political work doesn’t directly make him money,
3284 but if he gave it up, he thinks he would lose credibility and, more
3285 importantly, lose the drive that propels him to create. <span class="quote">“<span class="quote">My political
3286 work is a different expression of the same artistic-political urge,</span>”</span>
3287 he said. <span class="quote">“<span class="quote">I have this suspicion that if I gave up the things that
3288 didn’t make me money, the genuineness would leach out of what I do, and the
3289 quality that causes people to like what I do would be gone.</span>”</span>
3290     </p><p>
3291       Cory has been financially successful, but money is not his primary
3292 motivation. At the start of his book Information Doesn’t Want to Be Free, he
3293 stresses how important it is not to become an artist if your goal is to get
3294 rich. <span class="quote">“<span class="quote">Entering the arts because you want to get rich is like buying
3295 lottery tickets because you want to get rich,</span>”</span> he wrote. <span class="quote">“<span class="quote">It
3296 might work, but it almost certainly won’t. Though, of course, someone always
3297 wins the lottery.</span>”</span> He acknowledges that he is one of the lucky few to
3298 <span class="quote">“<span class="quote">make it,</span>”</span> but he says he would be writing no matter
3299 what. <span class="quote">“<span class="quote">I am compelled to write,</span>”</span> he wrote.  <span class="quote">“<span class="quote">Long before
3300 I wrote to keep myself fed and sheltered, I was writing to keep myself
3301 sane.</span>”</span>
3302     </p><p>
3303       Just as money is not his primary motivation to create, money is not his
3304 primary motivation to share. For Cory, sharing his work with Creative
3305 Commons is a moral imperative. <span class="quote">“<span class="quote">It felt morally right,</span>”</span> he said
3306 of his decision to adopt Creative Commons licenses. <span class="quote">“<span class="quote">I felt like I
3307 wasn’t contributing to the culture of surveillance and censorship that has
3308 been created to try to stop copying.</span>”</span> In other words, using CC
3309 licenses symbolizes his worldview.
3310     </p><p>
3311       He also feels like there is a solid commercial basis for licensing his work
3312 with Creative Commons. While he acknowledges he hasn’t been able to do a
3313 controlled experiment to compare the commercial benefits of licensing with
3314 CC against reserving all rights, he thinks he has sold more books using a CC
3315 license than he would have without it. Cory says his goal is to convince
3316 people they should pay him for his work. <span class="quote">“<span class="quote">I started by not calling
3317 them thieves,</span>”</span> he said.
3318     </p><p>
3319       Cory started using CC licenses soon after they were first created.  At the
3320 time his first novel came out, he says the science fiction genre was overrun
3321 with people scanning and downloading books without permission. When he and
3322 his publisher took a closer look at who was doing that sort of thing online,
3323 they realized it looked a lot like book promotion. <span class="quote">“<span class="quote">I knew there was a
3324 relationship between having enthusiastic readers and having a successful
3325 career as a writer,</span>”</span> he said. <span class="quote">“<span class="quote">At the time, it took eighty
3326 hours to OCR a book, which is a big effort. I decided to spare them the time
3327 and energy, and give them the book for free in a format destined to
3328 spread.</span>”</span>
3329     </p><p>
3330       Cory admits the stakes were pretty low for him when he first adopted
3331 Creative Commons licenses. He only had to sell two thousand copies of his
3332 book to break even. People often said he was only able to use CC licenses
3333 successfully at that time because he was just starting out. Now they say he
3334 can only do it because he is an established author.
3335     </p><p>
3336       The bottom line, Cory says, is that no one has found a way to prevent people
3337 from copying the stuff they like. Rather than fighting the tide, Cory makes
3338 his work intrinsically shareable.  <span class="quote">“<span class="quote">Getting the hell out of the way
3339 for people who want to share their love of you with other people sounds
3340 obvious, but it’s remarkable how many people don’t do it,</span>”</span> he said.
3341     </p><p>
3342       Making his work available under Creative Commons licenses enables him to
3343 view his biggest fans as his ambassadors. <span class="quote">“<span class="quote">Being open to fan activity
3344 makes you part of the conversation about what fans do with your work and how
3345 they interact with it,</span>”</span> he said.  Cory’s own website routinely
3346 highlights cool things his audience has done with his work. Unlike
3347 corporations like Disney that tend to have a hands-off relationship with
3348 their fan activity, he has a symbiotic relationship with his
3349 audience. <span class="quote">“<span class="quote">Engaging with your audience can’t guarantee you
3350 success,</span>”</span> he said.  <span class="quote">“<span class="quote">And Disney is an example of being able to
3351 remain aloof and still being the most successful company in the creative
3352 industry in history. But I figure my likelihood of being Disney is pretty
3353 slim, so I should take all the help I can get.</span>”</span>
3354     </p><p>
3355       His first book was published under the most restrictive Creative Commons
3356 license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND).  It allows only
3357 verbatim copying for noncommercial purposes. His later work is published
3358 under the Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA), which
3359 gives people the right to adapt his work for noncommercial purposes but only
3360 if they share it back under the same license terms. Before releasing his
3361 work under a CC license that allows adaptations, he always sells the right
3362 to translate the book to other languages to a commercial publisher first. He
3363 wants to reach new potential buyers in other parts of the world, and he
3364 thinks it is more difficult to get people to pay for translations if there
3365 are fan translations already available for free.
3366     </p><p>
3367       In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
3368 to thinking like a dandelion. Dandelions produce thousands of seeds each
3369 spring, and they are blown into the air going in every direction. The
3370 strategy is to maximize the number of blind chances the dandelion has for
3371 continuing its genetic line. Similarly, he says there are lots of people out
3372 there who may want to buy creative work or compensate authors for it in some
3373 other way. <span class="quote">“<span class="quote">The more places your work can find itself, the greater the
3374 likelihood that it will find one of those would-be customers in some
3375 unsuspected crack in the metaphorical pavement,</span>”</span> he wrote. <span class="quote">“<span class="quote">The
3376 copies that others make of my work cost me nothing, and present the
3377 possibility that I’ll get something.</span>”</span>
3378     </p><p>
3379       Applying a CC license to his work increases the chances it will be shared
3380 more widely around the Web. He avoids DRM—and openly opposes the
3381 practice—for similar reasons. DRM has the effect of tying a work to a
3382 particular platform. This digital lock, in turn, strips the authors of
3383 control over their own work and hands that control over to the platform. He
3384 calls it Cory’s First Law: <span class="quote">“<span class="quote">Anytime someone puts a lock on something
3385 that belongs to you and won’t give you the key, that lock isn’t there for
3386 your benefit.</span>”</span>
3387     </p><p>
3388       Cory operates under the premise that artists benefit when there are more,
3389 rather than fewer, places where people can access their work. The Internet
3390 has opened up those avenues, but DRM is designed to limit them. <span class="quote">“<span class="quote">On
3391 the one hand, we can credibly make our work available to a widely dispersed
3392 audience,</span>”</span> he said. <span class="quote">“<span class="quote">On the other hand, the intermediaries we
3393 historically sold to are making it harder to go around them.</span>”</span> Cory
3394 continually looks for ways to reach his audience without relying upon major
3395 platforms that will try to take control over his work.
3396     </p><p>
3397       Cory says his e-book sales have been lower than those of his competitors,
3398 and he attributes some of that to the CC license making the work available
3399 for free. But he believes people are willing to pay for content they like,
3400 even when it is available for free, as long as it is easy to do. He was
3401 extremely successful using Humble Bundle, a platform that allows people to
3402 pay what they want for DRM-free versions of a bundle of a particular
3403 creator’s work. He is planning to try his own pay-what-you-want experiment
3404 soon.
3405     </p><p>
3406       Fans are particularly willing to pay when they feel personally connected to
3407 the artist. Cory works hard to create that personal connection. One way he
3408 does this is by personally answering every single email he gets. <span class="quote">“<span class="quote">If
3409 you look at the history of artists, most die in penury,</span>”</span> he
3410 said. <span class="quote">“<span class="quote">That reality means that for artists, we have to find ways to
3411 support ourselves when public tastes shift, when copyright stops producing.
3412 Future-proofing your artistic career in many ways means figuring out how to
3413 stay connected to those people who have been touched by your work.</span>”</span>
3414     </p><p>
3415       Cory’s realism about the difficulty of making a living in the arts does not
3416 reflect pessimism about the Internet age. Instead, he says the fact that it
3417 is hard to make a living as an artist is nothing new. What is new, he writes
3418 in his book, <span class="quote">“<span class="quote">is how many ways there are to make things, and to get
3419 them into other people’s hands and minds.</span>”</span>
3420     </p><p>
3421       It has never been easier to think like a dandelion.
3422     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Capítulo 10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3423         Figshare is a for-profit company offering an online repository where
3424 researchers can preserve and share the output of their research, including
3425 figures, data sets, images, and videos.  Founded in 2011 in the UK.
3426       </p><p>
3427           <a class="ulink" href="http://figshare.com" target="_top">http://figshare.com</a>
3428         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
3429 services to creators
3430       </p><p><span class="strong"><strong>Interview date</strong></span>: January 28, 2016
3431       </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Hahnel, founder
3432       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
3433     \textit{
3434         Profile written by Paul Stacey
3435       }
3436     \end{flushright}</td></tr></table></div><p>
3437       Figshare’s mission is to change the face of academic publishing through
3438 improved dissemination, discoverability, and reusability of scholarly
3439 research. Figshare is a repository where users can make all the output of
3440 their research available—from posters and presentations to data sets and
3441 code—in a way that’s easy to discover, cite, and share. Users can upload any
3442 file format, which can then be previewed in a Web browser. Research output
3443 is disseminated in a way that the current scholarly-publishing model does
3444 not allow.
3445     </p><p>
3446       Figshare founder Mark Hahnel often gets asked: How do you make money? How do
3447 we know you’ll be here in five years? Can you, as a for-profit venture, be
3448 trusted? Answers have evolved over time.
3449     </p><p>
3450       Mark traces the origins of Figshare back to when he was a graduate student
3451 getting his PhD in stem cell biology. His research involved working with
3452 videos of stem cells in motion. However, when he went to publish his
3453 research, there was no way for him to also publish the videos, figures,
3454 graphs, and data sets. This was frustrating. Mark believed publishing his
3455 complete research would lead to more citations and be better for his career.
3456     </p><p>
3457       Mark does not consider himself an advanced software programmer.
3458 Fortunately, things like cloud-based computing and wikis had become
3459 mainstream, and he believed it ought to be possible to put all his research
3460 online and share it with anyone. So he began working on a solution.
3461     </p><p>
3462       There were two key needs: licenses to make the data citable, and persistent
3463 identifiers— URL links that always point back to the original object
3464 ensuring the research is citable for the long term.
3465     </p><p>
3466       Mark chose Digital Object Identifiers (DOIs) to meet the need for a
3467 persistent identifier. In the DOI system, an object’s metadata is stored as
3468 a series of numbers in the DOI name. Referring to an object by its DOI is
3469 more stable than referring to it by its URL, because the location of an
3470 object (the web page or URL) can often change. Mark partnered with DataCite
3471 for the provision of DOIs for research data.
3472     </p><p>
3473       As for licenses, Mark chose Creative Commons. The open-access and
3474 open-science communities were already using and recommending Creative
3475 Commons. Based on what was happening in those communities and Mark’s
3476 dialogue with peers, he went with CC0 (in the public domain) for data sets
3477 and CC BY (Attribution) for figures, videos, and data sets.
3478     </p><p>
3479       So Mark began using DOIs and Creative Commons for his own research work. He
3480 had a science blog where he wrote about it and made all his data
3481 open. People started commenting on his blog that they wanted to do the
3482 same. So he opened it up for them to use, too.
3483     </p><p>
3484       People liked the interface and simple upload process. People started asking
3485 if they could also share theses, grant proposals, and code. Inclusion of
3486 code raised new licensing issues, as Creative Commons licenses are not used
3487 for software. To allow the sharing of software code, Mark chose the MIT
3488 license, but GNU and Apache licenses can also be used.
3489     </p><p>
3490       Mark sought investment to make this into a scalable product. After a few
3491 unsuccessful funding pitches, UK-based Digital Science expressed interest
3492 but insisted on a more viable business model.  They made an initial
3493 investment, and together they came up with a freemium-like business model.
3494     </p><p>
3495       Under the freemium model, academics upload their research to Figshare for
3496 storage and sharing for free. Each research object is licensed with Creative
3497 Commons and receives a DOI link. The premium option charges researchers a
3498 fee for gigabytes of private storage space, and for private online space
3499 designed for a set number of research collaborators, which is ideal for
3500 larger teams and geographically dispersed research groups. Figshare sums up
3501 its value proposition to researchers as <span class="quote">“<span class="quote">You retain ownership.  You
3502 license it. You get credit. We just make sure it persists.</span>”</span>
3503     </p><p>
3504       In January 2012, Figshare was launched. (The fig in Figshare stands for
3505 figures.) Using investment funds, Mark made significant improvements to
3506 Figshare. For example, researchers could quickly preview their research
3507 files within a browser without having to download them first or require
3508 third-party software. Journals who were still largely publishing articles as
3509 static noninteractive PDFs became interested in having Figshare provide that
3510 functionality for them.
3511     </p><p>
3512       Figshare diversified its business model to include services for
3513 journals. Figshare began hosting large amounts of data for the journals’
3514 online articles. This additional data improved the quality of the
3515 articles. Outsourcing this service to Figshare freed publishers from having
3516 to develop this functionality as part of their own
3517 infrastructure. Figshare-hosted data also provides a link back to the
3518 article, generating additional click-through and readership—a benefit to
3519 both journal publishers and researchers.  Figshare now provides
3520 research-data infrastructure for a wide variety of publishers including
3521 Wiley, Springer Nature, PLOS, and Taylor and Francis, to name a few, and has
3522 convinced them to use Creative Commons licenses for the data.
3523     </p><p>
3524       Governments allocate significant public funds to research. In parallel with
3525 the launch of Figshare, governments around the world began requesting the
3526 research they fund be open and accessible.  They mandated that researchers
3527 and academic institutions better manage and disseminate their research
3528 outputs. Institutions looking to comply with this new mandate became
3529 interested in Figshare. Figshare once again diversified its business model,
3530 adding services for institutions.
3531     </p><p>
3532       Figshare now offers a range of fee-based services to institutions, including
3533 their own minibranded Figshare space (called Figshare for Institutions) that
3534 securely hosts research data of institutions in the cloud. Services include
3535 not just hosting but data metrics, data dissemination, and user-group
3536 administration.  Figshare’s workflow, and the services they offer for
3537 institutions, take into account the needs of librarians and administrators,
3538 as well as of the researchers.
3539     </p><p>
3540       As with researchers and publishers, Fig-share encouraged institutions to
3541 share their research with CC BY (Attribution) and their data with CC0 (into
3542 the public domain). Funders who require researchers and institutions to use
3543 open licensing believe in the social responsibilities and benefits of making
3544 research accessible to all. Publishing research in this open way has come to
3545 be called open access. But not all funders specify CC BY; some institutions
3546 want to offer their researchers a choice, including less permissive licenses
3547 like CC BY-NC (Attribution-NonCommercial), CC BY-SA
3548 (Attribution-ShareAlike), or CC BY-ND (Attribution-NoDerivs).
3549     </p><p>
3550       For Mark this created a conflict. On the one hand, the principles and
3551 benefits of open science are at the heart of Figshare, and Mark believes CC
3552 BY is the best license for this. On the other hand, institutions were saying
3553 they wouldn’t use Figshare unless it offered a choice in licenses. He
3554 initially refused to offer anything beyond CC0 and CC BY, but after seeing
3555 an open-source CERN project offer all Creative Commons licenses without any
3556 negative repercussions, he decided to follow suit.
3557     </p><p>
3558       Mark is thinking of doing a Figshare study that tracks research
3559 dissemination according to Creative Commons license, and gathering metrics
3560 on views, citations, and downloads. You could see which license generates
3561 the biggest impact. If the data showed that CC BY is more impactful, Mark
3562 believes more and more researchers and institutions will make it their
3563 license of choice.
3564     </p><p>
3565       Figshare has an Application Programming Interface (API) that makes it
3566 possible for data to be pulled from Figshare and used in other
3567 applications. As an example, Mark shared a Figshare data set showing the
3568 journal subscriptions that higher-education institutions in the United
3569 Kingdom paid to ten major publishers.<a href="#ftn.idm1214" class="footnote" name="idm1214"><sup class="footnote">[115]</sup></a>
3570 Figshare’s API enables that data to be pulled into an app developed by a
3571 completely different researcher that converts the data into a visually
3572 interesting graph, which any viewer can alter by changing any of the
3573 variables.<a href="#ftn.idm1217" class="footnote" name="idm1217"><sup class="footnote">[116]</sup></a>
3574     </p><p>
3575       The free version of Figshare has built a community of academics, who through
3576 word of mouth and presentations have promoted and spread awareness of
3577 Figshare. To amplify and reward the community, Figshare established an
3578 Advisor program, providing those who promoted Figshare with hoodies and
3579 T-shirts, early access to new features, and travel expenses when they gave
3580 presentations outside of their area. These Advisors also helped Mark on what
3581 license to use for software code and whether to offer universities an option
3582 of using Creative Commons licenses.
3583     </p><p>
3584       Mark says his success is partly about being in the right place at the right
3585 time. He also believes that the diversification of Figshare’s model over
3586 time has been key to success. Figshare now offers a comprehensive set of
3587 services to researchers, publishers, and institutions.<a href="#ftn.idm1222" class="footnote" name="idm1222"><sup class="footnote">[117]</sup></a> If he had relied solely on revenue from premium
3588 subscriptions, he believes Figshare would have struggled. In Figshare’s
3589 early days, their primary users were early-career and late-career
3590 academics. It has only been because funders mandated open licensing that
3591 Figshare is now being used by the mainstream.
3592     </p><p>
3593       Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
3594 800,000–plus user uploads, 2 million–plus articles, 500,000-plus
3595 collections, and 5,000–plus projects. Sixty percent of their traffic comes
3596 from Google. A sister company called Altmetric tracks the use of Figshare by
3597 others, including Wikipedia and news sources.
3598     </p><p>
3599       Figshare uses the revenue it generates from the premium subscribers, journal
3600 publishers, and institutions to fund and expand what it can offer to
3601 researchers for free. Figshare has publicly stuck to its principles—keeping
3602 the free service free and requiring the use of CC BY and CC0 from the
3603 start—and from Mark’s perspective, this is why people trust Figshare. Mark
3604 sees new competitors coming forward who are just in it for money. If
3605 Figshare was only in it for the money, they wouldn’t care about offering a
3606 free version. Figshare’s principles and advocacy for openness are a key
3607 differentiator. Going forward, Mark sees Figshare not only as supporting
3608 open access to research but also enabling people to collaborate and make new
3609 discoveries.
3610     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1214" class="footnote"><p><a href="#idm1214" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1217" class="footnote"><p><a href="#idm1217" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&amp;inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&amp;inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1222" class="footnote"><p><a href="#idm1222" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>Capítulo 11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3611         Figure.NZ is a nonprofit charity that makes an online data platform designed
3612 to make data reusable and easy to understand.  Founded in 2012 in New
3613 Zealand.
3614       </p><p>
3615           <a class="ulink" href="http://figure.nz" target="_top">http://figure.nz</a>
3616         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
3617 services to creators, donations, sponsorships
3618       </p><p><span class="strong"><strong>Interview date</strong></span>: May 3, 2016
3619       </p><p><span class="strong"><strong>Interviewee</strong></span>: Lillian Grace, founder
3620       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
3621     \textit{
3622         Profile written by Paul Stacey
3623       }
3624     \end{flushright}</td></tr></table></div><p>
3625       In the paper Harnessing the Economic and Social Power of Data presented at
3626 the New Zealand Data Futures Forum in 2014,<a href="#ftn.idm1241" class="footnote" name="idm1241"><sup class="footnote">[118]</sup></a> Figure.NZ founder Lillian Grace said there are thousands of
3627 valuable and relevant data sets freely available to us right now, but most
3628 people don’t use them. She used to think this meant people didn’t care about
3629 being informed, but she’s come to see that she was wrong. Almost everyone
3630 wants to be informed about issues that matter—not only to them, but also to
3631 their families, their communities, their businesses, and their country.  But
3632 there’s a big difference between availability and accessibility of
3633 information. Data is spread across thousands of sites and is held within
3634 databases and spreadsheets that require both time and skill to engage
3635 with. To use data when making a decision, you have to know what specific
3636 question to ask, identify a source that has collected the data, and
3637 manipulate complex tools to extract and visualize the information within the
3638 data set.  Lillian established Figure.NZ to make data truly accessible to
3639 all, with a specific focus on New Zealand.
3640     </p><p>
3641       Lillian had the idea for Figure.NZ in February 2012 while working for the
3642 New Zealand Institute, a think tank concerned with improving economic
3643 prosperity, social well-being, environmental quality, and environmental
3644 productivity for New Zealand and New Zealanders. While giving talks to
3645 community and business groups, Lillian realized <span class="quote">“<span class="quote">every single issue we
3646 addressed would have been easier to deal with if more people understood the
3647 basic facts.</span>”</span> But understanding the basic facts sometimes requires
3648 data and research that you often have to pay for.
3649     </p><p>
3650       Lillian began to imagine a website that lifted data up to a visual form that
3651 could be easily understood and freely accessed.  Initially launched as Wiki
3652 New Zealand, the original idea was that people could contribute their data
3653 and visuals via a wiki.  However, few people had graphs that could be used
3654 and shared, and there were no standards or consistency around the data and
3655 the visuals. Realizing the wiki model wasn’t working, Lillian brought the
3656 process of data aggregation, curation, and visual presentation in-house, and
3657 invested in the technology to help automate some of it. Wiki New Zealand
3658 became Figure.NZ, and efforts were reoriented toward providing services to
3659 those wanting to open their data and present it visually.
3660     </p><p>
3661       Here’s how it works. Figure.NZ sources data from other organizations,
3662 including corporations, public repositories, government departments, and
3663 academics. Figure.NZ imports and extracts that data, and then validates and
3664 standardizes it—all with a strong eye on what will be best for users. They
3665 then make the data available in a series of standardized forms, both human-
3666 and machine-readable, with rich metadata about the sources, the licenses,
3667 and data types. Figure.NZ has a chart-designing tool that makes simple bar,
3668 line, and area graphs from any data source.  The graphs are posted to the
3669 Figure.NZ website, and they can also be exported in a variety of formats for
3670 print or online use.  Figure.NZ makes its data and graphs available using
3671 the Attribution (CC BY) license. This allows others to reuse, revise, remix,
3672 and redistribute Figure.NZ data and graphs as long as they give attribution
3673 to the original source and to Figure.NZ.
3674     </p><p>
3675       Lillian characterizes the initial decision to use Creative Commons as
3676 naively fortunate. It was first recommended to her by a colleague. Lillian
3677 spent time looking at what Creative Commons offered and thought it looked
3678 good, was clear, and made common sense. It was easy to use and easy for
3679 others to understand. Over time, she’s come to realize just how fortunate
3680 and important that decision turned out to be. New Zealand’s government has
3681 an open-access and licensing framework called NZGOAL, which provides
3682 guidance for agencies when they release copyrighted and noncopyrighted work
3683 and material.<a href="#ftn.idm1249" class="footnote" name="idm1249"><sup class="footnote">[119]</sup></a> It aims to standardize
3684 the licensing of works with government copyright and how they can be reused,
3685 and it does this with Creative Commons licenses. As a result, 98 percent of
3686 all government-agency data is Creative Commons licensed, fitting in nicely
3687 with Figure.NZ’s decision.
3688     </p><p>
3689       Lillian thinks current ideas of what a business is are relatively new, only
3690 a hundred years old or so. She’s convinced that twenty years from now, we
3691 will see new and different models for business.  Figure.NZ is set up as a
3692 nonprofit charity. It is purpose-driven but also strives to pay people well
3693 and thinks like a business.  Lillian sees the charity-nonprofit status as an
3694 essential element for the mission and purpose of Figure.NZ. She believes
3695 Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
3696 nonprofit status assures people who have data and people who want to use it
3697 that they can rely on Figure.NZ’s motives. People see them as a trusted
3698 wrangler and source.
3699     </p><p>
3700       Although Figure.NZ is a social enterprise that openly licenses their data
3701 and graphs for everyone to use for free, they have taken care not to be
3702 perceived as a free service all around the table. Lillian believes hundreds
3703 of millions of dollars are spent by the government and organizations to
3704 collect data. However, very little money is spent on taking that data and
3705 making it accessible, understandable, and useful for decision making.
3706 Government uses some of the data for policy, but Lillian believes that it is
3707 underutilized and the potential value is much larger.  Figure.NZ is focused
3708 on solving that problem. They believe a portion of money allocated to
3709 collecting data should go into making sure that data is useful and generates
3710 value. If the government wants citizens to understand why certain decisions
3711 are being made and to be more aware about what the government is doing, why
3712 not transform the data it collects into easily understood visuals? It could
3713 even become a way for a government or any organization to differentiate,
3714 market, and brand itself.
3715     </p><p>
3716       Figure.NZ spends a lot of time seeking to understand the motivations of data
3717 collectors and to identify the channels where it can provide value. Every
3718 part of their business model has been focused on who is going to get value
3719 from the data and visuals.
3720     </p><p>
3721       Figure.NZ has multiple lines of business. They provide commercial services
3722 to organizations that want their data publicly available and want to use
3723 Figure.NZ as their publishing platform. People who want to publish open data
3724 appreciate Figure.NZ’s ability to do it faster, more easily, and better than
3725 they can. Customers are encouraged to help their users find, use, and make
3726 things from the data they make available on Figure.NZ’s website. Customers
3727 control what is released and the license terms (although Figure.NZ
3728 encourages Creative Commons licensing). Figure.NZ also serves customers who
3729 want a specific collection of charts created—for example, for their website
3730 or annual report. Charging the organizations that want to make their data
3731 available enables Figure.NZ to provide their site free to all users, to
3732 truly democratize data.
3733     </p><p>
3734       Lillian notes that the current state of most data is terrible and often not
3735 well understood by the people who have it. This sometimes makes it difficult
3736 for customers and Figure.NZ to figure out what it would cost to import,
3737 standardize, and display that data in a useful way. To deal with this,
3738 Figure.NZ uses <span class="quote">“<span class="quote">high-trust contracts,</span>”</span> where customers allocate
3739 a certain budget to the task that Figure.NZ is then free to draw from, as
3740 long as Figure.NZ frequently reports on what they’ve produced so the
3741 customer can determine the value for money. This strategy has helped build
3742 trust and transparency about the level of effort associated with doing work
3743 that has never been done before.
3744     </p><p>
3745       A second line of business is what Figure.NZ calls partners. ASB Bank and
3746 Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
3747 example, with their support Figure.NZ has been able to create Business
3748 Figures, a special way for businesses to find useful data without having to
3749 know what questions to ask.<a href="#ftn.idm1259" class="footnote" name="idm1259"><sup class="footnote">[120]</sup></a>
3750     </p><p>
3751       Figure.NZ also has patrons.<a href="#ftn.idm1263" class="footnote" name="idm1263"><sup class="footnote">[121]</sup></a> Patrons
3752 donate to topic areas they care about, directly enabling Figure.NZ to get
3753 data together to flesh out those areas. Patrons do not direct what data is
3754 included or excluded.
3755     </p><p>
3756       Figure.NZ also accepts philanthropic donations, which are used to provide
3757 more content, extend technology, and improve services, or are targeted to
3758 fund a specific effort or provide in-kind support.  As a charity, donations
3759 are tax deductible.
3760     </p><p>
3761       Figure.NZ has morphed and grown over time. With data aggregation, curation,
3762 and visualizing services all in-house, Figure.NZ has developed a deep
3763 expertise in taking random styles of data, standardizing it, and making it
3764 useful. Lillian realized that Figure.NZ could easily become a warehouse of
3765 seventy people doing data. But for Lillian, growth isn’t always good. In her
3766 view, bigger often means less effective. Lillian set artificial constraints
3767 on growth, forcing the organization to think differently and be more
3768 efficient. Rather than in-house growth, they are growing and building
3769 external relationships.
3770     </p><p>
3771       Figure.NZ’s website displays visuals and data associated with a wide range
3772 of categories including crime, economy, education, employment, energy,
3773 environment, health, information and communications technology, industry,
3774 tourism, and many others. A search function helps users find tables and
3775 graphs. Figure.NZ does not provide analysis or interpretation of the data or
3776 visuals.  Their goal is to teach people how to think, not think for them.
3777 Figure.NZ wants to create intuitive experiences, not user manuals.
3778     </p><p>
3779       Figure.NZ believes data and visuals should be useful. They provide their
3780 customers with a data collection template and teach them why it’s important
3781 and how to use it. They’ve begun putting more emphasis on tracking what
3782 users of their website want. They also get requests from social media and
3783 through email for them to share data for a specific topic—for example, can
3784 you share data for water quality? If they have the data, they respond
3785 quickly; if they don’t, they try and identify the organizations that would
3786 have that data and forge a relationship so they can be included on
3787 Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
3788 people to be curious about, access, and interpret data on topics they are
3789 interested in.
3790     </p><p>
3791       Lillian has a deep and profound vision for Figure.NZ that goes well beyond
3792 simply providing open-data services. She says things are different now. "We
3793 used to live in a world where it was really hard to share information
3794 widely. And in that world, the best future was created by having a few great
3795 leaders who essentially had access to the information and made decisions on
3796 behalf of others, whether it was on behalf of a country or companies.
3797     </p><p>
3798       "But now we live in a world where it’s really easy to share information
3799 widely and also to communicate widely. In the world we live in now, the best
3800 future is the one where everyone can make well-informed decisions.
3801     </p><p>
3802       "The use of numbers and data as a way of making well-informed decisions is
3803 one of the areas where there is the biggest gaps. We don’t really use
3804 numbers as a part of our thinking and part of our understanding yet.
3805     </p><p>
3806       "Part of the reason is the way data is spread across hundreds of sites. In
3807 addition, for the most part, deep thinking based on data is constrained to
3808 experts because most people don’t have data literacy. There once was a time
3809 when many citizens in society couldn’t read or write. However, as a society,
3810 we’ve now come to believe that reading and writing skills should be
3811 something all citizens have. We haven’t yet adopted a similar belief around
3812 numbers and data literacy. We largely still believe that only a few
3813 specially trained people can analyze and think with numbers.
3814     </p><p>
3815       "Figure.NZ may be the first organization to assert that everyone can use
3816 numbers in their thinking, and it’s built a technological platform along
3817 with trust and a network of relationships to make that possible. What you
3818 can see on Figure.NZ are tens of thousands of graphs, maps, and data.
3819     </p><p>
3820         <span class="quote">“<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
3821 analyze what they see around them. A way to be thoughtful and informed about
3822 society. A means of engaging in conversation and shaping decision making
3823 that transcends personal experience.  The long-term value and impact is
3824 almost impossible to measure, but the goal is to help citizens gain
3825 understanding and work together in more informed ways to shape the
3826 future.</span>”</span>
3827       </p><p>
3828       Lillian sees Figure.NZ’s model as having global potential. But for now,
3829 their focus is completely on making Figure.NZ work in New Zealand and to get
3830 the <span class="quote">“<span class="quote">network effect</span>”</span>— users dramatically increasing value for
3831 themselves and for others through use of their service. Creative Commons is
3832 core to making the network effect possible.
3833     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1241" class="footnote"><p><a href="#idm1241" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1249" class="footnote"><p><a href="#idm1249" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1259" class="footnote"><p><a href="#idm1259" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1263" class="footnote"><p><a href="#idm1263" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>Capítulo 12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3834         Knowledge Unlatched is a not-for-profit community interest company that
3835 brings libraries together to pool funds to publish open-access
3836 books. Founded in 2012 in the UK.
3837       </p><p>
3838           <a class="ulink" href="http://knowledgeunlatched.org" target="_top">http://knowledgeunlatched.org</a>
3839         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding (specialized)
3840       </p><p><span class="strong"><strong>Interview date</strong></span>: February 26, 2016
3841       </p><p><span class="strong"><strong>Interviewee</strong></span>: Frances Pinter, founder
3842       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
3843     \textit{
3844         Profile written by Paul Stacey
3845       }
3846     \end{flushright}</td></tr></table></div><p>
3847       The serial entrepreneur Dr. Frances Pinter has been at the forefront of
3848 innovation in the publishing industry for nearly forty years. She founded
3849 the UK-based Knowledge Unlatched with a mission to enable open access to
3850 scholarly books. For Frances, the current scholarly- book-publishing system
3851 is not working for anyone, and especially not for monographs in the
3852 humanities and social sciences. Knowledge Unlatched is committed to changing
3853 this and has been working with libraries to create a sustainable alternative
3854 model for publishing scholarly books, sharing the cost of making monographs
3855 (released under a Creative Commons license)  and savings costs over the long
3856 term. Since its launch, Knowledge Unlatched has received several awards,
3857 including the IFLA/Brill Open Access award in 2014 and a Curtin University
3858 Commercial Innovation Award for Innovation in Education in 2015.
3859     </p><p>
3860       Dr. Pinter has been in academic publishing most of her career.  About ten
3861 years ago, she became acquainted with the Creative Commons founder Lawrence
3862 Lessig and got interested in Creative Commons as a tool for both protecting
3863 content online and distributing it free to users.
3864     </p><p>
3865       Not long after, she ran a project in Africa convincing publishers in Uganda
3866 and South Africa to put some of their content online for free using a
3867 Creative Commons license and to see what happened to print sales. Sales went
3868 up, not down.
3869     </p><p>
3870       In 2008, Bloomsbury Academic, a new imprint of Bloomsbury Publishing in the
3871 United Kingdom, appointed her its founding publisher in London. As part of
3872 the launch, Frances convinced Bloomsbury to differentiate themselves by
3873 putting out monographs for free online under a Creative Commons license
3874 (BY-NC or BY-NC-ND, i.e., Attribution-NonCommercial or
3875 Attribution-NonCommercial-NoDerivs). This was seen as risky, as the biggest
3876 cost for publishers is getting a book to the stage where it can be
3877 printed. If everyone read the online book for free, there would be no
3878 print-book sales at all, and the costs associated with getting the book to
3879 print would be lost.  Surprisingly, Bloomsbury found that sales of the print
3880 versions of these books were 10 to 20 percent higher than normal. Frances
3881 found it intriguing that the Creative Commons–licensed free online book acts
3882 as a marketing vehicle for the print format.
3883     </p><p>
3884       Frances began to look at customer interest in the three forms of the book:
3885 1) the Creative Commons–licensed free online book in PDF form, 2) the
3886 printed book, and 3) a digital version of the book on an aggregator platform
3887 with enhanced features. She thought of this as the <span class="quote">“<span class="quote">ice cream
3888 model</span>”</span>: the free PDF was vanilla ice cream, the printed book was an
3889 ice cream cone, and the enhanced e-book was an ice cream sundae.
3890     </p><p>
3891       After a while, Frances had an epiphany—what if there was a way to get
3892 libraries to underwrite the costs of making these books up until they’re
3893 ready be printed, in other words, cover the fixed costs of getting to the
3894 first digital copy? Then you could either bring down the cost of the printed
3895 book, or do a whole bunch of interesting things with the printed book and
3896 e-book—the ice cream cone or sundae part of the model.
3897     </p><p>
3898       This idea is similar to the article-processing charge some open-access
3899 journals charge researchers to cover publishing costs.  Frances began to
3900 imagine a coalition of libraries paying for the prepress costs—a
3901 <span class="quote">“<span class="quote">book-processing charge</span>”</span>—and providing everyone in the world
3902 with an open-access version of the books released under a Creative Commons
3903 license.
3904     </p><p>
3905       This idea really took hold in her mind. She didn’t really have a name for it
3906 but began talking about it and making presentations to see if there was
3907 interest. The more she talked about it, the more people agreed it had
3908 appeal. She offered a bottle of champagne to anyone who could come up with a
3909 good name for the idea. Her husband came up with Knowledge Unlatched, and
3910 after two years of generating interest, she decided to move forward and
3911 launch a community interest company (a UK term for not-for-profit social
3912 enterprises) in 2012.
3913     </p><p>
3914       She describes the business model in a paper called Knowledge Unlatched:
3915 Toward an Open and Networked Future for Academic Publishing:
3916     </p><div class="orderedlist"><ol class="orderedlist compact" type="1"><li class="listitem"><p>
3917           Publishers offer titles for sale reflecting origination costs only via
3918 Knowledge Unlatched.
3919         </p></li><li class="listitem"><p>
3920           Individual libraries select titles either as individual titles or as
3921 collections (as they do from library suppliers now).
3922         </p></li><li class="listitem"><p>
3923           Their selections are sent to Knowledge Unlatched specifying the titles to be
3924 purchased at the stated price(s).
3925         </p></li><li class="listitem"><p>
3926           The price, called a Title Fee (set by publishers and negotiated by Knowledge
3927 Unlatched), is paid to publishers to cover the fixed costs of publishing
3928 each of the titles that were selected by a minimum number of libraries to
3929 cover the Title Fee.
3930         </p></li><li class="listitem"><p>
3931           Publishers make the selected titles available Open Access (on a Creative
3932 Commons or similar open license) and are then paid the Title Fee which is
3933 the total collected from the libraries.
3934         </p></li><li class="listitem"><p>
3935           Publishers make print copies, e-Pub, and other digital versions of selected
3936 titles available to member libraries at a discount that reflects their
3937 contribution to the Title Fee and incentivizes membership.<a href="#ftn.idm1316" class="footnote" name="idm1316"><sup class="footnote">[122]</sup></a>
3938         </p></li></ol></div><p>
3939       The first round of this model resulted in a collection of twenty-eight
3940 current titles from thirteen recognized scholarly publishers being
3941 unlatched. The target was to have two hundred libraries participate. The
3942 cost of the package per library was capped at $1,680, which was an average
3943 price of sixty dollars per book, but in the end they had nearly three
3944 hundred libraries sharing the costs, and the price per book came in at just
3945 under forty-three dollars.
3946     </p><p>
3947       The open-access, Creative Commons versions of these twenty-eight books are
3948 still available online.<a href="#ftn.idm1321" class="footnote" name="idm1321"><sup class="footnote">[123]</sup></a> Most books have
3949 been licensed with CC BY-NC or CC BY-NC-ND. Authors are the copyright
3950 holder, not the publisher, and negotiate choice of license as part of the
3951 publishing agreement.  Frances has found that most authors want to retain
3952 control over the commercial and remix use of their work. Publishers list the
3953 book in their catalogs, and the noncommercial restriction in the Creative
3954 Commons license ensures authors continue to get royalties on sales of
3955 physical copies.
3956     </p><p>
3957       There are three cost variables to consider for each round: the overall cost
3958 incurred by the publishers, total cost for each library to acquire all the
3959 books, and the individual price per book. The fee publishers charge for each
3960 title is a fixed charge, and Knowledge Unlatched calculates the total amount
3961 for all the books being unlatched at a time. The cost of an order for each
3962 library is capped at a maximum based on a minimum number of libraries
3963 participating. If the number of participating libraries exceeds the minimum,
3964 then the cost of the order and the price per book go down for each library.
3965     </p><p>
3966       The second round, recently completed, unlatched seventy-eight books from
3967 twenty-six publishers. For this round, Frances was experimenting with the
3968 size and shape of the offerings. Books were being bundled into eight small
3969 packages separated by subject (including Anthropology, History, Literature,
3970 Media and Communications, and Politics), of around ten books per package.
3971 Three hundred libraries around the world have to commit to at least six of
3972 the eight packages to enable unlatching. The average cost per book was just
3973 under fifty dollars. The unlatching process took roughly ten months. It
3974 started with a call to publishers for titles, followed by having a library
3975 task force select the titles, getting authors’ permissions, getting the
3976 libraries to pledge, billing the libraries, and finally, unlatching.
3977     </p><p>
3978       The longest part of the whole process is getting libraries to pledge and
3979 commit funds. It takes about five months, as library buy-in has to fit
3980 within acquisition cycles, budget cycles, and library-committee meetings.
3981     </p><p>
3982       Knowledge Unlatched informs and recruits libraries through social media,
3983 mailing lists, listservs, and library associations. Of the three hundred
3984 libraries that participated in the first round, 80 percent are also
3985 participating in the second round, and there are an additional eighty new
3986 libraries taking part. Knowledge Unlatched is also working not just with
3987 individual libraries but also library consortia, which has been getting even
3988 more libraries involved.
3989     </p><p>
3990       Knowledge Unlatched is scaling up, offering 150 new titles in the second
3991 half of 2016. It will also offer backlist titles, and in 2017 will start to
3992 make journals open access too.
3993     </p><p>
3994       Knowledge Unlatched deliberately chose monographs as the initial type of
3995 book to unlatch. Monographs are foundational and important, but also
3996 problematic to keep going in the standard closed publishing model.
3997     </p><p>
3998       The cost for the publisher to get to a first digital copy of a monograph is
3999 $5,000 to $50,000. A good one costs in the $10,000 to $15,000
4000 range. Monographs typically don’t sell a lot of copies. A publisher who in
4001 the past sold three thousand copies now typically sells only three
4002 hundred. That makes unlatching monographs a low risk for publishers. For the
4003 first round, it took five months to get thirteen publishers. For the second
4004 round, it took one month to get twenty-six.
4005     </p><p>
4006       Authors don’t generally make a lot of royalties from monographs.  Royalties
4007 range from zero dollars to 5 to 10 percent of receipts.  The value to the
4008 author is the awareness it brings to them; when their book is being read, it
4009 increases their reputation. Open access through unlatching generates many
4010 more downloads and therefore awareness. (On the Knowledge Unlatched website,
4011 you can find interviews with the twenty-eight round-one authors describing
4012 their experience and the benefits of taking part.)<a href="#ftn.idm1332" class="footnote" name="idm1332"><sup class="footnote">[124]</sup></a>
4013     </p><p>
4014       Library budgets are constantly being squeezed, partly due to the inflation
4015 of journal subscriptions. But even without budget constraints, academic
4016 libraries are moving away from buying physical copies. An academic library
4017 catalog entry is typically a URL to wherever the book is hosted. Or if they
4018 have enough electronic storage space, they may download the digital file
4019 into their digital repository. Only secondarily do they consider getting a
4020 print book, and if they do, they buy it separately from the digital version.
4021     </p><p>
4022       Knowledge Unlatched offers libraries a compelling economic argument. Many of
4023 the participating libraries would have bought a copy of the monograph
4024 anyway, but instead of paying $95 for a print copy or $150 for a digital
4025 multiple-use copy, they pay $50 to unlatch. It costs them less, and it opens
4026 the book to not just the participating libraries, but to the world.
4027     </p><p>
4028       Not only do the economics make sense, but there is very strong alignment
4029 with library mandates. The participating libraries pay less than they would
4030 have in the closed model, and the open-access book is available to all
4031 libraries. While this means nonparticipating libraries could be seen as free
4032 riders, in the library world, wealthy libraries are used to paying more than
4033 poor libraries and accept that part of their money should be spent to
4034 support open access. <span class="quote">“<span class="quote">Free ride</span>”</span> is more like community
4035 responsibility. By the end of March 2016, the round-one books had been
4036 downloaded nearly eighty thousand times in 175 countries.
4037     </p><p>
4038       For publishers, authors, and librarians, the Knowledge Unlatched model for
4039 monographs is a win-win-win.
4040     </p><p>
4041       In the first round, Knowledge Unlatched’s overheads were covered by
4042 grants. In the second round, they aim to demonstrate the model is
4043 sustainable. Libraries and publishers will each pay a 7.5 percent service
4044 charge that will go toward Knowledge Unlatched’s running costs. With plans
4045 to scale up in future rounds, Frances figures they can fully recover costs
4046 when they are unlatching two hundred books at a time. Moving forward,
4047 Knowledge Unlatched is making investments in technology and
4048 processes. Future plans include unlatching journals and older books.
4049     </p><p>
4050       Frances believes that Knowledge Unlatched is tapping into new ways of
4051 valuing academic content. It’s about considering how many people can find,
4052 access, and use your content without pay barriers. Knowledge Unlatched taps
4053 into the new possibilities and behaviors of the digital world. In the
4054 Knowledge Unlatched model, the content-creation process is exactly the same
4055 as it always has been, but the economics are different. For Frances,
4056 Knowledge Unlatched is connected to the past but moving into the future, an
4057 evolution rather than a revolution.
4058     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1316" class="footnote"><p><a href="#idm1316" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1321" class="footnote"><p><a href="#idm1321" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1332" class="footnote"><p><a href="#idm1332" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>Capítulo 13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4059         Lumen Learning is a for-profit company helping educational institutions use
4060 open educational resources (OER). Founded in 2013 in the U.S.
4061       </p><p>
4062           <a class="ulink" href="http://lumenlearning.com" target="_top">http://lumenlearning.com</a>
4063         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
4064 services, grant funding
4065       </p><p><span class="strong"><strong>Interview date</strong></span>: December 21, 2015
4066       </p><p><span class="strong"><strong>Interviewees</strong></span>: David Wiley and Kim Thanos,
4067 cofounders
4068       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
4069     \textit{
4070         Profile written by Paul Stacey
4071       }
4072     \end{flushright}</td></tr></table></div><p>
4073       Cofounded by open education visionary Dr. David Wiley and
4074 education-technology strategist Kim Thanos, Lumen Learning is dedicated to
4075 improving student success, bringing new ideas to pedagogy, and making
4076 education more affordable by facilitating adoption of open educational
4077 resources. In 2012, David and Kim partnered on a grant-funded project called
4078 the Kaleidoscope Open Course Initiative.<a href="#ftn.idm1356" class="footnote" name="idm1356"><sup class="footnote">[125]</sup></a> It involved a set of fully open general-education courses across
4079 eight colleges predominantly serving at-risk students, with goals to
4080 dramatically reduce textbook costs and collaborate to improve the courses to
4081 help students succeed. David and Kim exceeded those goals: the cost of the
4082 required textbooks, replaced with OER, decreased to zero dollars, and
4083 average student-success rates improved by 5 to 10 percent when compared with
4084 previous years. After a second round of funding, a total of more than
4085 twenty-five institutions participated in and benefited from this project. It
4086 was career changing for David and Kim to see the impact this initiative had
4087 on low-income students. David and Kim sought further funding from the Bill
4088 and Melinda Gates Foundation, who asked them to define a plan to scale their
4089 work in a financially sustainable way. That is when they decided to create
4090 Lumen Learning.
4091     </p><p>
4092       David and Kim went back and forth on whether it should be a nonprofit or
4093 for- profit. A nonprofit would make it a more comfortable fit with the
4094 education sector but meant they’d be constantly fund-raising and seeking
4095 grants from philanthropies.  Also, grants usually require money to be used
4096 in certain ways for specific deliverables. If you learn things along the way
4097 that change how you think the grant money should be used, there often isn’t
4098 a lot of flexibility to do so.
4099     </p><p>
4100       But as a for-profit, they’d have to convince educational institutions to pay
4101 for what Lumen had to offer. On the positive side, they’d have more control
4102 over what to do with the revenue and investment money; they could make
4103 decisions to invest the funds or use them differently based on the situation
4104 and shifting opportunities. In the end, they chose the for-profit status,
4105 with its different model for and approach to sustainability.
4106     </p><p>
4107       Right from the start, David and Kim positioned Lumen Learning as a way to
4108 help institutions engage in open educational resources, or OER. OER are
4109 teaching, learning, and research materials, in all different media, that
4110 reside in the public domain or are released under an open license that
4111 permits free use and repurposing by others.
4112     </p><p>
4113       Originally, Lumen did custom contracts for each institution. This was
4114 complicated and challenging to manage. However, through that process
4115 patterns emerged which allowed them to generalize a set of approaches and
4116 offerings. Today they don’t customize as much as they used to, and instead
4117 they tend to work with customers who can use their off-the-shelf
4118 options. Lumen finds that institutions and faculty are generally very good
4119 at seeing the value Lumen brings and are willing to pay for it. Serving
4120 disadvantaged learner populations has led Lumen to be very pragmatic; they
4121 describe what they offer in quantitative terms—with facts and figures—and in
4122 a way that is very student-focused. Lumen Learning helps colleges and
4123 universities—
4124     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4125           replace expensive textbooks in high-enrollment courses with OER;
4126         </p></li><li class="listitem"><p>
4127           provide enrolled students day one access to Lumen’s fully customizable OER
4128 course materials through the institution’s learning-management system;
4129         </p></li><li class="listitem"><p>
4130           measure improvements in student success with metrics like passing rates,
4131 persistence, and course completion; and
4132         </p></li><li class="listitem"><p>
4133           collaborate with faculty to make ongoing improvements to OER based on
4134 student success research.
4135         </p></li></ul></div><p>
4136       Lumen has developed a suite of open, Creative Commons–licensed courseware in
4137 more than sixty-five subjects. All courses are freely and publicly available
4138 right off their website. They can be copied and used by others as long as
4139 they provide attribution to Lumen Learning following the terms of the
4140 Creative Commons license.
4141     </p><p>
4142       Then there are three types of bundled services that cost money.  One option,
4143 which Lumen calls Candela courseware, offers integration with the
4144 institution’s learning-management system, technical and pedagogical support,
4145 and tracking of effectiveness.  Candela courseware costs institutions ten
4146 dollars per enrolled student.
4147     </p><p>
4148       A second option is Waymaker, which offers the services of Candela but adds
4149 personalized learning technologies, such as study plans, automated messages,
4150 and assessments, and helps instructors find and support the students who
4151 need it most. Waymaker courses cost twenty-five dollars per enrolled
4152 student.
4153     </p><p>
4154       The third and emerging line of business for Lumen is providing guidance and
4155 support for institutions and state systems that are pursuing the development
4156 of complete OER degrees. Often called Z-Degrees, these programs eliminate
4157 textbook costs for students in all courses that make up the degree (both
4158 required and elective)  by replacing commercial textbooks and other
4159 expensive resources with OER.
4160     </p><p>
4161       Lumen generates revenue by charging for their value-added tools and services
4162 on top of their free courses, just as solar-power companies provide the
4163 tools and services that help people use a free resource—sunlight. And
4164 Lumen’s business model focuses on getting the institutions to pay, not the
4165 students. With projects they did prior to Lumen, David and Kim learned that
4166 students who have access to all course materials from day one have greater
4167 success. If students had to pay, Lumen would have to restrict access to
4168 those who paid. Right from the start, their stance was that they would not
4169 put their content behind a paywall. Lumen invests zero dollars in
4170 technologies and processes for restricting access—no digital rights
4171 management, no time bombs. While this has been a challenge from a
4172 business-model perspective, from an open-access perspective, it has
4173 generated immense goodwill in the community.
4174     </p><p>
4175       In most cases, development of their courses is funded by the institution
4176 Lumen has a contract with. When creating new courses, Lumen typically works
4177 with the faculty who are teaching the new course. They’re often part of the
4178 institution paying Lumen, but sometimes Lumen has to expand the team and
4179 contract faculty from other institutions. First, the faculty identifies all
4180 of the course’s learning outcomes. Lumen then searches for, aggregates, and
4181 curates the best OER they can find that addresses those learning needs,
4182 which the faculty reviews.
4183     </p><p>
4184       Sometimes faculty like the existing OER but not the way it is presented. The
4185 open licensing of existing OER allows Lumen to pick and choose from images,
4186 videos, and other media to adapt and customize the course. Lumen creates new
4187 content as they discover gaps in existing OER. Test-bank items and feedback
4188 for students on their progress are areas where new content is frequently
4189 needed.  Once a course is created, Lumen puts it on their platform with all
4190 the attributions and links to the original sources intact, and any of
4191 Lumen’s new content is given an Attribution (CC BY) license.
4192     </p><p>
4193       Using only OER made them experience firsthand how complex it could be to mix
4194 differently licensed work together. A common strategy with OER is to place
4195 the Creative Commons license and attribution information in the website’s
4196 footer, which stays the same for all pages. This doesn’t quite work,
4197 however, when mixing different OER together.
4198     </p><p>
4199       Remixing OER often results in multiple attributions on every page of every
4200 course—text from one place, images from another, and videos from yet
4201 another. Some are licensed as Attribution (CC BY), others as
4202 Attribution-ShareAlike (CC BY-SA). If this information is put within the
4203 text of the course, faculty members sometimes try to edit it and students
4204 find it a distraction. Lumen dealt with this challenge by capturing the
4205 license and attribution information as metadata, and getting it to show up
4206 at the end of each page.
4207     </p><p>
4208       Lumen’s commitment to open licensing and helping low-income students has led
4209 to strong relationships with institutions, open-education enthusiasts, and
4210 grant funders. People in their network generously increase the visibility of
4211 Lumen through presentations, word of mouth, and referrals. Sometimes the
4212 number of general inquiries exceed Lumen’s sales capacity.
4213     </p><p>
4214       To manage demand and ensure the success of projects, their strategy is to be
4215 proactive and focus on what’s going on in higher education in different
4216 regions of the United States, watching out for things happening at the
4217 system level in a way that fits with what Lumen offers. A great example is
4218 the Virginia community college system, which is building out
4219 Z-Degrees. David and Kim say there are nine other U.S. states with similar
4220 system-level activity where Lumen is strategically focusing its
4221 efforts. Where there are projects that would require a lot of resources on
4222 Lumen’s part, they prioritize the ones that would impact the largest number
4223 of students.
4224     </p><p>
4225       As a business, Lumen is committed to openness. There are two core
4226 nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
4227 Commons licenses, for all the materials it creates; and day-one access for
4228 students. Having clear nonnegotiables allows them to then engage with the
4229 education community to solve for other challenges and work with institutions
4230 to identify new business models that achieve institution goals, while
4231 keeping Lumen healthy.
4232     </p><p>
4233       Openness also means that Lumen’s OER must necessarily be nonexclusive and
4234 nonrivalrous. This represents several big challenges for the business model:
4235 Why should you invest in creating something that people will be reluctant to
4236 pay for? How do you ensure that the investment the diverse education
4237 community makes in OER is not exploited? Lumen thinks we all need to be
4238 clear about how we are benefiting from and contributing to the open
4239 community.
4240     </p><p>
4241       In the OER sector, there are examples of corporations, and even
4242 institutions, acting as free riders. Some simply take and use open resources
4243 without paying anything or contributing anything back.  Others give back the
4244 minimum amount so they can save face.  Sustainability will require those
4245 using open resources to give back an amount that seems fair or even give
4246 back something that is generous.
4247     </p><p>
4248       Lumen does track institutions accessing and using their free content. They
4249 proactively contact those institutions, with an estimate of how much their
4250 students are saving and encouraging them to switch to a paid model. Lumen
4251 explains the advantages of the paid model: a more interactive relationship
4252 with Lumen; integration with the institution’s learning-management system; a
4253 guarantee of support for faculty and students; and future sustainability
4254 with funding supporting the evolution and improvement of the OER they are
4255 using.
4256     </p><p>
4257       Lumen works hard to be a good corporate citizen in the OER community. For
4258 David and Kim, a good corporate citizen gives more than they take, adds
4259 unique value, and is very transparent about what they are taking from
4260 community, what they are giving back, and what they are monetizing. Lumen
4261 believes these are the building blocks of a sustainable model and strives
4262 for a correct balance of all these factors.
4263     </p><p>
4264       Licensing all the content they produce with CC BY is a key part of giving
4265 more value than they take. They’ve also worked hard at finding the right
4266 structure for their value-add and how to package it in a way that is
4267 understandable and repeatable.
4268     </p><p>
4269       As of the fall 2016 term, Lumen had eighty-six different open courses,
4270 working relationships with ninety-two institutions, and more than
4271 seventy-five thousand student enrollments. Lumen received early start-up
4272 funding from the Bill and Melinda Gates Foundation, the Hewlett Foundation,
4273 and the Shuttleworth Foundation. Since then, Lumen has also attracted
4274 investment funding. Over the last three years, Lumen has been roughly 60
4275 percent grant funded, 20 percent revenue earned, and 20 percent funded with
4276 angel capital. Going forward, their strategy is to replace grant funding
4277 with revenue.
4278     </p><p>
4279       In creating Lumen Learning, David and Kim say they’ve landed on solutions
4280 they never imagined, and there is still a lot of learning taking place. For
4281 them, open business models are an emerging field where we are all learning
4282 through sharing. Their biggest recommendations for others wanting to pursue
4283 the open model are to make your commitment to open resources public, let
4284 people know where you stand, and don’t back away from it. It really is about
4285 trust.
4286     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1356" class="footnote"><p><a href="#idm1356" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>Capítulo 14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4287         Jonathan Mann is a singer and songwriter who is most well known as the
4288 <span class="quote">“<span class="quote">Song A Day</span>”</span> guy. Based in the U.S.
4289       </p><p><a class="ulink" href="http://jonathanmann.net" target="_top">http://jonathanmann.net</a> and <a class="ulink" href="http://jonathanmann.bandcamp.com" target="_top">http://jonathanmann.bandcamp.com</a>
4290       </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
4291 services, pay-what-you-want, crowdfunding (subscription-based), charging for
4292 in-person version (speaking engagements and musical performances)
4293       </p><p><span class="strong"><strong>Interview date</strong></span>: February 22, 2016
4294       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
4295     \textit{
4296         Profile written by Sarah Hinchliff Pearson
4297       }
4298     \end{flushright}</td></tr></table></div><p>
4299       Jonathan Mann thinks of his business model as
4300 <span class="quote">“<span class="quote">hustling</span>”</span>—seizing nearly every opportunity he sees to make
4301 money. The bulk of his income comes from writing songs under commission for
4302 people and companies, but he has a wide variety of income sources. He has
4303 supporters on the crowdfunding site Patreon. He gets advertising revenue
4304 from YouTube and Bandcamp, where he posts all of his music. He gives paid
4305 speaking engagements about creativity and motivation. He has been hired by
4306 major conferences to write songs summarizing what speakers have said in the
4307 conference sessions.
4308     </p><p>
4309       His entrepreneurial spirit is coupled with a willingness to take action
4310 quickly. A perfect illustration of his ability to act fast happened in 2010,
4311 when he read that Apple was having a conference the following day to address
4312 a snafu related to the iPhone 4. He decided to write and post a song about
4313 the iPhone 4 that day, and the next day he got a call from the public
4314 relations people at Apple wanting to use and promote his video at the Apple
4315 conference. The song then went viral, and the experience landed him in Time
4316 magazine.
4317     </p><p>
4318       Jonathan’s successful <span class="quote">“<span class="quote">hustling</span>”</span> is also about old-fashioned
4319 persistence. He is currently in his eighth straight year of writing one song
4320 each day. He holds the Guinness World Record for consecutive daily
4321 songwriting, and he is widely known as the <span class="quote">“<span class="quote">song-a-day guy.</span>”</span>
4322     </p><p>
4323       He fell into this role by, naturally, seizing a random opportunity a friend
4324 alerted him to seven years ago—an event called Fun-A-Day, where people are
4325 supposed to create a piece of art every day for thirty-one days straight. He
4326 was in need of a new project, so he decided to give it a try by writing and
4327 posting a song each day.  He added a video component to the songs because he
4328 knew people were more likely to watch video online than simply listening to
4329 audio files.
4330     </p><p>
4331       He had a really good time doing the thirty-one-day challenge, so he decided
4332 to see if he could continue it for one year. He never stopped. He has
4333 written and posted a new song literally every day, seven days a week, since
4334 he began the project in 2009. When he isn’t writing songs that he is hired
4335 to write by clients, he writes songs about whatever is on his mind that
4336 day. His songs are catchy and mostly lighthearted, but they often contain at
4337 least an undercurrent of a deeper theme or meaning. Occasionally, they are
4338 extremely personal, like the song he cowrote with his exgirlfriend
4339 announcing their breakup. Rain or shine, in sickness or health, Jonathan
4340 posts and writes a song every day. If he is on a flight or otherwise
4341 incapable of getting Internet access in time to meet the deadline, he will
4342 prepare ahead and have someone else post the song for him.
4343     </p><p>
4344       Over time, the song-a-day gig became the basis of his livelihood.  In the
4345 beginning, he made money one of two ways. The first was by entering a wide
4346 variety of contests and winning a handful. The second was by having the
4347 occasional song and video go some varying degree of viral, which would bring
4348 more eyeballs and mean that there were more people wanting him to write
4349 songs for them. Today he earns most of his money this way.
4350     </p><p>
4351       His website explains his gig as <span class="quote">“<span class="quote">taking any message, from the super
4352 simple to the totally complicated, and conveying that message through a
4353 heartfelt, fun and quirky song.</span>”</span> He charges $500 to create a produced
4354 song and $300 for an acoustic song. He has been hired for product launches,
4355 weddings, conferences, and even Kickstarter campaigns like the one that
4356 funded the production of this book.
4357     </p><p>
4358       Jonathan can’t recall when exactly he first learned about Creative Commons,
4359 but he began applying CC licenses to his songs and videos as soon as he
4360 discovered the option. <span class="quote">“<span class="quote">CC seems like such a no-brainer,</span>”</span>
4361 Jonathan said. <span class="quote">“<span class="quote">I don’t understand how anything else would make
4362 sense. It seems like such an obvious thing that you would want your work to
4363 be able to be shared.</span>”</span>
4364     </p><p>
4365       His songs are essentially marketing for his services, so obviously the
4366 further his songs spread, the better. Using CC licenses helps grease the
4367 wheels, letting people know that Jonathan allows and encourages them to
4368 copy, interact with, and remix his music.  <span class="quote">“<span class="quote">If you let someone cover
4369 your song or remix it or use parts of it, that’s how music is supposed to
4370 work,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">That is how music has worked since the
4371 beginning of time. Our me-me, mine-mine culture has undermined that.</span>”</span>
4372     </p><p>
4373       There are some people who cover his songs fairly regularly, and he would
4374 never shut that down. But he acknowledges there is a lot more he could do to
4375 build community. <span class="quote">“<span class="quote">There is all of this conventional wisdom about how
4376 to build an audience online, and I generally think I don’t do any of
4377 that,</span>”</span> Jonathan said.
4378     </p><p>
4379       He does have a fan community he cultivates on Bandcamp, but it isn’t his
4380 major focus. <span class="quote">“<span class="quote">I do have a core audience that has stuck around for a
4381 really long time, some even longer than I’ve been doing song-a-day,</span>”</span>
4382 he said. <span class="quote">“<span class="quote">There is also a transitional aspect that drop in and get
4383 what they need and then move on.</span>”</span> Focusing less on community building
4384 than other artists makes sense given Jonathan’s primary income source of
4385 writing custom songs for clients.
4386     </p><p>
4387       Jonathan recognizes what comes naturally to him and leverages those
4388 skills. Through the practice of daily songwriting, he realized he has a gift
4389 for distilling complicated subjects into simple concepts and putting them to
4390 music. In his song <span class="quote">“<span class="quote">How to Choose a Master Password,</span>”</span> Jonathan
4391 explained the process of creating a secure password in a silly, simple
4392 song. He was hired to write the song by a client who handed him a long
4393 technical blog post from which to draw the information. Like a good (and
4394 rare) journalist, he translated the technical concepts into something
4395 understandable.
4396     </p><p>
4397       When he is hired by a client to write a song, he first asks them to send a
4398 list of talking points and other information they want to include in the
4399 song. He puts all of that into a text file and starts moving things around,
4400 cutting and pasting until the message starts to come together. The first
4401 thing he tries to do is grok the core message and develop the chorus. Then
4402 he looks for connections or parts he can make rhyme. The entire process
4403 really does resemble good journalism, but of course the final product of his
4404 work is a song rather than news. <span class="quote">“<span class="quote">There is something about being
4405 challenged and forced to take information that doesn’t seem like it should
4406 be sung about or doesn’t seem like it lends itself to a song,</span>”</span> he
4407 said. <span class="quote">“<span class="quote">I find that creative challenge really satisfying. I enjoy
4408 getting lost in that process.</span>”</span>
4409     </p><p>
4410       Jonathan admits that in an ideal world, he would exclusively write the music
4411 he wanted to write, rather than what clients hire him to write. But his
4412 business model is about capitalizing on his strengths as a songwriter, and
4413 he has found a way to keep it interesting for himself.
4414     </p><p>
4415       Jonathan uses nearly every tool possible to make money from his art, but he
4416 does have lines he won’t cross. He won’t write songs about things he
4417 fundamentally does not believe in, and there are times he has turned down
4418 jobs on principle. He also won’t stray too much from his natural
4419 style. <span class="quote">“<span class="quote">My style is silly, so I can’t really accommodate people who
4420 want something super serious,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">I do what I do
4421 very easily, and it’s part of who I am.</span>”</span> Jonathan hasn’t gotten into
4422 writing commercials for the same reasons; he is best at using his own unique
4423 style rather than mimicking others.
4424     </p><p>
4425       Jonathan’s song-a-day commitment exemplifies the power of habit and
4426 grit. Conventional wisdom about creative productivity, including advice in
4427 books like the best-seller The Creative Habit by Twyla Tharp, routinely
4428 emphasizes the importance of ritual and action. No amount of planning can
4429 replace the value of simple practice and just doing. Jonathan Mann’s work is
4430 a living embodiment of these principles.
4431     </p><p>
4432       When he speaks about his work, he talks about how much the song-a-day
4433 process has changed him. Rather than seeing any given piece of work as
4434 precious and getting stuck on trying to make it perfect, he has become
4435 comfortable with just doing. If today’s song is a bust, tomorrow’s song
4436 might be better.
4437     </p><p>
4438       Jonathan seems to have this mentality about his career more generally. He is
4439 constantly experimenting with ways to make a living while sharing his work
4440 as widely as possible, seeing what sticks. While he has major
4441 accomplishments he is proud of, like being in the Guinness World Records or
4442 having his song used by Steve Jobs, he says he never truly feels successful.
4443     </p><p><span class="quote">“<span class="quote">Success feels like it’s over,</span>”</span> he said. <span class="quote">“<span class="quote">To a certain
4444 extent, a creative person is not ever going to feel completely satisfied
4445 because then so much of what drives you would be gone.</span>”</span>
4446     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Capítulo 15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4447         The Noun Project is a for-profit company offering an online platform to
4448 display visual icons from a global network of designers. Founded in 2010 in
4449 the U.S.
4450       </p><p>
4451           <a class="ulink" href="http://thenounproject.com" target="_top">http://thenounproject.com</a>
4452         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction
4453 fee, charging for custom services
4454       </p><p><span class="strong"><strong>Interview date</strong></span>: October 6, 2015
4455       </p><p><span class="strong"><strong>Interviewee</strong></span>: Edward Boatman, cofounder
4456       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
4457     \textit{
4458         Profile written by Paul Stacey
4459       }
4460     \end{flushright}</td></tr></table></div><p>
4461       The Noun Project creates and shares visual language. There are millions who
4462 use Noun Project symbols to simplify communication across borders,
4463 languages, and cultures.
4464     </p><p>
4465       The original idea for the Noun Project came to cofounder Edward Boatman
4466 while he was a student in architecture design school. He’d always done a lot
4467 of sketches and started to draw what used to fascinate him as a child, like
4468 trains, sequoias, and bulldozers.  He began thinking how great it would be
4469 if he had a simple image or small icon of every single object or concept on
4470 the planet.
4471     </p><p>
4472       When Edward went on to work at an architecture firm, he had to make a lot of
4473 presentation boards for clients. But finding high-quality sources for
4474 symbols and icons was difficult. He couldn’t find any website that could
4475 provide them. Perhaps his idea for creating a library of icons could
4476 actually help people in similar situations.
4477     </p><p>
4478       With his partner, Sofya Polyakov, he began collecting symbols for a website
4479 and writing a business plan. Inspiration came from the book Professor and
4480 the Madman, which chronicles the use of crowdsourcing to create the Oxford
4481 English Dictionary in 1870.  Edward began to imagine crowdsourcing icons and
4482 symbols from volunteer designers around the world.
4483     </p><p>
4484       Then Edward got laid off during the recession, which turned out to be a huge
4485 catalyst. He decided to give his idea a go, and in 2010 Edward and Sofya
4486 launched the Noun Project with a Kickstarter campaign, back when Kickstarter
4487 was in its infancy.<a href="#ftn.idm1459" class="footnote" name="idm1459"><sup class="footnote">[126]</sup></a> They thought it’d
4488 be a good way to introduce the global web community to their idea. Their
4489 goal was to raise $1,500, but in twenty days they got over $14,000. They
4490 realized their idea had the potential to be something much bigger.
4491     </p><p>
4492       They created a platform where symbols and icons could be uploaded, and
4493 Edward began recruiting talented designers to contribute their designs, a
4494 process he describes as a relatively easy sell. Lots of designers have old
4495 drawings just gathering <span class="quote">“<span class="quote">digital dust</span>”</span> on their hard
4496 drives. It’s easy to convince them to finally share them with the world.
4497     </p><p>
4498       The Noun Project currently has about seven thousand designers from around
4499 the world. But not all submissions are accepted. The Noun Project’s
4500 quality-review process means that only the best works become part of its
4501 collection. They make sure to provide encouraging, constructive feedback
4502 whenever they reject a piece of work, which maintains and builds the
4503 relationship they have with their global community of designers.
4504     </p><p>
4505       Creative Commons is an integral part of the Noun Project’s business model;
4506 this decision was inspired by Chris Anderson’s book Free: The Future of
4507 Radical Price, which introduced Edward to the idea that you could build a
4508 business model around free content.
4509     </p><p>
4510       Edward knew he wanted to offer a free visual language while still providing
4511 some protection and reward for its contributors. There is a tension between
4512 those two goals, but for Edward, Creative Commons licenses bring this
4513 idealism and business opportunity together elegantly. He chose the
4514 Attribution (CC BY) license, which means people can download the icons for
4515 free and modify them and even use them commercially. The requirement to give
4516 attribution to the original creator ensures that the creator can build a
4517 reputation and get global recognition for their work. And if they simply
4518 want to offer an icon that people can use without having to give credit,
4519 they can use CC0 to put the work into the public domain.
4520     </p><p>
4521       Noun Project’s business model and means of generating revenue have evolved
4522 significantly over time. Their initial plan was to sell T-shirts with the
4523 icons on it, which in retrospect Edward says was a horrible idea. They did
4524 get a lot of email from people saying they loved the icons but asking if
4525 they could pay a fee instead of giving attribution. Ad agencies (among
4526 others) wanted to keep marketing and presentation materials clean and free
4527 of attribution statements. For Edward, <span class="quote">“<span class="quote">That’s when our lightbulb went
4528 off.</span>”</span>
4529     </p><p>
4530       They asked their global network of designers whether they’d be open to
4531 receiving modest remuneration instead of attribution.  Designers saw it as a
4532 win-win. The idea that you could offer your designs for free and have a
4533 global audience and maybe even make some money was pretty exciting for most
4534 designers.
4535     </p><p>
4536       The Noun Project first adopted a model whereby using an icon without giving
4537 attribution would cost $1.99 per icon. The model’s second iteration added a
4538 subscription component, where there would be a monthly fee to access a
4539 certain number of icons—ten, fifty, a hundred, or five hundred. However,
4540 users didn’t like these hard-count options. They preferred to try out many
4541 similar icons to see which worked best before eventually choosing the one
4542 they wanted to use. So the Noun Project moved to an unlimited model, whereby
4543 users have unlimited access to the whole library for a flat monthly
4544 fee. This service is called NounPro and costs $9.99 per month. Edward says
4545 this model is working well—good for customers, good for creators, and good
4546 for the platform.
4547     </p><p>
4548       Customers then began asking for an application-programming interface (API),
4549 which would allow Noun Project icons and symbols to be directly accessed
4550 from within other applications. Edward knew that the icons and symbols would
4551 be valuable in a lot of different contexts and that they couldn’t possibly
4552 know all of them in advance, so they built an API with a lot of
4553 flexibility.  Knowing that most API applications would want to use the icons
4554 without giving attribution, the API was built with the aim of charging for
4555 its use. You can use what’s called the <span class="quote">“<span class="quote">Playground API</span>”</span> for
4556 free to test how it integrates with your application, but full
4557 implementation will require you to purchase the API Pro version.
4558     </p><p>
4559       The Noun Project shares revenue with its international designers.  For
4560 one-off purchases, the revenue is split 70 percent to the designer and 30
4561 percent to Noun Project.
4562     </p><p>
4563       The revenue from premium purchases (the subscription and API options) is
4564 split a little differently. At the end of each month, the total revenue from
4565 subscriptions is divided by Noun Project’s total number of downloads,
4566 resulting in a rate per download—for example, it could be $0.13 per download
4567 for that month. For each download, the revenue is split 40 percent to the
4568 designer and 60 percent to the Noun Project. (For API usage, it’s per use
4569 instead of per download.) Noun Project’s share is higher this time as it’s
4570 providing more service to the user.
4571     </p><p>
4572       The Noun Project tries to be completely transparent about their royalty
4573 structure.<a href="#ftn.idm1476" class="footnote" name="idm1476"><sup class="footnote">[127]</sup></a> They tend to over
4574 communicate with creators about it because building trust is the top
4575 priority.
4576     </p><p>
4577       For most creators, contributing to the Noun Project is not a full-time job
4578 but something they do on the side. Edward categorizes monthly earnings for
4579 creators into three broad categories: enough money to buy beer; enough to
4580 pay the bills; and most successful of all, enough to pay the rent.
4581     </p><p>
4582       Recently the Noun Project launched a new app called Lingo.  Designers can
4583 use Lingo to organize not just their Noun Project icons and symbols but also
4584 their photos, illustrations, UX designs, et cetera. You simply drag any
4585 visual item directly into Lingo to save it. Lingo also works for teams so
4586 people can share visuals with each other and search across their combined
4587 collections. Lingo is free for personal use. A pro version for $9.99 per
4588 month lets you add guests. A team version for $49.95 per month allows up to
4589 twenty-five team members to collaborate, and to view, use, edit, and add new
4590 assets to each other’s collections.  And if you subscribe to NounPro, you
4591 can access Noun Project from within Lingo.
4592     </p><p>
4593       The Noun Project gives a ton of value away for free. A very large percentage
4594 of their roughly one million members have a free account, but there are
4595 still lots of paid accounts coming from digital designers, advertising and
4596 design agencies, educators, and others who need to communicate ideas
4597 visually.
4598     </p><p>
4599       For Edward, <span class="quote">“<span class="quote">creating, sharing, and celebrating the world’s visual
4600 language</span>”</span> is the most important aspect of what they do; it’s their
4601 stated mission. It differentiates them from others who offer graphics,
4602 icons, or clip art.
4603     </p><p>
4604       Noun Project creators agree. When surveyed on why they participate in the
4605 Noun Project, this is how designers rank their reasons: 1)  to support the
4606 Noun Project mission, 2) to promote their own personal brand, and 3) to
4607 generate money. It’s striking to see that money comes third, and mission,
4608 first. If you want to engage a global network of contributors, it’s
4609 important to have a mission beyond making money.
4610     </p><p>
4611       In Edward’s view, Creative Commons is central to their mission of sharing
4612 and social good. Using Creative Commons makes the Noun Project’s mission
4613 genuine and has generated a lot of their initial traction and
4614 credibility. CC comes with a built-in community of users and fans.
4615     </p><p>
4616       Edward told us, <span class="quote">“<span class="quote">Don’t underestimate the power of a passionate
4617 community around your product or your business. They are going to go to bat
4618 for you when you’re getting ripped in the media. If you go down the road of
4619 choosing to work with Creative Commons, you’re taking the first step to
4620 building a great community and tapping into a really awesome community that
4621 comes with it. But you need to continue to foster that community through
4622 other initiatives and continue to nurture it.</span>”</span>
4623     </p><p>
4624       The Noun Project nurtures their creators’ second motivation—promoting a
4625 personal brand—by connecting every icon and symbol to the creator’s name and
4626 profile page; each profile features their full collection. Users can also
4627 search the icons by the creator’s name.
4628     </p><p>
4629       The Noun Project also builds community through Iconathons—hackathons for
4630 icons.<a href="#ftn.idm1490" class="footnote" name="idm1490"><sup class="footnote">[128]</sup></a> In partnership with a sponsoring
4631 organization, the Noun Project comes up with a theme (e.g., sustainable
4632 energy, food bank, guerrilla gardening, human rights) and a list of icons
4633 that are needed, which designers are invited to create at the event.  The
4634 results are vectorized, and added to the Noun Project using CC0 so they can
4635 be used by anyone for free.
4636     </p><p>
4637       Providing a free version of their product that satisfies a lot of their
4638 customers’ needs has actually enabled the Noun Project to build the paid
4639 version, using a service-oriented model. The Noun Project’s success lies in
4640 creating services and content that are a strategic mix of free and paid
4641 while staying true to their mission—creating, sharing, and celebrating the
4642 world’s visual language. Integrating Creative Commons into their model has
4643 been key to that goal.
4644     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1459" class="footnote"><p><a href="#idm1459" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1476" class="footnote"><p><a href="#idm1476" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1490" class="footnote"><p><a href="#idm1490" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>Capítulo 16. Open Data Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4645         The Open Data Institute is an independent nonprofit that connects, equips,
4646 and inspires people around the world to innovate with data. Founded in 2012
4647 in the UK.
4648       </p><p>
4649           <a class="ulink" href="http://theodi.org" target="_top">http://theodi.org</a>
4650         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant and government
4651 funding, charging for custom services, donations
4652       </p><p><span class="strong"><strong>Interview date</strong></span>: November 11, 2015
4653       </p><p><span class="strong"><strong>Interviewee</strong></span>: Jeni Tennison, technical
4654 director
4655       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
4656     \textit{
4657         Profile written by Paul Stacey
4658       }
4659     \end{flushright}</td></tr></table></div><p>
4660       Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
4661 London-based Open Data Institute (ODI) offers data-related training, events,
4662 consulting services, and research. For ODI, Creative Commons licenses are
4663 central to making their own business model and their customers’ open. CC BY
4664 (Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the
4665 public domain)  all play a critical role in ODI’s mission to help people
4666 around the world innovate with data.
4667     </p><p>
4668       Data underpins planning and decision making across all aspects of
4669 society. Weather data helps farmers know when to plant their crops, flight
4670 time data from airplane companies helps us plan our travel, data on local
4671 housing informs city planning. When this data is not only accurate and
4672 timely, but open and accessible, it opens up new possibilities. Open data
4673 can be a resource businesses use to build new products and services. It can
4674 help governments measure progress, improve efficiency, and target
4675 investments. It can help citizens improve their lives by better
4676 understanding what is happening around them.
4677     </p><p>
4678       The Open Data Institute’s 2012–17 business plan starts out by describing its
4679 vision to establish itself as a world-leading center and to research and be
4680 innovative with the opportunities created by the UK government’s open data
4681 policy. (The government was an early pioneer in open policy and open-data
4682 initiatives.) It goes on to say that the ODI wants to—
4683     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4684           demonstrate the commercial value of open government data and how open-data
4685 policies affect this;
4686         </p></li><li class="listitem"><p>
4687           develop the economic benefits case and business models for open data;
4688         </p></li><li class="listitem"><p>
4689           help UK businesses use open data; and
4690         </p></li><li class="listitem"><p>
4691           show how open data can improve public services.<a href="#ftn.idm1519" class="footnote" name="idm1519"><sup class="footnote">[129]</sup></a>
4692         </p></li></ul></div><p>
4693       ODI is very explicit about how it wants to make open business models, and
4694 defining what this means. Jeni Tennison, ODI’s technical director, puts it
4695 this way: <span class="quote">“<span class="quote">There is a whole ecosystem of open—open-source software,
4696 open government, open-access research—and a whole ecosystem of data. ODI’s
4697 work cuts across both, with an emphasis on where they overlap—with open
4698 data.</span>”</span> ODI’s particular focus is to show open data’s potential for
4699 revenue.
4700     </p><p>
4701       As an independent nonprofit, ODI secured £10 million over five years from
4702 the UK government via Innovate UK, an agency that promotes innovation in
4703 science and technology. For this funding, ODI has to secure matching funds
4704 from other sources, some of which were met through a $4.75-million
4705 investment from the Omidyar Network.
4706     </p><p>
4707       Jeni started out as a developer and technical architect for data.gov.uk, the
4708 UK government’s pioneering open-data initiative.  She helped make data sets
4709 from government departments available as open data. She joined ODI in 2012
4710 when it was just starting up, as one of six people. It now has a staff of
4711 about sixty.
4712     </p><p>
4713       ODI strives to have half its annual budget come from the core UK government
4714 and Omidyar grants, and the other half from project-based research and
4715 commercial work. In Jeni’s view, having this balance of revenue sources
4716 establishes some stability, but also keeps them motivated to go out and
4717 generate these matching funds in response to market needs.
4718     </p><p>
4719       On the commercial side, ODI generates funding through memberships, training,
4720 and advisory services.
4721     </p><p>
4722       You can join the ODI as an individual or commercial member.  Individual
4723 membership is pay-what-you-can, with options ranging from £1 to
4724 £100. Members receive a newsletter and related communications and a discount
4725 on ODI training courses and the annual summit, and they can display an
4726 ODI-supporter badge on their website. Commercial membership is divided into
4727 two tiers: small to medium size enterprises and nonprofits at £720 a year,
4728 and corporations and government organizations at £2,200 a year.  Commercial
4729 members have greater opportunities to connect and collaborate, explore the
4730 benefits of open data, and unlock new business opportunities. (All members
4731 are listed on their website.)<a href="#ftn.idm1529" class="footnote" name="idm1529"><sup class="footnote">[130]</sup></a>
4732     </p><p>
4733       ODI provides standardized open data training courses in which anyone can
4734 enroll. The initial idea was to offer an intensive and academically oriented
4735 diploma in open data, but it quickly became clear there was no market for
4736 that. Instead, they offered a five-day-long public training course, which
4737 has subsequently been reduced to three days; now the most popular course is
4738 one day long. The fee, in addition to the time commitment, can be a barrier
4739 for participation. Jeni says, <span class="quote">“<span class="quote">Most of the people who would be able to
4740 pay don’t know they need it. Most who know they need it can’t pay.</span>”</span>
4741 Public-sector organizations sometimes give vouchers to their employees so
4742 they can attend as a form of professional development.
4743     </p><p>
4744       ODI customizes training for clients as well, for which there is more
4745 demand. Custom training usually emerges through an established relationship
4746 with an organization. The training program is based on a definition of
4747 open-data knowledge as applicable to the organization and on the skills
4748 needed by their high-level executives, management, and technical staff. The
4749 training tends to generate high interest and commitment.
4750     </p><p>
4751       Education about open data is also a part of ODI’s annual summit event, where
4752 curated presentations and speakers showcase the work of ODI and its members
4753 across the entire ecosystem. Tickets to the summit are available to the
4754 public, and hundreds of people and organizations attend and participate. In
4755 2014, there were four thematic tracks and over 750 attendees.
4756     </p><p>
4757       In addition to memberships and training, ODI provides advisory services to
4758 help with technical-data support, technology development, change management,
4759 policies, and other areas. ODI has advised large commercial organizations,
4760 small businesses, and international governments; the focus at the moment is
4761 on government, but ODI is working to shift more toward commercial
4762 organizations.
4763     </p><p>
4764       On the commercial side, the following value propositions seem to resonate:
4765     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4766           Data-driven insights. Businesses need data from outside their business to
4767 get more insight. Businesses can generate value and more effectively pursue
4768 their own goals if they open up their own data too. Big data is a hot topic.
4769         </p></li><li class="listitem"><p>
4770           Open innovation. Many large-scale enterprises are aware they don’t innovate
4771 very well. One way they can innovate is to open up their data. ODI
4772 encourages them to do so even if it exposes problems and challenges. The key
4773 is to invite other people to help while still maintaining organizational
4774 autonomy.
4775         </p></li><li class="listitem"><p>
4776           Corporate social responsibility. While this resonates with businesses, ODI
4777 cautions against having it be the sole reason for making data open. If a
4778 business is just thinking about open data as a way to be transparent and
4779 accountable, they can miss out on efficiencies and opportunities.
4780         </p></li></ul></div><p>
4781       During their early years, ODI wanted to focus solely on the United
4782 Kingdom. But in their first year, large delegations of government visitors
4783 from over fifty countries wanted to learn more about the UK government’s
4784 open-data practices and how ODI saw that translating into economic
4785 value. They were contracted as a service provider to international
4786 governments, which prompted a need to set up international ODI
4787 <span class="quote">“<span class="quote">nodes.</span>”</span>
4788     </p><p>
4789       Nodes are franchises of the ODI at a regional or city level.  Hosted by
4790 existing (for-profit or not-for-profit) organizations, they operate locally
4791 but are part of the global network. Each ODI node adopts the charter, a set
4792 of guiding principles and rules under which ODI operates. They develop and
4793 deliver training, connect people and businesses through membership and
4794 events, and communicate open-data stories from their part of the
4795 world. There are twenty-seven different nodes across nineteen countries. ODI
4796 nodes are charged a small fee to be part of the network and to use the
4797 brand.
4798     </p><p>
4799       ODI also runs programs to help start-ups in the UK and across Europe develop
4800 a sustainable business around open data, offering mentoring, advice,
4801 training, and even office space.<a href="#ftn.idm1549" class="footnote" name="idm1549"><sup class="footnote">[131]</sup></a>
4802     </p><p>
4803       A big part of ODI’s business model revolves around community
4804 building. Memberships, training, summits, consulting services, nodes, and
4805 start-up programs create an ever-growing network of open-data users and
4806 leaders. (In fact, ODI even operates something called an Open Data Leaders
4807 Network.) For ODI, community is key to success. They devote significant time
4808 and effort to build it, not just online but through face-to-face events.
4809     </p><p>
4810       ODI has created an online tool that organizations can use to assess the
4811 legal, practical, technical, and social aspects of their open data. If it is
4812 of high quality, the organization can earn ODI’s Open Data Certificate, a
4813 globally recognized mark that signals that their open data is useful,
4814 reliable, accessible, discoverable, and supported.<a href="#ftn.idm1555" class="footnote" name="idm1555"><sup class="footnote">[132]</sup></a>
4815     </p><p>
4816       Separate from commercial activities, the ODI generates funding through
4817 research grants. Research includes looking at evidence on the impact of open
4818 data, development of open-data tools and standards, and how to deploy open
4819 data at scale.
4820     </p><p>
4821       Creative Commons 4.0 licenses cover database rights and ODI recommends CC
4822 BY, CC BY-SA, and CC0 for data releases. ODI encourages publishers of data
4823 to use Creative Commons licenses rather than creating new <span class="quote">“<span class="quote">open
4824 licenses</span>”</span> of their own.
4825     </p><p>
4826       For ODI, open is at the heart of what they do. They also release any
4827 software code they produce under open-source-software licenses, and
4828 publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
4829 to connect and equip people around the world so they can innovate with
4830 data. Disseminating stories, research, guidance, and code under an open
4831 license is essential for achieving that mission. It also demonstrates that
4832 it is perfectly possible to generate sustainable revenue streams that do not
4833 rely on restrictive licensing of content, data, or code.  People pay to have
4834 ODI experts provide training to them, not for the content of the training;
4835 people pay for the advice ODI gives them, not for the methodologies they
4836 use. Producing open content, data, and source code helps establish
4837 credibility and creates leads for the paid services that they
4838 offer. According to Jeni, <span class="quote">“<span class="quote">The biggest lesson we have learned is that
4839 it is completely possible to be open, get customers, and make money.</span>”</span>
4840     </p><p>
4841       To serve as evidence of a successful open business model and return on
4842 investment, ODI has a public dashboard of key performance indicators. Here
4843 are a few metrics as of April 27, 2016:
4844     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4845           Total amount of cash investments unlocked in direct investments in ODI,
4846 competition funding, direct contracts, and partnerships, and income that ODI
4847 nodes and ODI start-ups have generated since joining the ODI program: £44.5
4848 million
4849         </p></li><li class="listitem"><p>
4850           Total number of active members and nodes across the globe: 1,350
4851         </p></li><li class="listitem"><p>
4852           Total sales since ODI began: £7.44 million
4853         </p></li><li class="listitem"><p>
4854           Total number of unique people reached since ODI began, in person and online:
4855 2.2 million
4856         </p></li><li class="listitem"><p>
4857           Total Open Data Certificates created: 151,000
4858         </p></li><li class="listitem"><p>
4859           Total number of people trained by ODI and its nodes since ODI began:
4860 5,080<a href="#ftn.idm1577" class="footnote" name="idm1577"><sup class="footnote">[133]</sup></a>
4861         </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1519" class="footnote"><p><a href="#idm1519" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1529" class="footnote"><p><a href="#idm1529" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1549" class="footnote"><p><a href="#idm1549" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1555" class="footnote"><p><a href="#idm1555" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1577" class="footnote"><p><a href="#idm1577" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Capítulo 17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4862         Opendesk is a for-profit company offering an online platform that connects
4863 furniture designers around the world with customers and local makers who
4864 bring the designs to life.  Founded in 2014 in the UK.
4865       </p><p>
4866           <a class="ulink" href="http://www.opendesk.cc" target="_top">http://www.opendesk.cc</a>
4867         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
4868       </p><p><span class="strong"><strong>Interview date</strong></span>: November 4, 2015
4869       </p><p><span class="strong"><strong>Interviewees</strong></span>: Nick Ierodiaconou and Joni
4870 Steiner, cofounders
4871       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
4872     \textit{
4873         Profile written by Paul Stacey
4874       }
4875     \end{flushright}</td></tr></table></div><p>
4876       Opendesk is an online platform that connects furniture designers around the
4877 world not just with customers but also with local registered makers who
4878 bring the designs to life. Opendesk and the designer receive a portion of
4879 every sale that is made by a maker.
4880     </p><p>
4881       Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as
4882 architects together. They also made goods. Their first client was Mint
4883 Digital, who had an interest in open licensing. Nick and Joni were exploring
4884 digital fabrication, and Mint’s interest in open licensing got them to
4885 thinking how the open-source world may interact and apply to physical
4886 goods. They sought to design something for their client that was also
4887 reproducible. As they put it, they decided to <span class="quote">“<span class="quote">ship the recipe, but
4888 not the goods.</span>”</span> They created the design using software, put it under
4889 an open license, and had it manufactured locally near the client. This was
4890 the start of the idea for Opendesk. The idea for Wikihouse—another open
4891 project dedicated to accessible housing for all—started as discussions
4892 around the same table. The two projects ultimately went on separate paths,
4893 with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit
4894 company.
4895     </p><p>
4896       When Nick and Joni set out to create Opendesk, there were a lot of questions
4897 about the viability of distributed manufacturing. No one was doing it in a
4898 way that was even close to realistic or competitive. The design community
4899 had the intent, but fulfilling this vision was still a long way away.
4900     </p><p>
4901       And now this sector is emerging, and Nick and Joni are highly interested in
4902 the commercialization aspects of it. As part of coming up with a business
4903 model, they began investigating intellectual property and licensing
4904 options. It was a thorny space, especially for designs. Just what aspect of
4905 a design is copyrightable? What is patentable? How can allowing for digital
4906 sharing and distribution be balanced against the designer’s desire to still
4907 hold ownership? In the end, they decided there was no need to reinvent the
4908 wheel and settled on using Creative Commons.
4909     </p><p>
4910       When designing the Opendesk system, they had two goals. They wanted anyone,
4911 anywhere in the world, to be able to download designs so that they could be
4912 made locally, and they wanted a viable model that benefited designers when
4913 their designs were sold. Coming up with a business model was going to be
4914 complex.
4915     </p><p>
4916       They gave a lot of thought to three angles—the potential for social sharing,
4917 allowing designers to choose their license, and the impact these choices
4918 would have on the business model.
4919     </p><p>
4920       In support of social sharing, Opendesk actively advocates for (but doesn’t
4921 demand) open licensing. And Nick and Joni are agnostic about which Creative
4922 Commons license is used; it’s up to the designer. They can be proprietary or
4923 choose from the full suite of Creative Commons licenses, deciding for
4924 themselves how open or closed they want to be.
4925     </p><p>
4926       For the most part, designers love the idea of sharing content.  They
4927 understand that you get positive feedback when you’re attributed, what Nick
4928 and Joni called <span class="quote">“<span class="quote">reputational glow.</span>”</span> And Opendesk does an
4929 awesome job profiling the designers.<a href="#ftn.idm1603" class="footnote" name="idm1603"><sup class="footnote">[134]</sup></a>
4930     </p><p>
4931       While designers are largely OK with personal sharing, there is a concern
4932 that someone will take the design and manufacture the furniture in bulk,
4933 with the designer not getting any benefits. So most Opendesk designers
4934 choose the Attribution-NonCommercial license (CC BY-NC).
4935     </p><p>
4936       Anyone can download a design and make it themselves, provided it’s for
4937 noncommercial use — and there have been many, many downloads.  Or users can
4938 buy the product from Opendesk, or from a registered maker in Opendesk’s
4939 network, for on-demand personal fabrication.  The network of Opendesk makers
4940 currently is made up of those who do digital fabrication using a
4941 computer-controlled CNC (Computer Numeric Control) machining device that
4942 cuts shapes out of wooden sheets according to the specifications in the
4943 design file.
4944     </p><p>
4945       Makers benefit from being part of Opendesk’s network. Making furniture for
4946 local customers is paid work, and Opendesk generates business for them. Joni
4947 said, <span class="quote">“<span class="quote">Finding a whole network and community of makers was pretty easy
4948 because we built a site where people could write in about their
4949 capabilities. Building the community by learning from the maker community is
4950 how we have moved forward.</span>”</span> Opendesk now has relationships with
4951 hundreds of makers in countries all around the world.<a href="#ftn.idm1610" class="footnote" name="idm1610"><sup class="footnote">[135]</sup></a>
4952     </p><p>
4953       The makers are a critical part of the Opendesk business model.  Their model
4954 builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
4955 website:
4956     </p><p>
4957       When customers buy an Opendesk product directly from a registered maker,
4958 they pay:
4959     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4960           the manufacturing cost as set by the maker (this covers material and labour
4961 costs for the product to be manufactured and any extra assembly costs
4962 charged by the maker)
4963         </p></li><li class="listitem"><p>
4964           a design fee for the designer (a design fee that is paid to the designer
4965 every time their design is used)
4966         </p></li><li class="listitem"><p>
4967           a percentage fee to the Opendesk platform (this supports the infrastructure
4968 and ongoing development of the platform that helps us build out our
4969 marketplace)
4970         </p></li><li class="listitem"><p>
4971           a percentage fee to the channel through which the sale is made (at the
4972 moment this is Opendesk, but in the future we aim to open this up to
4973 third-party sellers who can sell Opendesk products through their own
4974 channels—this covers sales and marketing fees for the relevant channel)
4975         </p></li><li class="listitem"><p>
4976           a local delivery service charge (the delivery is typically charged by the
4977 maker, but in some cases may be paid to a third-party delivery partner)
4978         </p></li><li class="listitem"><p>
4979           charges for any additional services the customer chooses, such as on-site
4980 assembly (additional services are discretionary—in many cases makers will be
4981 happy to quote for assembly on-site and designers may offer bespoke design
4982 options)
4983         </p></li><li class="listitem"><p>
4984           local sales taxes (variable by customer and maker location)<a href="#ftn.idm1630" class="footnote" name="idm1630"><sup class="footnote">[136]</sup></a>
4985         </p></li></ul></div><p>
4986       They then go into detail how makers’ quotes are created:
4987     </p><p>
4988       When a customer wants to buy an Opendesk . . . they are provided with a
4989 transparent breakdown of fees including the manufacturing cost, design fee,
4990 Opendesk platform fee and channel fees. If a customer opts to buy by getting
4991 in touch directly with a registered local maker using a downloaded Opendesk
4992 file, the maker is responsible for ensuring the design fee, Opendesk
4993 platform fee and channel fees are included in any quote at the time of
4994 sale.  Percentage fees are always based on the underlying manufacturing cost
4995 and are typically apportioned as follows:
4996     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4997           manufacturing cost: fabrication, finishing and any other costs as set by the
4998 maker (excluding any services like delivery or on-site assembly)
4999         </p></li><li class="listitem"><p>
5000           design fee: 8 percent of the manufacturing cost
5001         </p></li><li class="listitem"><p>
5002           platform fee: 12 percent of the manufacturing cost
5003         </p></li><li class="listitem"><p>
5004           channel fee: 18 percent of the manufacturing cost
5005         </p></li><li class="listitem"><p>
5006           sales tax: as applicable (depends on product and location)
5007         </p></li></ul></div><p>
5008       Opendesk shares revenue with their community of designers.  According to
5009 Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
5010 percent is more generous, and providing a higher value to the designer.
5011     </p><p>
5012       The Opendesk website features stories of designers and makers.  Denis Fuzii
5013 published the design for the Valovi Chair from his studio in São Paulo. His
5014 designs have been downloaded over five thousand times in ninety-five
5015 countries. I.J. CNC Services is Ian Jinks, a professional maker based in the
5016 United Kingdom. Opendesk now makes up a large proportion of his business.
5017     </p><p>
5018       To manage resources and remain effective, Opendesk has so far focused on a
5019 very narrow niche—primarily office furniture of a certain simple aesthetic,
5020 which uses only one type of material and one manufacturing technique. This
5021 allows them to be more strategic and more disruptive in the market, by
5022 getting things to market quickly with competitive prices. It also reflects
5023 their vision of creating reproducible and functional pieces.
5024     </p><p>
5025       On their website, Opendesk describes what they do as <span class="quote">“<span class="quote">open
5026 making</span>”</span>: <span class="quote">“<span class="quote">Designers get a global distribution channel. Makers
5027 get profitable jobs and new customers. You get designer products without the
5028 designer price tag, a more social, eco-friendly alternative to
5029 mass-production and an affordable way to buy custom-made products.</span>”</span>
5030     </p><p>
5031       Nick and Joni say that customers like the fact that the furniture has a
5032 known provenance. People really like that their furniture was designed by a
5033 certain international designer but was made by a maker in their local
5034 community; it’s a great story to tell. It certainly sets apart Opendesk
5035 furniture from the usual mass-produced items from a store.
5036     </p><p>
5037       Nick and Joni are taking a community-based approach to define and evolve
5038 Opendesk and the <span class="quote">“<span class="quote">open making</span>”</span> business model.  They’re
5039 engaging thought leaders and practitioners to define this new movement. They
5040 have a separate Open Making site, which includes a manifesto, a field guide,
5041 and an invitation to get involved in the Open Making community.<a href="#ftn.idm1655" class="footnote" name="idm1655"><sup class="footnote">[137]</sup></a> People can submit ideas and discuss the principles
5042 and business practices they’d like to see used.
5043     </p><p>
5044       Nick and Joni talked a lot with us about intellectual property (IP) and
5045 commercialization. Many of their designers fear the idea that someone could
5046 take one of their design files and make and sell infinite number of pieces
5047 of furniture with it. As a consequence, most Opendesk designers choose the
5048 Attribution-NonCommercial license (CC BY-NC).
5049     </p><p>
5050       Opendesk established a set of principles for what their community considers
5051 commercial and noncommercial use. Their website states:
5052     </p><p>
5053       It is unambiguously commercial use when anyone:
5054     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5055           charges a fee or makes a profit when making an Opendesk
5056         </p></li><li class="listitem"><p>
5057           sells (or bases a commercial service on) an Opendesk
5058         </p></li></ul></div><p>
5059       It follows from this that noncommercial use is when you make an Opendesk
5060 yourself, with no intention to gain commercial advantage or monetary
5061 compensation. For example, these qualify as noncommercial:
5062     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5063           you are an individual with your own CNC machine, or access to a shared CNC
5064 machine, and will personally cut and make a few pieces of furniture yourself
5065         </p></li><li class="listitem"><p>
5066           you are a student (or teacher) and you use the design files for educational
5067 purposes or training (and do not intend to sell the resulting pieces)
5068         </p></li><li class="listitem"><p>
5069           you work for a charity and get furniture cut by volunteers, or by employees
5070 at a fab lab or maker space
5071         </p></li></ul></div><p>
5072       Whether or not people technically are doing things that implicate IP, Nick
5073 and Joni have found that people tend to comply with the wishes of creators
5074 out of a sense of fairness. They have found that behavioral economics can
5075 replace some of the thorny legal issues. In their business model, Nick and
5076 Joni are trying to suspend the focus on IP and build an open business model
5077 that works for all stakeholders—designers, channels, manufacturers, and
5078 customers. For them, the value Opendesk generates hangs off
5079 <span class="quote">“<span class="quote">open,</span>”</span> not IP.
5080     </p><p>
5081       The mission of Opendesk is about relocalizing manufacturing, which changes
5082 the way we think about how goods are made.  Commercialization is integral to
5083 their mission, and they’ve begun to focus on success metrics that track how
5084 many makers and designers are engaged through Opendesk in revenue-making
5085 work.
5086     </p><p>
5087       As a global platform for local making, Opendesk’s business model has been
5088 built on honesty, transparency, and inclusivity. As Nick and Joni describe
5089 it, they put ideas out there that get traction and then have faith in
5090 people.
5091     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1603" class="footnote"><p><a href="#idm1603" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1610" class="footnote"><p><a href="#idm1610" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1630" class="footnote"><p><a href="#idm1630" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1655" class="footnote"><p><a href="#idm1655" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>Capítulo 18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5092         OpenStax is a nonprofit that provides free, openly licensed textbooks for
5093 high-enrollment introductory college courses and Advanced Placement
5094 courses. Founded in 2012 in the U.S.
5095       </p><p>
5096           <a class="ulink" href="http://www.openstaxcollege.org" target="_top">http://www.openstaxcollege.org</a>
5097         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding, charging
5098 for custom services, charging for physical copies (textbook sales)
5099       </p><p><span class="strong"><strong>Interview date</strong></span>: December 16, 2015
5100       </p><p><span class="strong"><strong>Interviewee</strong></span>: David Harris,
5101 editor-in-chief
5102       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
5103     \textit{
5104         Profile written by Paul Stacey
5105       }
5106     \end{flushright}</td></tr></table></div><p>
5107       OpenStax is an extension of a program called Connexions, which was started
5108 in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of
5109 Electrical and Computer Engineering at Rice University in Houston,
5110 Texas. Frustrated by the limitations of traditional textbooks and courses,
5111 Dr. Baraniuk wanted to provide authors and learners a way to share and
5112 freely adapt educational materials such as courses, books, and
5113 reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
5114 best libraries of customizable educational materials, all licensed with
5115 Creative Commons and available to anyone, anywhere, anytime—for free.
5116     </p><p>
5117       In 2008, while in a senior leadership role at WebAssign and looking at ways
5118 to reduce the risk that came with relying on publishers, David Harris began
5119 investigating open educational resources (OER) and discovered Connexions. A
5120 year and a half later, Connexions received a grant to help grow the use of
5121 OER so that it could meet the needs of students who couldn’t afford
5122 textbooks. David came on board to spearhead this effort.  Connexions became
5123 OpenStax CNX; the program to create open textbooks became OpenStax College,
5124 now simply called OpenStax.
5125     </p><p>
5126       David brought with him a deep understanding of the best practices of
5127 publishing along with where publishers have inefficiencies. In David’s view,
5128 peer review and high standards for quality are critically important if you
5129 want to scale easily. Books have to have logical scope and sequence, they
5130 have to exist as a whole and not in pieces, and they have to be easy to
5131 find. The working hypothesis for the launch of OpenStax was to
5132 professionally produce a turnkey textbook by investing effort up front, with
5133 the expectation that this would lead to rapid growth through easy downstream
5134 adoptions by faculty and students.
5135     </p><p>
5136       In 2012, OpenStax College launched as a nonprofit with the aim of producing
5137 high-quality, peer-reviewed full-color textbooks that would be available for
5138 free for the twenty-five most heavily attended college courses in the
5139 nation. Today they are fast approaching that number. There is data that
5140 proves the success of their original hypothesis on how many students they
5141 could help and how much money they could help save.<a href="#ftn.idm1695" class="footnote" name="idm1695"><sup class="footnote">[138]</sup></a> Professionally produced content scales rapidly. All
5142 with no sales force!
5143     </p><p>
5144       OpenStax textbooks are all Attribution (CC BY) licensed, and each textbook
5145 is available as a PDF, an e-book, or web pages. Those who want a physical
5146 copy can buy one for an affordable price. Given the cost of education and
5147 student debt in North America, free or very low-cost textbooks are very
5148 appealing. OpenStax encourages students to talk to their professor and
5149 librarians about these textbooks and to advocate for their use.
5150     </p><p>
5151       Teachers are invited to try out a single chapter from one of the textbooks
5152 with students. If that goes well, they’re encouraged to adopt the entire
5153 book. They can simply paste a URL into their course syllabus, for free and
5154 unlimited access. And with the CC BY license, teachers are free to delete
5155 chapters, make changes, and customize any book to fit their needs.
5156     </p><p>
5157       Any teacher can post corrections, suggest examples for difficult concepts,
5158 or volunteer as an editor or author. As many teachers also want supplemental
5159 material to accompany a textbook, OpenStax also provides slide
5160 presentations, test banks, answer keys, and so on.
5161     </p><p>
5162       Institutions can stand out by offering students a lower-cost education
5163 through the use of OpenStax textbooks; there’s even a textbook-savings
5164 calculator they can use to see how much students would save. OpenStax keeps
5165 a running list of institutions that have adopted their
5166 textbooks.<a href="#ftn.idm1702" class="footnote" name="idm1702"><sup class="footnote">[139]</sup></a>
5167     </p><p>
5168       Unlike traditional publishers’ monolithic approach of controlling
5169 intellectual property, distribution, and so many other aspects, OpenStax has
5170 adopted a model that embraces open licensing and relies on an extensive
5171 network of partners.
5172     </p><p>
5173       Up-front funding of a professionally produced all-color turnkey textbook is
5174 expensive. For this part of their model, OpenStax relies on
5175 philanthropy. They have initially been funded by the William and Flora
5176 Hewlett Foundation, the Laura and John Arnold Foundation, the Bill and
5177 Melinda Gates Foundation, the 20 Million Minds Foundation, the Maxfield
5178 Foundation, the Calvin K. Kazanjian Foundation, and Rice University. To
5179 develop additional titles and supporting technology is probably still going
5180 to require philanthropic investment.
5181     </p><p>
5182       However, ongoing operations will not rely on foundation grants but instead
5183 on funds received through an ecosystem of over forty partners, whereby a
5184 partner takes core content from OpenStax and adds features that it can
5185 create revenue from. For example, WebAssign, an online homework and
5186 assessment tool, takes the physics book and adds algorithmically generated
5187 physics problems, with problem-specific feedback, detailed solutions, and
5188 tutorial support. WebAssign resources are available to students for a fee.
5189     </p><p>
5190       Another example is Odigia, who has turned OpenStax books into interactive
5191 learning experiences and created additional tools to measure and promote
5192 student engagement. Odigia licenses its learning platform to
5193 institutions. Partners like Odigia and WebAssign give a percentage of the
5194 revenue they earn back to OpenStax, as mission-support fees. OpenStax has
5195 already published revisions of their titles, such as Introduction to
5196 Sociology 2e, using these funds.
5197     </p><p>
5198       In David’s view, this approach lets the market operate at peak
5199 efficiency. OpenStax’s partners don’t have to worry about developing
5200 textbook content, freeing them up from those development costs and letting
5201 them focus on what they do best.  With OpenStax textbooks available at no
5202 cost, they can provide their services at a lower cost—not free, but still
5203 saving students money. OpenStax benefits not only by receiving
5204 mission-support fees but through free publicity and marketing. OpenStax
5205 doesn’t have a sales force; partners are out there showcasing their
5206 materials.
5207     </p><p>
5208       OpenStax’s cost of sales to acquire a single student is very, very low and
5209 is a fraction of what traditional players in the market face. This year,
5210 Tyton Partners is actually evaluating the costs of sales for an OER effort
5211 like OpenStax in comparison with incumbents. David looks forward to sharing
5212 these findings with the community.
5213     </p><p>
5214       While OpenStax books are available online for free, many students still want
5215 a print copy. Through a partnership with a print and courier company,
5216 OpenStax offers a complete solution that scales.  OpenStax sells tens of
5217 thousands of print books. The price of an OpenStax sociology textbook is
5218 about twenty-eight dollars, a fraction of what sociology textbooks usually
5219 cost. OpenStax keeps the prices low but does aim to earn a small margin on
5220 each book sold, which also contributes to ongoing operations.
5221     </p><p>
5222       Campus-based bookstores are part of the OpenStax solution.  OpenStax
5223 collaborates with NACSCORP (the National Association of College Stores
5224 Corporation) to provide print versions of their textbooks in the
5225 stores. While the overall cost of the textbook is significantly less than a
5226 traditional textbook, bookstores can still make a profit on sales. Sometimes
5227 students take the savings they have from the lower-priced book and use it to
5228 buy other things in the bookstore. And OpenStax is trying to break the
5229 expensive behavior of excessive returns by having a no-returns policy. This
5230 is working well, since the sell-through of their print titles is virtually a
5231 hundred percent.
5232     </p><p>
5233       David thinks of the OpenStax model as <span class="quote">“<span class="quote">OER 2.0.</span>”</span> So what is OER
5234 1.0? Historically in the OER field, many OER initiatives have been locally
5235 funded by institutions or government ministries. In David’s view, this
5236 results in content that has high local value but is infrequently adopted
5237 nationally. It’s therefore difficult to show payback over a time scale that
5238 is reasonable.
5239     </p><p>
5240       OER 2.0 is about OER intended to be used and adopted on a national level
5241 right from the start. This requires a bigger investment up front but pays
5242 off through wide geographic adoption. The OER 2.0 process for OpenStax
5243 involves two development models. The first is what David calls the
5244 acquisition model, where OpenStax purchases the rights from a publisher or
5245 author for an already published book and then extensively revises it. The
5246 OpenStax physics textbook, for example, was licensed from an author after
5247 the publisher released the rights back to the authors. The second model is
5248 to develop a book from scratch, a good example being their biology book.
5249     </p><p>
5250       The process is similar for both models. First they look at the scope and
5251 sequence of existing textbooks. They ask questions like what does the
5252 customer need? Where are students having challenges? Then they identify
5253 potential authors and put them through a rigorous evaluation—only one in ten
5254 authors make it through.  OpenStax selects a team of authors who come
5255 together to develop a template for a chapter and collectively write the
5256 first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
5257 books with just a single author as David says it risks the project going
5258 longer than scheduled.) The draft is peer-reviewed with no less than three
5259 reviewers per chapter. A second draft is generated, with artists producing
5260 illustrations and visuals to go along with the text. The book is then
5261 copyedited to ensure grammatical correctness and a singular voice. Finally,
5262 it goes into production and through a final proofread. The whole process is
5263 very time-consuming.
5264     </p><p>
5265       All the people involved in this process are paid. OpenStax does not rely on
5266 volunteers. Writers, reviewers, illustrators, and editors are all paid an
5267 up-front fee—OpenStax does not use a royalty model. A best-selling author
5268 might make more money under the traditional publishing model, but that is
5269 only maybe 5 percent of all authors. From David’s perspective, 95 percent of
5270 all authors do better under the OER 2.0 model, as there is no risk to them
5271 and they earn all the money up front.
5272     </p><p>
5273       David thinks of the Attribution license (CC BY) as the <span class="quote">“<span class="quote">innovation
5274 license.</span>”</span> It’s core to the mission of OpenStax, letting people use
5275 their textbooks in innovative ways without having to ask for permission. It
5276 frees up the whole market and has been central to OpenStax being able to
5277 bring on partners.  OpenStax sees a lot of customization of their
5278 materials. By enabling frictionless remixing, CC BY gives teachers control
5279 and academic freedom.
5280     </p><p>
5281       Using CC BY is also a good example of using strategies that traditional
5282 publishers can’t. Traditional publishers rely on copyright to prevent others
5283 from making copies and heavily invest in digital rights management to ensure
5284 their books aren’t shared.  By using CC BY, OpenStax avoids having to deal
5285 with digital rights management and its costs. OpenStax books can be copied
5286 and shared over and over again. CC BY changes the rules of engagement and
5287 takes advantage of traditional market inefficiencies.
5288     </p><p>
5289       As of September 16, 2016, OpenStax has achieved some impressive
5290 results. From the OpenStax at a Glance fact sheet from their recent press
5291 kit:
5292     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5293           Books published: 23
5294         </p></li><li class="listitem"><p>
5295           Students who have used OpenStax: 1.6 million
5296         </p></li><li class="listitem"><p>
5297           Money saved for students: $155 million
5298         </p></li><li class="listitem"><p>
5299           Money saved for students in the 2016/17 academic year: $77 million
5300         </p></li><li class="listitem"><p>
5301           Schools that have used OpenStax: 2,668 (This number reflects all
5302 institutions using at least one OpenStax textbook. Out of 2,668 schools, 517
5303 are two-year colleges, 835 four-year colleges and universities, and 344
5304 colleges and universities outside the U.S.)
5305         </p></li></ul></div><p>
5306       While OpenStax has to date been focused on the United States, there is
5307 overseas adoption especially in the science, technology, engineering, and
5308 math (STEM) fields. Large scale adoption in the United States is seen as a
5309 necessary precursor to international interest.
5310     </p><p>
5311       OpenStax has primarily focused on introductory-level college courses where
5312 there is high enrollment, but they are starting to think about verticals—a
5313 broad offering for a specific group or need. David thinks it would be
5314 terrific if OpenStax could provide access to free textbooks through the
5315 entire curriculum of a nursing degree, for example.
5316     </p><p>
5317       Finally, for OpenStax success is not just about the adoption of their
5318 textbooks and student savings. There is a human aspect to the work that is
5319 hard to quantify but incredibly important. They get emails from students
5320 saying how OpenStax saved them from making difficult choices like buying
5321 food or a textbook. OpenStax would also like to assess the impact their
5322 books have on learning efficiency, persistence, and completion. By building
5323 an open business model based on Creative Commons, OpenStax is making it
5324 possible for every student who wants access to education to get it.
5325     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1695" class="footnote"><p><a href="#idm1695" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1702" class="footnote"><p><a href="#idm1702" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>Capítulo 19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5326         Amanda Palmer is a musician, artist, and writer. Based in the U.S.
5327       </p><p>
5328           <a class="ulink" href="http://amandapalmer.net" target="_top">http://amandapalmer.net</a>
5329         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
5330 (subscription-based), pay-what-you-want, charging for physical copies (book
5331 and album sales), charg-ing for in-person version (performances), selling
5332 merchandise
5333       </p><p><span class="strong"><strong>Interview date</strong></span>: December 15, 2015
5334       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
5335     \textit{
5336         Profile written by Sarah Hinchliff Pearson
5337       }
5338     \end{flushright}</td></tr></table></div><p>
5339       Since the beginning of her career, Amanda Palmer has been on what she calls
5340 a <span class="quote">“<span class="quote">journey with no roadmap,</span>”</span> continually experimenting to find
5341 new ways to sustain her creative work.<a href="#ftn.idm1749" class="footnote" name="idm1749"><sup class="footnote">[140]</sup></a>
5342     </p><p>
5343       In her best-selling book, The Art of Asking, Amanda articulates exactly what
5344 she has been and continues to strive for—<span class="quote">“<span class="quote">the ideal sweet spot
5345 . . . in which the artist can share freely and directly feel the
5346 reverberations of their artistic gifts to the community, and make a living
5347 doing that.</span>”</span>
5348     </p><p>
5349       While she seems to have successfully found that sweet spot for herself,
5350 Amanda is the first to acknowledge there is no silver bullet. She thinks the
5351 digital age is both an exciting and frustrating time for creators. <span class="quote">“<span class="quote">On
5352 the one hand, we have this beautiful shareability,</span>”</span> Amanda
5353 said. <span class="quote">“<span class="quote">On the other, you’ve got a bunch of confused artists wondering
5354 how to make money to buy food so we can make more art.</span>”</span>
5355     </p><p>
5356       Amanda began her artistic career as a street performer. She would dress up
5357 in an antique wedding gown, paint her face white, stand on a stack of milk
5358 crates, and hand out flowers to strangers as part of a silent dramatic
5359 performance. She collected money in a hat. Most people walked by her without
5360 stopping, but an essential few stopped to watch and drop some money into her
5361 hat to show their appreciation. Rather than dwelling on the majority of
5362 people who ignored her, she felt thankful for those who stopped.  <span class="quote">“<span class="quote">All
5363 I needed was . . . some people,</span>”</span> she wrote in her book. <span class="quote">“<span class="quote">Enough
5364 people. Enough to make it worth coming back the next day, enough people to
5365 help me make rent and put food on the table. Enough so I could keep making
5366 art.</span>”</span>
5367     </p><p>
5368       Amanda has come a long way from her street-performing days, but her career
5369 remains dominated by that same sentiment—finding ways to reach <span class="quote">“<span class="quote">her
5370 crowd</span>”</span> and feeling gratitude when she does. With her band the Dresden
5371 Dolls, Amanda tried the traditional path of signing with a record label. It
5372 didn’t take for a variety of reasons, but one of them was that the label had
5373 absolutely no interest in Amanda’s view of success. They wanted hits, but
5374 making music for the masses was never what Amanda and the Dresden Dolls set
5375 out to do.
5376     </p><p>
5377       After leaving the record label in 2008, she began experimenting with
5378 different ways to make a living. She released music directly to the public
5379 without involving a middle man, releasing digital files on a <span class="quote">“<span class="quote">pay what
5380 you want</span>”</span> basis and selling CDs and vinyl. She also made money from
5381 live performances and merchandise sales. Eventually, in 2012 she decided to
5382 try her hand at the sort of crowdfunding we know so well today. Her
5383 Kickstarter project started with a goal of $100,000, and she made $1.2
5384 million. It remains one of the most successful Kickstarter projects of all
5385 time.
5386     </p><p>
5387       Today, Amanda has switched gears away from crowdfunding for specific
5388 projects to instead getting consistent financial support from her fan base
5389 on Patreon, a crowdfunding site that allows artists to get recurring
5390 donations from fans. More than eight thousand people have signed up to
5391 support her so she can create music, art, and any other creative
5392 <span class="quote">“<span class="quote">thing</span>”</span> that she is inspired to make. The recurring pledges are
5393 made on a <span class="quote">“<span class="quote">per thing</span>”</span> basis. All of the content she makes is
5394 made freely available under an Attribution-NonCommercial-ShareAlike license
5395 (CC BY-NC-SA).
5396     </p><p>
5397       Making her music and art available under Creative Commons licensing
5398 undoubtedly limits her options for how she makes a living. But sharing her
5399 work has been part of her model since the beginning of her career, even
5400 before she discovered Creative Commons. Amanda says the Dresden Dolls used
5401 to get ten emails per week from fans asking if they could use their music
5402 for different projects. They said yes to all of the requests, as long as it
5403 wasn’t for a completely for-profit venture. At the time, they used a
5404 short-form agreement written by Amanda herself. <span class="quote">“<span class="quote">I made everyone sign
5405 that contract so at least I wouldn’t be leaving the band vulnerable to
5406 someone later going on and putting our music in a Camel cigarette
5407 ad,</span>”</span> Amanda said. Once she discovered Creative Commons, adopting the
5408 licenses was an easy decision because it gave them a more formal,
5409 standardized way of doing what they had been doing all along. The
5410 NonCommercial licenses were a natural fit.
5411     </p><p>
5412       Amanda embraces the way her fans share and build upon her music.  In The Art
5413 of Asking, she wrote that some of her fans’ unofficial videos using her
5414 music surpass the official videos in number of views on YouTube. Rather than
5415 seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">“<span class="quote">We
5416 got into this because we wanted to share the joy of music,</span>”</span> she said.
5417     </p><p>
5418       This is symbolic of how nearly everything she does in her career is
5419 motivated by a desire to connect with her fans. At the start of her career,
5420 she and the band would throw concerts at house parties. As the gatherings
5421 grew, the line between fans and friends was completely blurred. <span class="quote">“<span class="quote">Not
5422 only did most our early fans know where I lived and where we practiced, but
5423 most of them had also been in my kitchen,</span>”</span> Amanda wrote in The Art of
5424 Asking.
5425     </p><p>
5426       Even though her fan base is now huge and global, she continues to seek this
5427 sort of human connection with her fans. She seeks out face-to-face contact
5428 with her fans every chance she can get. Her hugely successful Kickstarter
5429 featured fifty concerts at house parties for backers. She spends hours in
5430 the signing line after shows. It helps that Amanda has the kind of dynamic,
5431 engaging personality that instantly draws people to her, but a big component
5432 of her ability to connect with people is her willingness to
5433 listen. <span class="quote">“<span class="quote">Listening fast and caring immediately is a skill unto
5434 itself,</span>”</span> Amanda wrote.
5435     </p><p>
5436       Another part of the connection fans feel with Amanda is how much they know
5437 about her life. Rather than trying to craft a public persona or image, she
5438 essentially lives her life as an open book.  She has written openly about
5439 incredibly personal events in her life, and she isn’t afraid to be
5440 vulnerable. Having that kind of trust in her fans—the trust it takes to be
5441 truly honest—begets trust from her fans in return. When she meets fans for
5442 the first time after a show, they can legitimately feel like they know her.
5443     </p><p><span class="quote">“<span class="quote">With social media, we’re so concerned with the picture looking
5444 palatable and consumable that we forget that being human and showing the
5445 flaws and exposing the vulnerability actually create a deeper connection
5446 than just looking fantastic,</span>”</span> Amanda said. <span class="quote">“<span class="quote">Everything in our
5447 culture is telling us otherwise. But my experience has shown me that the
5448 risk of making yourself vulnerable is almost always worth it.</span>”</span>
5449     </p><p>
5450       Not only does she disclose intimate details of her life to them, she sleeps
5451 on their couches, listens to their stories, cries with them. In short, she
5452 treats her fans like friends in nearly every possible way, even when they
5453 are complete strangers. This mentality—that fans are friends—is completely
5454 intertwined with Amanda’s success as an artist. It is also intertwined with
5455 her use of Creative Commons licenses. Because that is what you do with your
5456 friends—you share.
5457     </p><p>
5458       After years of investing time and energy into building trust with her fans,
5459 she has a strong enough relationship with them to ask for support—through
5460 pay-what-you-want donations, Kickstarter, Patreon, or even asking them to
5461 lend a hand at a concert. As Amanda explains it, crowdfunding (which is
5462 really what all of these different things are) is about asking for support
5463 from people who know and trust you. People who feel personally invested in
5464 your success.
5465     </p><p><span class="quote">“<span class="quote">When you openly, radically trust people, they not only take care of
5466 you, they become your allies, your family,</span>”</span> she wrote. There really
5467 is a feeling of solidarity within her core fan base. From the beginning,
5468 Amanda and her band encouraged people to dress up for their shows. They
5469 consciously cultivated a feeling of belonging to their <span class="quote">“<span class="quote">weird little
5470 family.</span>”</span>
5471     </p><p>
5472       This sort of intimacy with fans is not possible or even desirable for every
5473 creator. <span class="quote">“<span class="quote">I don’t take for granted that I happen to be the type of
5474 person who loves cavorting with strangers,</span>”</span> Amanda said. <span class="quote">“<span class="quote">I
5475 recognize that it’s not necessarily everyone’s idea of a good time. Everyone
5476 does it differently. Replicating what I have done won’t work for others if
5477 it isn’t joyful to them. It’s about finding a way to channel energy in a way
5478 that is joyful to you.</span>”</span>
5479     </p><p>
5480       Yet while Amanda joyfully interacts with her fans and involves them in her
5481 work as much as possible, she does keep one job primarily to herself—writing
5482 the music. She loves the creativity with which her fans use and adapt her
5483 work, but she intentionally does not involve them at the first stage of
5484 creating her artistic work. And, of course, the songs and music are what
5485 initially draw people to Amanda Palmer. It is only once she has connected to
5486 people through her music that she can then begin to build ties with them on
5487 a more personal level, both in person and online. In her book, Amanda
5488 describes it as casting a net. It starts with the art and then the bond
5489 strengthens with human connection.
5490     </p><p>
5491       For Amanda, the entire point of being an artist is to establish and maintain
5492 this connection. <span class="quote">“<span class="quote">It sounds so corny,</span>”</span> she said, <span class="quote">“<span class="quote">but my
5493 experience in forty years on this planet has pointed me to an obvious
5494 truth—that connection with human beings feels so much better and more
5495 fulfilling than approaching art through a capitalist lens. There is no more
5496 satisfying end goal than having someone tell you that what you do is
5497 genuinely of value to them.</span>”</span>
5498     </p><p>
5499       As she explains it, when a fan gives her a ten-dollar bill, usually what
5500 they are saying is that the money symbolizes some deeper value the music
5501 provided them. For Amanda, art is not just a product; it’s a
5502 relationship. Viewed from this lens, what Amanda does today is not that
5503 different from what she did as a young street performer. She shares her
5504 music and other artistic gifts.  She shares herself. And then rather than
5505 forcing people to help her, she lets them.
5506     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1749" class="footnote"><p><a href="#idm1749" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>Capítulo 20. PLOS (Public Library of Science)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5507         PLOS (Public Library of Science) is a nonprofit that publishes a library of
5508 academic journals and other scientific literature.  Founded in 2000 in the
5509 U.S.
5510       </p><p>
5511           <a class="ulink" href="http://plos.org" target="_top">http://plos.org</a>
5512         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
5513 an author processing charge to be featured in the journal
5514       </p><p><span class="strong"><strong>Interview date</strong></span>: March 7, 2016
5515       </p><p><span class="strong"><strong>Interviewee</strong></span>: Louise Page, publisher
5516       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
5517     \textit{
5518         Profile written by Paul Stacey
5519       }
5520     \end{flushright}</td></tr></table></div><p>
5521       The Public Library of Science (PLOS) began in 2000 when three leading
5522 scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
5523 online petition. They were calling for scientists to stop submitting papers
5524 to journals that didn’t make the full text of their papers freely available
5525 immediately or within six months. Although tens of thousands signed the
5526 petition, most did not follow through. In August 2001, Patrick and Michael
5527 announced that they would start their own nonprofit publishing operation to
5528 do just what the petition promised. With start-up grant support from the
5529 Gordon and Betty Moore Foundation, PLOS was launched to provide new
5530 open-access journals for biomedicine, with research articles being released
5531 under Attribution (CC BY) licenses.
5532     </p><p>
5533       Traditionally, academic publishing begins with an author submitting a
5534 manuscript to a publisher. After in-house technical and ethical
5535 considerations, the article is then peer-reviewed to determine if the
5536 quality of the work is acceptable for publishing.  Once accepted, the
5537 publisher takes the article through the process of copyediting, typesetting,
5538 and eventual publishing in a print or online publication. Traditional
5539 journal publishers recover costs and earn profit by charging a subscription
5540 fee to libraries or an access fee to users wanting to read the journal or
5541 article.
5542     </p><p>
5543       For Louise Page, the current publisher of PLOS, this traditional model
5544 results in inequity. Access is restricted to those who can pay. Most
5545 research is funded through government-appointed agencies, that is, with
5546 public funds. It’s unjust that the public who funded the research would be
5547 required to pay again to access the results. Not everyone can afford the
5548 ever-escalating subscription fees publishers charge, especially when library
5549 budgets are being reduced. Restricting access to the results of scientific
5550 research slows the dissemination of this research and advancement of the
5551 field. It was time for a new model.
5552     </p><p>
5553       That new model became known as open access. That is, free and open
5554 availability on the Internet. Open-access research articles are not behind a
5555 paywall and do not require a login. A key benefit of open access is that it
5556 allows people to freely use, copy, and distribute the articles, as they are
5557 primarily published under an Attribution (CC BY) license (which only
5558 requires the user to provide appropriate attribution). And more importantly,
5559 policy makers, clinicians, entrepreneurs, educators, and students around the
5560 world have free and timely access to the latest research immediately on
5561 publication.
5562     </p><p>
5563       However, open access requires rethinking the business model of research
5564 publication. Rather than charge a subscription fee to access the journal,
5565 PLOS decided to turn the model on its head and charge a publication fee,
5566 known as an article-processing charge.  This up-front fee, generally paid by
5567 the funder of the research or the author’s institution, covers the expenses
5568 such as editorial oversight, peer-review management, journal production,
5569 online hosting, and support for discovery. Fees are per article and are
5570 billed upon acceptance for publishing. There are no additional charges based
5571 on word length, figures, or other elements.
5572     </p><p>
5573       Calculating the article-processing charge involves taking all the costs
5574 associated with publishing the journal and determining a cost per article
5575 that collectively recovers costs. For PLOS’s journals in biology, medicine,
5576 genetics, computational biology, neglected tropical diseases, and pathogens,
5577 the article-processing charge ranges from $2,250 to
5578 $2,900. Article-publication charges for PLOS ONE, a journal started in 2006,
5579 are just under $1,500.
5580     </p><p>
5581       PLOS believes that lack of funds should not be a barrier to
5582 publication. Since its inception, PLOS has provided fee support for
5583 individuals and institutions to help authors who can’t afford the
5584 article-processing charges.
5585     </p><p>
5586       Louise identifies marketing as one area of big difference between PLOS and
5587 traditional journal publishers. Traditional journals have to invest heavily
5588 in staff, buildings, and infrastructure to market their journal and convince
5589 customers to subscribe.  Restricting access to subscribers means that tools
5590 for managing access control are necessary. They spend millions of dollars on
5591 access-control systems, staff to manage them, and sales staff.  With PLOS’s
5592 open-access publishing, there’s no need for these massive expenses; the
5593 articles are free, open, and accessible to all upon
5594 publication. Additionally, traditional publishers tend to spend more on
5595 marketing to libraries, who ultimately pay the subscription fees. PLOS
5596 provides a better service for authors by promoting their research directly
5597 to the research community and giving the authors exposure. And this
5598 encourages other authors to submit their work for publication.
5599     </p><p>
5600       For Louise, PLOS would not exist without the Attribution license (CC
5601 BY). This makes it very clear what rights are associated with the content
5602 and provides a safe way for researchers to make their work available while
5603 ensuring they get recognition (appropriate attribution). For PLOS, all of
5604 this aligns with how they think research content should be published and
5605 disseminated.
5606     </p><p>
5607       PLOS also has a broad open-data policy. To get their research paper
5608 published, PLOS authors must also make their data available in a public
5609 repository and provide a data-availability statement.
5610     </p><p>
5611       Business-operation costs associated with the open-access model still largely
5612 follow the existing publishing model. PLOS journals are online only, but the
5613 editorial, peer-review, production, typesetting, and publishing stages are
5614 all the same as for a traditional publisher. The editorial teams must be top
5615 notch. PLOS has to function as well as or better than other premier
5616 journals, as researchers have a choice about where to publish.
5617     </p><p>
5618       Researchers are influenced by journal rankings, which reflect the place of a
5619 journal within its field, the relative difficulty of being published in that
5620 journal, and the prestige associated with it. PLOS journals rank high, even
5621 though they are relatively new.
5622     </p><p>
5623       The promotion and tenure of researchers are partially based how many times
5624 other researchers cite their articles. Louise says when researchers want to
5625 discover and read the work of others in their field, they go to an online
5626 aggregator or search engine, and not typically to a particular journal. The
5627 CC BY licensing of PLOS research articles ensures easy access for readers
5628 and generates more discovery and citations for authors.
5629     </p><p>
5630       Louise believes that open access has been a huge success, progressing from a
5631 movement led by a small cadre of researchers to something that is now
5632 widespread and used in some form by every journal publisher. PLOS has had a
5633 big impact. In 2012 to 2014, they published more open-access articles than
5634 BioMed Central, the original open-access publisher, or anyone else.
5635     </p><p>
5636       PLOS further disrupted the traditional journal-publishing model by
5637 pioneering the concept of a megajournal. The PLOS ONE megajournal, launched
5638 in 2006, is an open-access peer-reviewed academic journal that is much
5639 larger than a traditional journal, publishing thousands of articles per year
5640 and benefiting from economies of scale. PLOS ONE has a broad scope, covering
5641 science and medicine as well as social sciences and the humanities. The
5642 review and editorial process is less subjective. Articles are accepted for
5643 publication based on whether they are technically sound rather than
5644 perceived importance or relevance. This is very important in the current
5645 debate about the integrity and reproducibility of research because negative
5646 or null results can then be published as well, which are generally rejected
5647 by traditional journals. PLOS ONE, like all the PLOS journals, is online
5648 only with no print version. PLOS passes on the financial savings accrued
5649 through economies of scale to researchers and the public by lowering the
5650 article-processing charges, which are below that of other journals. PLOS ONE
5651 is the biggest journal in the world and has really set the bar for
5652 publishing academic journal articles on a large scale. Other publishers see
5653 the value of the PLOS ONE model and are now offering their own
5654 multidisciplinary forums for publishing all sound science.
5655     </p><p>
5656       Louise outlined some other aspects of the research-journal business model
5657 PLOS is experimenting with, describing each as a kind of slider that could
5658 be adjusted to change current practice.
5659     </p><p>
5660       One slider is time to publication. Time to publication may shorten as
5661 journals get better at providing quicker decisions to authors.  However,
5662 there is always a trade-off with scale, as the bigger the volume of
5663 articles, the more time the approval process inevitably takes.
5664     </p><p>
5665       Peer review is another part of the process that could change. It’s possible
5666 to redefine what peer review actually is, when to review, and what
5667 constitutes the final article for publication. Louise talked about the
5668 potential to shift to an open-review process, placing the emphasis on
5669 transparency rather than double-blind reviews. Louise thinks we’re moving
5670 into a direction where it’s actually beneficial for an author to know who is
5671 reviewing their paper and for the reviewer to know their review will be
5672 public. An open-review process can also ensure everyone gets credit; right
5673 now, credit is limited to the publisher and author.
5674     </p><p>
5675       Louise says research with negative outcomes is almost as important as
5676 positive results. If journals published more research with negative
5677 outcomes, we’d learn from what didn’t work. It could also reduce how much
5678 the research wheel gets reinvented around the world.
5679     </p><p>
5680       Another adjustable practice is the sharing of articles at early preprint
5681 stages. Publication of research in a peer-reviewed journal can take a long
5682 time because articles must undergo extensive peer review. The need to
5683 quickly circulate current results within a scientific community has led to a
5684 practice of distributing pre-print documents that have not yet undergone
5685 peer review. Preprints broaden the peer-review process, allowing authors to
5686 receive early feedback from a wide group of peers, which can help revise and
5687 prepare the article for submission.  Offsetting the advantages of preprints
5688 are author concerns over ensuring their primacy of being first to come up
5689 with findings based on their research. Other researches may see findings the
5690 preprint author has not yet thought of. However, preprints help researchers
5691 get their discoveries out early and establish precedence. A big challenge is
5692 that researchers don’t have a lot of time to comment on preprints.
5693     </p><p>
5694       What constitutes a journal article could also change. The idea of a research
5695 article as printed, bound, and in a library stack is outdated. Digital and
5696 online open up new possibilities, such as a living document evolving over
5697 time, inclusion of audio and video, and interactivity, like discussion and
5698 recommendations. Even the size of what gets published could change. With
5699 these changes the current form factor for what constitutes a research
5700 article would undergo transformation.
5701     </p><p>
5702       As journals scale up, and new journals are introduced, more and more
5703 information is being pushed out to readers, making the experience feel like
5704 drinking from a fire hose. To help mitigate this, PLOS aggregates and
5705 curates content from PLOS journals and their network of blogs.<a href="#ftn.idm1827" class="footnote" name="idm1827"><sup class="footnote">[141]</sup></a> It also offers something called Article-Level
5706 Metrics, which helps users assess research most relevant to the field
5707 itself, based on indicators like usage, citations, social bookmarking and
5708 dissemination activity, media and blog coverage, discussions, and
5709 ratings.<a href="#ftn.idm1830" class="footnote" name="idm1830"><sup class="footnote">[142]</sup></a> Louise believes that the
5710 journal model could evolve to provide a more friendly and interactive user
5711 experience, including a way for readers to communicate with authors.
5712     </p><p>
5713       The big picture for PLOS going forward is to combine and adjust these
5714 experimental practices in ways that continue to improve accessibility and
5715 dissemination of research, while ensuring its integrity and reliability. The
5716 ways they interlink are complex.  The process of change and adjustment is
5717 not linear. PLOS sees itself as a very flexible publisher interested in
5718 exploring all the permutations research-publishing can take, with authors
5719 and readers who are open to experimentation.
5720     </p><p>
5721       For PLOS, success is not about revenue. Success is about proving that
5722 scientific research can be communicated rapidly and economically at scale,
5723 for the benefit of researchers and society.  The CC BY license makes it
5724 possible for PLOS to publish in a way that is unfettered, open, and fast,
5725 while ensuring that the authors get credit for their work. More than two
5726 million scientists, scholars, and clinicians visit PLOS every month, with
5727 more than 135,000 quality articles to peruse for free.
5728     </p><p>
5729       Ultimately, for PLOS, its authors, and its readers, success is about making
5730 research discoverable, available, and reproducible for the advancement of
5731 science.
5732     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1827" class="footnote"><p><a href="#idm1827" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1830" class="footnote"><p><a href="#idm1830" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>Capítulo 21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5733         The Rijksmuseum is a Dutch national museum dedicated to art and
5734 history. Founded in 1800 in the Netherlands
5735       </p><p>
5736           <a class="ulink" href="http://www.rijksmuseum.nl" target="_top">http://www.rijksmuseum.nl</a>
5737         </p><p><span class="strong"><strong>Revenue model</strong></span>: grants and government
5738 funding, charging for in-person version (museum admission), selling
5739 merchandise
5740       </p><p><span class="strong"><strong>Interview date</strong></span>: December 11, 2015
5741       </p><p><span class="strong"><strong>Interviewee</strong></span>: Lizzy Jongma, the data
5742 manager of the collections information department
5743       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
5744     \textit{
5745         Profile written by Paul Stacey
5746       }
5747     \end{flushright}</td></tr></table></div><p>
5748       The Rijksmuseum, a national museum in the Netherlands dedicated to art and
5749 history, has been housed in its current building since 1885. The monumental
5750 building enjoyed more than 125 years of intensive use before needing a
5751 thorough overhaul. In 2003, the museum was closed for renovations. Asbestos
5752 was found in the roof, and although the museum was scheduled to be closed
5753 for only three to four years, renovations ended up taking ten years. During
5754 this time, the collection was moved to a different part of Amsterdam, which
5755 created a physical distance with the curators. Out of necessity, they
5756 started digitally photographing the collection and creating metadata
5757 (information about each object to put into a database). With the renovations
5758 going on for so long, the museum became largely forgotten by the public. Out
5759 of these circumstances emerged a new and more open model for the museum.
5760     </p><p>
5761       By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager,
5762 staff were fed up with the situation the museum was in.  They also realized
5763 that even with the new and larger space, it still wouldn’t be able to show
5764 very much of the whole collection—eight thousand of over one million works
5765 representing just 1 percent. Staff began exploring ways to express
5766 themselves, to have something to show for all of the work they had been
5767 doing.  The Rijksmuseum is primarily funded by Dutch taxpayers, so was there
5768 a way for the museum provide benefit to the public while it was closed? They
5769 began thinking about sharing Rijksmuseum’s collection using information
5770 technology. And they put up a card-catalog like database of the entire
5771 collection online.
5772     </p><p>
5773       It was effective but a bit boring. It was just data. A hackathon they were
5774 invited to got them to start talking about events like that as having
5775 potential. They liked the idea of inviting people to do cool stuff with
5776 their collection. What about giving online access to digital representations
5777 of the one hundred most important pieces in the Rijksmuseum collection? That
5778 eventually led to why not put the whole collection online?
5779     </p><p>
5780       Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
5781 library, museum, and archive for cultural heritage.<a href="#ftn.idm1853" class="footnote" name="idm1853"><sup class="footnote">[143]</sup></a> As an online portal to museum collections all
5782 across Europe, Europeana had become an important online platform. In October
5783 2010 Creative Commons released CC0 and its public-domain mark as tools
5784 people could use to identify works as free of known copyright. Europeana was
5785 the first major adopter, using CC0 to release metadata about their
5786 collection and the public domain mark for millions of digital works in their
5787 collection. Lizzy says the Rijksmuseum initially found this change in
5788 business practice a bit scary, but at the same time it stimulated even more
5789 discussion on whether the Rijksmuseum should follow suit.
5790     </p><p>
5791       They realized that they don’t <span class="quote">“<span class="quote">own</span>”</span> the collection and couldn’t
5792 realistically monitor and enforce compliance with the restrictive licensing
5793 terms they currently had in place. For example, many copies and versions of
5794 Vermeer’s Milkmaid (part of their collection) were already online, many of
5795 them of very poor quality. They could spend time and money policing its use,
5796 but it would probably be futile and wouldn’t make people stop using their
5797 images online. They ended up thinking it’s an utter waste of time to hunt
5798 down people who use the Rijksmuseum collection. And anyway, restricting
5799 access meant the people they were frustrating the most were schoolkids.
5800     </p><p>
5801       In 2011 the Rijksmuseum began making their digital photos of works known to
5802 be free of copyright available online, using Creative Commons CC0 to place
5803 works in the public domain. A medium-resolution image was offered for free,
5804 but a high-resolution version cost forty euros. People started paying, but
5805 Lizzy says getting the money was frequently a nightmare, especially from
5806 overseas customers. The administrative costs often offset revenue, and
5807 income above costs was relatively low. In addition, having to pay for an
5808 image of a work in the public domain from a collection owned by the Dutch
5809 government (i.e., paid for by the public) was contentious and frustrating
5810 for some. Lizzy says they had lots of fierce debates about what to do.
5811     </p><p>
5812       In 2013 the Rijksmuseum changed its business model. They Creative Commons
5813 licensed their highest-quality images and released them online for
5814 free. Digitization still cost money, however; they decided to define
5815 discrete digitization projects and find sponsors willing to fund each
5816 project. This turned out to be a successful strategy, generating high
5817 interest from sponsors and lower administrative effort for the
5818 Rijksmuseum. They started out making 150,000 high-quality images of their
5819 collection available, with the goal to eventually have the entire collection
5820 online.
5821     </p><p>
5822       Releasing these high-quality images for free reduced the number of
5823 poor-quality images that were proliferating. The high-quality image of
5824 Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
5825 month. On the Internet, images from a source like the Rijksmuseum are more
5826 trusted, and releasing them with a Creative Commons CC0 means they can
5827 easily be found in other platforms. For example, Rijksmuseum images are now
5828 used in thousands of Wikipedia articles, receiving ten to eleven million
5829 views per month. This extends Rijksmuseum’s reach far beyond the scope of
5830 its website. Sharing these images online creates what Lizzy calls the
5831 <span class="quote">“<span class="quote">Mona Lisa effect,</span>”</span> where a work of art becomes so famous that
5832 people want to see it in real life by visiting the actual museum.
5833     </p><p>
5834       Every museum tends to be driven by the number of physical visitors. The
5835 Rijksmuseum is primarily publicly funded, receiving roughly 70 percent of
5836 its operating budget from the government.  But like many museums, it must
5837 generate the rest of the funding through other means. The admission fee has
5838 long been a way to generate revenue generation, including for the
5839 Rijksmuseum.
5840     </p><p>
5841       As museums create a digital presence for themselves and put up digital
5842 representations of their collection online, there’s frequently a worry that
5843 it will lead to a drop in actual physical visits. For the Rijksmuseum, this
5844 has not turned out to be the case. Lizzy told us the Rijksmuseum used to get
5845 about one million visitors a year before closing and now gets more than two
5846 million a year. Making the collection available online has generated
5847 publicity and acts as a form of marketing. The Creative Commons mark
5848 encourages reuse as well. When the image is found on protest leaflets, milk
5849 cartons, and children’s toys, people also see what museum the image comes
5850 from and this increases the museum’s visibility.
5851     </p><p>
5852       In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
5853 a new web presence that would be different from any other museum’s. In
5854 addition to redesigning their main website to be mobile friendly and
5855 responsive to devices like the iPad, the Rijksmuseum also created the
5856 Rijksstudio, where users and artists could use and do various things with
5857 the Rijksmuseum collection.<a href="#ftn.idm1865" class="footnote" name="idm1865"><sup class="footnote">[144]</sup></a>
5858     </p><p>
5859       The Rijksstudio gives users access to over two hundred thousand high-quality
5860 digital representations of masterworks from the collection. Users can zoom
5861 in to any work and even clip small parts of images they like. Rijksstudio is
5862 a bit like Pinterest.  You can <span class="quote">“<span class="quote">like</span>”</span> works and compile your
5863 personal favorites, and you can share them with friends or download them
5864 free of charge. All the images in the Rijksstudio are copyright and royalty
5865 free, and users are encouraged to use them as they like, for private or even
5866 commercial purposes.
5867     </p><p>
5868       Users have created over 276,000 Rijksstudios, generating their own themed
5869 virtual exhibitions on a wide variety of topics ranging from tapestries to
5870 ugly babies and birds. Sets of images have also been created for educational
5871 purposes including use for school exams.
5872     </p><p>
5873       Some contemporary artists who have works in the Rijksmuseum collection
5874 contacted them to ask why their works were not included in the
5875 Rijksstudio. The answer was that contemporary artists’ works are still bound
5876 by copyright. The Rijksmuseum does encourage contemporary artists to use a
5877 Creative Commons license for their works, usually a CC BY-SA license
5878 (Attribution-ShareAlike), or a CC BY-NC (Attribution-NonCommercial) if they
5879 want to preclude commercial use. That way, their works can be made available
5880 to the public, but within limits the artists have specified.
5881     </p><p>
5882       The Rijksmuseum believes that art stimulates entrepreneurial activity. The
5883 line between creative and commercial can be blurry.  As Lizzy says, even
5884 Rembrandt was commercial, making his livelihood from selling his
5885 paintings. The Rijksmuseum encourages entrepreneurial commercial use of the
5886 images in Rijksstudio.  They’ve even partnered with the DIY marketplace Etsy
5887 to inspire people to sell their creations. One great example you can find on
5888 Etsy is a kimono designed by Angie Johnson, who used an image of an
5889 elaborate cabinet along with an oil painting by Jan Asselijn called The
5890 Threatened Swan.<a href="#ftn.idm1873" class="footnote" name="idm1873"><sup class="footnote">[145]</sup></a>
5891     </p><p>
5892       In 2013 the Rijksmuseum organized their first high-profile design
5893 competition, known as the Rijksstudio Award.<a href="#ftn.idm1877" class="footnote" name="idm1877"><sup class="footnote">[146]</sup></a> With the call to action Make Your Own Masterpiece, the competition
5894 invites the public to use Rijksstudio images to make new creative designs. A
5895 jury of renowned designers and curators selects ten finalists and three
5896 winners. The final award comes with a prize of €10,000. The second edition
5897 in 2015 attracted a staggering 892 top-class entries. Some award winners end
5898 up with their work sold through the Rijksmuseum store, such as the 2014
5899 entry featuring makeup based on a specific color scheme of a work of
5900 art.<a href="#ftn.idm1882" class="footnote" name="idm1882"><sup class="footnote">[147]</sup></a> The Rijksmuseum has been thrilled
5901 with the results.  Entries range from the fun to the weird to the
5902 inspirational. The third international edition of the Rijksstudio Award
5903 started in September 2016.
5904     </p><p>
5905       For the next iteration of the Rijksstudio, the Rijksmuseum is considering an
5906 upload tool, for people to upload their own works of art, and enhanced
5907 social elements so users can interact with each other more.
5908     </p><p>
5909       Going with a more open business model generated lots of publicity for the
5910 Rijksmuseum. They were one of the first museums to open up their collection
5911 (that is, give free access) with high-quality images. This strategy, along
5912 with the many improvements to the Rijksmuseum’s website, dramatically
5913 increased visits to their website from thirty-five thousand visits per month
5914 to three hundred thousand.
5915     </p><p>
5916       The Rijksmuseum has been experimenting with other ways to invite the public
5917 to look at and interact with their collection. On an international day
5918 celebrating animals, they ran a successful bird-themed event. The museum put
5919 together a showing of two thousand works that featured birds and invited
5920 bird-watchers to identify the birds depicted. Lizzy notes that while museum
5921 curators know a lot about the works in their collections, they may not know
5922 about certain details in the paintings such as bird species. Over eight
5923 hundred different birds were identified, including a specific species of
5924 crane bird that was unknown to the scientific community at the time of the
5925 painting.
5926     </p><p>
5927       For the Rijksmuseum, adopting an open business model was scary.  They came
5928 up with many worst-case scenarios, imagining all kinds of awful things
5929 people might do with the museum’s works. But Lizzy says those fears did not
5930 come true because <span class="quote">“<span class="quote">ninety-nine percent of people have respect for
5931 great art.</span>”</span> Many museums think they can make a lot of money by
5932 selling things related to their collection. But in Lizzy’s experience,
5933 museums are usually bad at selling things, and sometimes efforts to generate
5934 a small amount of money block something much bigger—the real value that the
5935 collection has. For Lizzy, clinging to small amounts of revenue is being
5936 penny-wise but pound-foolish. For the Rijksmuseum, a key lesson has been to
5937 never lose sight of its vision for the collection. Allowing access to and
5938 use of their collection has generated great promotional value—far more than
5939 the previous practice of charging fees for access and use. Lizzy sums up
5940 their experience: <span class="quote">“<span class="quote">Give away; get something in return.  Generosity
5941 makes people happy to join you and help out.</span>”</span>
5942     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1853" class="footnote"><p><a href="#idm1853" class="para"><sup class="para">[143] </sup></a><a class="ulink" href="http://www.europeana.eu/portal/en" target="_top">http://www.europeana.eu/portal/en</a></p></div><div id="ftn.idm1865" class="footnote"><p><a href="#idm1865" class="para"><sup class="para">[144] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio" target="_top">http://www.rijksmuseum.nl/en/rijksstudio</a></p></div><div id="ftn.idm1873" class="footnote"><p><a href="#idm1873" class="para"><sup class="para">[145] </sup></a><a class="ulink" href="http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe" target="_top">http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe</a></p></div><div id="ftn.idm1877" class="footnote"><p><a href="#idm1877" class="para"><sup class="para">[146] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award</a>; the 2014
5943 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2014" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2014</a>;
5944 the 2015 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1882" class="footnote"><p><a href="#idm1882" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Capítulo 22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5945         Shareable is an online magazine about sharing. Founded in 2009 in the U.S.
5946       </p><p>
5947           <a class="ulink" href="http://www.shareable.net" target="_top">http://www.shareable.net</a>
5948         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding,
5949 crowdfunding (project-based), donations, sponsorships
5950       </p><p><span class="strong"><strong>Interview date</strong></span>: February 24, 2016
5951       </p><p><span class="strong"><strong>Interviewee</strong></span>: Neal Gorenflo, cofounder and
5952 executive editor
5953       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
5954     \textit{
5955         Profile written by Sarah Hinchliff Pearson
5956       }
5957     \end{flushright}</td></tr></table></div><p>
5958       In 2013, Shareable faced an impasse. The nonprofit online publication had
5959 helped start a sharing movement four years prior, but over time, they
5960 watched one part of the movement stray from its ideals. As giants like Uber
5961 and Airbnb gained ground, attention began to center on the <span class="quote">“<span class="quote">sharing
5962 economy</span>”</span> we know now—profit-driven, transactional, and loaded with
5963 venture-capital money. Leaders of corporate start-ups in this domain invited
5964 Shareable to advocate for them. The magazine faced a choice: ride the wave
5965 or stand on principle.
5966     </p><p>
5967       As an organization, Shareable decided to draw a line in the sand.  In 2013,
5968 the cofounder and executive editor Neal Gorenflo wrote an opinion piece in
5969 the PandoDaily that charted Shareable’s new critical stance on the Silicon
5970 Valley version of the sharing economy, while contrasting it with aspects of
5971 the real sharing economy like open-source software, participatory budgeting
5972 (where citizens decide how a public budget is spent), cooperatives, and
5973 more. He wrote, <span class="quote">“<span class="quote">It’s not so much that collaborative consumption is
5974 dead, it’s more that it risks dying as it gets absorbed by the
5975 <span class="quote">‘<span class="quote">Borg.</span>’</span></span>”</span>
5976     </p><p>
5977       Neal said their public critique of the corporate sharing economy defined
5978 what Shareable was and is. He does not think the magazine would still be
5979 around had they chosen differently. <span class="quote">“<span class="quote">We would have gotten another type
5980 of audience, but it would have spelled the end of us,</span>”</span> he
5981 said. <span class="quote">“<span class="quote">We are a small, mission-driven organization. We would never
5982 have been able to weather the criticism that Airbnb and Uber are getting
5983 now.</span>”</span>
5984     </p><p>
5985       Interestingly, impassioned supporters are only a small sliver of Shareable’s
5986 total audience. Most are casual readers who come across a Shareable story
5987 because it happens to align with a project or interest they have. But
5988 choosing principles over the possibility of riding the coattails of the
5989 major corporate players in the sharing space saved Shareable’s
5990 credibility. Although they became detached from the corporate sharing
5991 economy, the online magazine became the voice of the <span class="quote">“<span class="quote">real sharing
5992 economy</span>”</span> and continued to grow their audience.
5993     </p><p>
5994       Shareable is a magazine, but the content they publish is a means to
5995 furthering their role as a leader and catalyst of a movement.  Shareable
5996 became a leader in the movement in 2009. <span class="quote">“<span class="quote">At that time, there was a
5997 sharing movement bubbling beneath the surface, but no one was connecting the
5998 dots,</span>”</span> Neal said. <span class="quote">“<span class="quote">We decided to step into that space and take
5999 on that role.</span>”</span> The small team behind the nonprofit publication truly
6000 believed sharing could be central to solving some of the major problems
6001 human beings face—resource inequality, social isolation, and global warming.
6002     </p><p>
6003       They have worked hard to find ways to tell stories that show different
6004 metrics for success. <span class="quote">“<span class="quote">We wanted to change the notion of what
6005 constitutes the good life,</span>”</span> Neal said. While they started out with a
6006 very broad focus on sharing generally, today they emphasize stories about
6007 the physical commons like <span class="quote">“<span class="quote">sharing cities</span>”</span> (i.e., urban areas
6008 managed in a sustainable, cooperative way), as well as digital platforms
6009 that are run democratically. They particularly focus on how-to content that
6010 help their readers make changes in their own lives and communities.
6011     </p><p>
6012       More than half of Shareable’s stories are written by paid journalists that
6013 are contracted by the magazine.  <span class="quote">“<span class="quote">Particularly in content areas that
6014 are a priority for us, we really want to go deep and control the
6015 quality,</span>”</span> Neal said. The rest of the content is either contributed by
6016 guest writers, often for free, or written by other publications from their
6017 network of content publishers. Shareable is a member of the Post Growth
6018 Alliance, which facilitates the sharing of content and audiences among a
6019 large and growing group of mostly nonprofits.  Each organization gets a
6020 chance to present stories to the group, and the organizations can use and
6021 promote each other’s stories.  Much of the content created by the network is
6022 licensed with Creative Commons.
6023     </p><p>
6024       All of Shareable’s original content is published under the Attribution
6025 license (CC BY), meaning it can be used for any purpose as long as credit is
6026 given to Shareable. Creative Commons licensing is aligned with Shareable’s
6027 vision, mission, and identity. That alone explains the organization’s
6028 embrace of the licenses for their content, but Neal also believes CC
6029 licensing helps them increase their reach. <span class="quote">“<span class="quote">By using CC
6030 licensing,</span>”</span> he said, <span class="quote">“<span class="quote">we realized we could reach far more
6031 people through a formal and informal network of republishers or
6032 affiliates. That has definitely been the case. It’s hard for us to measure
6033 the reach of other media properties, but most of the outlets who republish
6034 our work have much bigger audiences than we do.</span>”</span>
6035     </p><p>
6036       In addition to their regular news and commentary online, Shareable has also
6037 experimented with book publishing. In 2012, they worked with a traditional
6038 publisher to release Share or Die: Voices of the Get Lost Generation in an
6039 Age of Crisis. The CC-licensed book was available in print form for purchase
6040 or online for free. To this day, the book—along with their CC-licensed guide
6041 Policies for Shareable Cities—are two of the biggest generators of traffic
6042 on their website.
6043     </p><p>
6044       In 2016, Shareable self-published a book of curated Shareable stories called
6045 How to: Share, Save Money and Have Fun. The book was available for sale, but
6046 a PDF version of the book was available for free. Shareable plans to offer
6047 the book in upcoming fund-raising campaigns.
6048     </p><p>
6049       This recent book is one of many fund-raising experiments Shareable has
6050 conducted in recent years. Currently, Shareable is primarily funded by
6051 grants from foundations, but they are actively moving toward a more
6052 diversified model. They have organizational sponsors and are working to
6053 expand their base of individual donors.  Ideally, they will eventually be a
6054 hundred percent funded by their audience. Neal believes being fully
6055 community-supported will better represent their vision of the world.
6056     </p><p>
6057       For Shareable, success is very much about their impact on the world. This is
6058 true for Neal, but also for everyone who works for Shareable. <span class="quote">“<span class="quote">We
6059 attract passionate people,</span>”</span> Neal said.  At times, that means
6060 employees work so hard they burn out. Neal tries to stress to the Shareable
6061 team that another part of success is having fun and taking care of yourself
6062 while you do something you love. <span class="quote">“<span class="quote">A central part of human beings is
6063 that we long to be on a great adventure with people we love,</span>”</span> he
6064 said.  <span class="quote">“<span class="quote">We are a species who look over the horizon and imagine and
6065 create new worlds, but we also seek the comfort of hearth and home.</span>”</span>
6066     </p><p>
6067       In 2013, Shareable ran its first crowdfunding campaign to launch their
6068 Sharing Cities Network. Neal said at first they were on pace to fail
6069 spectacularly. They called in their advisers in a panic and asked for
6070 help. The advice they received was simple—<span class="quote">“<span class="quote">Sit your ass in a chair and
6071 start making calls.</span>”</span> That’s exactly what they did, and they ended up
6072 reaching their $50,000 goal. Neal said the campaign helped them reach new
6073 people, but the vast majority of backers were people in their existing base.
6074     </p><p>
6075       For Neal, this symbolized how so much of success comes down to
6076 relationships. Over time, Shareable has invested time and energy into the
6077 relationships they have forged with their readers and supporters. They have
6078 also invested resources into building relationships between their readers
6079 and supporters.
6080     </p><p>
6081       Shareable began hosting events in 2010. These events were designed to bring
6082 the sharing community together. But over time they realized they could reach
6083 far more people if they helped their readers to host their own
6084 events. <span class="quote">“<span class="quote">If we wanted to go big on a conference, there was a huge risk
6085 and huge staffing needs, plus only a fraction of our community could travel
6086 to the event,</span>”</span> Neal said. Enabling others to create their own events
6087 around the globe allowed them to scale up their work more effectively and
6088 reach far more people. Shareable has catalyzed three hundred different
6089 events reaching over twenty thousand people since implementing this strategy
6090 three years ago. Going forward, Shareable is focusing the network on
6091 creating and distributing content meant to spur local action. For instance,
6092 Shareable will publish a new CC-licensed book in 2017 filled with ideas for
6093 their network to implement.
6094     </p><p>
6095       Neal says Shareable stumbled upon this strategy, but it seems to perfectly
6096 encapsulate just how the commons is supposed to work.  Rather than a
6097 one-size-fits-all approach, Shareable puts the tools out there for people
6098 take the ideas and adapt them to their own communities.
6099     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Capítulo 23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6100         Siyavula is a for-profit educational-technology company that creates
6101 textbooks and integrated learning experiences. Founded in 2012 in South
6102 Africa.
6103       </p><p>
6104           <a class="ulink" href="http://www.siyavula.com" target="_top">http://www.siyavula.com</a>
6105         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
6106 services, sponsorships
6107       </p><p><span class="strong"><strong>Interview date</strong></span>: April 5, 2016
6108       </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Horner, CEO
6109       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
6110     \textit{
6111         Profile written by Paul Stacey
6112       }
6113     \end{flushright}</td></tr></table></div><p>
6114       Openness is a key principle for Siyavula. They believe that every learner
6115 and teacher should have access to high-quality educational resources, as
6116 this forms the basis for long-term growth and development. Siyavula has been
6117 a pioneer in creating high-quality open textbooks on mathematics and science
6118 subjects for grades 4 to 12 in South Africa.
6119     </p><p>
6120       In terms of creating an open business model that involves Creative Commons,
6121 Siyavula—and its founder, Mark Horner—have been around the block a few
6122 times. Siyavula has significantly shifted directions and strategies to
6123 survive and prosper. Mark says it’s been very organic.
6124     </p><p>
6125       It all started in 2002, when Mark and several other colleagues at the
6126 University of Cape Town in South Africa founded the Free High School Science
6127 Texts project. Most students in South Africa high schools didn’t have access
6128 to high-quality, comprehensive science and math textbooks, so Mark and his
6129 colleagues set out to write them and make them freely available.
6130     </p><p>
6131       As physicists, Mark and his colleagues were advocates of open-source
6132 software. To make the books open and free, they adopted the Free Software
6133 Foundation’s GNU Free Documentation License.<a href="#ftn.idm1955" class="footnote" name="idm1955"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
6134 documents, to author the books. Over a period of five years, the Free High
6135 School Science Texts project produced math and physical-science textbooks
6136 for grades 10 to 12.
6137     </p><p>
6138       In 2007, the Shuttleworth Foundation offered funding support to make the
6139 textbooks available for trial use at more schools.  Surveys before and after
6140 the textbooks were adopted showed there were no substantial criticisms of
6141 the textbooks’ pedagogical content. This pleased both the authors and
6142 Shuttleworth; Mark remains incredibly proud of this accomplishment.
6143     </p><p>
6144       But the development of new textbooks froze at this stage. Mark shifted his
6145 focus to rural schools, which didn’t have textbooks at all, and looked into
6146 the printing and distribution options. A few sponsors came on board but not
6147 enough to meet the need.
6148     </p><p>
6149       In 2007, Shuttleworth and the Open Society Institute convened a group of
6150 open-education activists for a small but lively meeting in Cape Town. One
6151 result was the Cape Town Open Education Declaration, a statement of
6152 principles, strategies, and commitment to help the open-education movement
6153 grow.<a href="#ftn.idm1961" class="footnote" name="idm1961"><sup class="footnote">[149]</sup></a> Shuttleworth also invited Mark to
6154 run a project writing open content for all subjects for K–12 in
6155 English. That project became Siyavula.
6156     </p><p>
6157       They wrote six original textbooks. A small publishing company offered
6158 Shuttleworth the option to buy out the publisher’s existing K–9 content for
6159 every subject in South African schools in both English and Afrikaans. A deal
6160 was struck, and all the acquired content was licensed with Creative Commons,
6161 significantly expanding the collection beyond the six original books.
6162     </p><p>
6163       Mark wanted to build out the remaining curricula collaboratively through
6164 communities of practice—that is, with fellow educators and writers. Although
6165 sharing is fundamental to teaching, there can be a few challenges when you
6166 create educational resources collectively. One concern is legal. It is
6167 standard practice in education to copy diagrams and snippets of text, but of
6168 course this doesn’t always comply with copyright law. Another concern is
6169 transparency. Sharing what you’ve authored means everyone can see it and
6170 opens you up to criticism. To alleviate these concerns, Mark adopted a
6171 team-based approach to authoring and insisted the curricula be based
6172 entirely on resources with Creative Commons licenses, thereby ensuring they
6173 were safe to share and free from legal repercussions.
6174     </p><p>
6175       Not only did Mark want the resources to be shareable, he wanted all teachers
6176 to be able to remix and edit the content. Mark and his team had to come up
6177 with an open editable format and provide tools for editing. They ended up
6178 putting all the books they’d acquired and authored on a platform called
6179 Connexions.<a href="#ftn.idm1967" class="footnote" name="idm1967"><sup class="footnote">[150]</sup></a> Siyavula trained many
6180 teachers to use Connexions, but it proved to be too complex and the
6181 textbooks were rarely edited.
6182     </p><p>
6183       Then the Shuttleworth Foundation decided to completely restructure its work
6184 as a foundation into a fellowship model (for reasons completely unrelated to
6185 Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
6186 an independent entity and took ownership over it as a Shuttleworth fellow.
6187     </p><p>
6188       Mark and his team experimented with several different strategies.  They
6189 tried creating an authoring and hosting platform called Full Marks so that
6190 teachers could share assessment items. They tried creating a service called
6191 Open Press, where teachers could ask for open educational resources to be
6192 aggregated into a package and printed for them. These services never really
6193 panned out.
6194     </p><p>
6195       Then the South African government approached Siyavula with an interest in
6196 printing out the original six Free High School Science Texts (math and
6197 physical-science textbooks for grades 10 to 12)  for all high school
6198 students in South Africa. Although at this point Siyavula was a bit
6199 discouraged by open educational resources, they saw this as a big
6200 opportunity.
6201     </p><p>
6202       They began to conceive of the six books as having massive marketing
6203 potential for Siyavula. Printing Siyavula books for every kid in South
6204 Africa would give their brand huge exposure and could drive vast amounts of
6205 traffic to their website. In addition to print books, Siyavula could also
6206 make the books available on their website, making it possible for learners
6207 to access them using any device—computer, tablet, or mobile phone.
6208     </p><p>
6209       Mark and his team began imagining what they could develop beyond what was in
6210 the textbooks as a service they charge for. One key thing you can’t do well
6211 in a printed textbook is demonstrate solutions. Typically, a one-line answer
6212 is given at the end of the book but nothing on the process for arriving at
6213 that solution.  Mark and his team developed practice items and detailed
6214 solutions, giving learners plenty of opportunity to test out what they’ve
6215 learned. Furthermore, an algorithm could adapt these practice items to the
6216 individual needs of each learner. They called this service Intelligent
6217 Practice and embedded links to it in the open textbooks.
6218     </p><p>
6219       The costs for using Intelligent Practice were set very low, making it
6220 accessible even to those with limited financial means. Siyavula was going
6221 for large volumes and wide-scale use rather than an expensive product
6222 targeting only the high end of the market.
6223     </p><p>
6224       The government distributed the books to 1.5 million students, but there was
6225 an unexpected wrinkle: the books were delivered late.  Rather than wait,
6226 schools who could afford it provided students with a different textbook. The
6227 Siyavula books were eventually distributed, but with well-off schools mainly
6228 using a different book, the primary market for Siyavula’s Intelligent
6229 Practice service inadvertently became low-income learners.
6230     </p><p>
6231       Siyavula’s site did see a dramatic increase in traffic. They got five
6232 hundred thousand visitors per month to their math site and the same number
6233 to their science site. Two-fifths of the traffic was reading on a
6234 <span class="quote">“<span class="quote">feature phone</span>”</span> (a nonsmartphone with no apps). People on basic
6235 phones were reading math and science on a two-inch screen at all hours of
6236 the day. To Mark, it was quite amazing and spoke to a need they were
6237 servicing.
6238     </p><p>
6239       At first, the Intelligent Practice services could only be paid using a
6240 credit card. This proved problematic, especially for those in the low-income
6241 demographic, as credit cards were not prevalent.  Mark says Siyavula got a
6242 harsh business-model lesson early on. As he describes it, it’s not just
6243 about product, but how you sell it, who the market is, what the price is,
6244 and what the barriers to entry are.
6245     </p><p>
6246       Mark describes this as the first version of Siyavula’s business model: open
6247 textbooks serving as marketing material and driving traffic to your site,
6248 where you can offer a related service and convert some people into a paid
6249 customer.
6250     </p><p>
6251       For Mark a key decision for Siyavula’s business was to focus on how they can
6252 add value on top of their basic service. They’ll charge only if they are
6253 adding unique value. The actual content of the textbook isn’t unique at all,
6254 so Siyavula sees no value in locking it down and charging for it. Mark
6255 contrasts this with traditional publishers who charge over and over again
6256 for the same content without adding value.
6257     </p><p>
6258       Version two of Siyavula’s business model was a big, ambitious idea—scale
6259 up. They also decided to sell the Intelligent Practice service to schools
6260 directly. Schools can subscribe on a per-student, per-subject basis. A
6261 single subscription gives a learner access to a single subject, including
6262 practice content from every grade available for that subject. Lower
6263 subscription rates are provided when there are over two hundred students,
6264 and big schools have a price cap. A 40 percent discount is offered to
6265 schools where both the science and math departments subscribe.
6266     </p><p>
6267       Teachers get a dashboard that allows them to monitor the progress of an
6268 entire class or view an individual learner’s results. They can see the
6269 questions that learners are working on, identify areas of difficulty, and be
6270 more strategic in their teaching. Students also have their own personalized
6271 dashboard, where they can view the sections they’ve practiced, how many
6272 points they’ve earned, and how their performance is improving.
6273     </p><p>
6274       Based on the success of this effort, Siyavula decided to substantially
6275 increase the production of open educational resources so they could provide
6276 the Intelligent Practice service for a wider range of books. Grades 10 to 12
6277 math and science books were reworked each year, and new books created for
6278 grades 4 to 6 and later grades 7 to 9.
6279     </p><p>
6280       In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula
6281 produced a series of natural sciences and technology workbooks for grades 4
6282 to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1986" class="footnote" name="idm1986"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
6283 teacher’s guides and other resources.
6284     </p><p>
6285       Through this experience, Siyavula learned they could get sponsors to help
6286 fund openly licensed textbooks. It helped that Siyavula had by this time
6287 nailed the production model. It cost roughly $150,000 to produce a book in
6288 two languages. Sponsors liked the social-benefit aspect of textbooks
6289 unlocked via a Creative Commons license. They also liked the exposure their
6290 brand got. For roughly $150,000, their logo would be visible on books
6291 distributed to over one million students.
6292     </p><p>
6293       The Siyavula books that are reviewed, approved, and branded by the
6294 government are freely and openly available on Siyavula’s website under an
6295 Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
6296 cannot be modified. Non-government-branded books are available under an
6297 Attribution license (CC BY), allowing others to modify and redistribute the
6298 books.
6299     </p><p>
6300       Although the South African government paid to print and distribute hard
6301 copies of the books to schoolkids, Siyavula itself received no funding from
6302 the government. Siyavula initially tried to convince the government to
6303 provide them with five rand per book (about US35¢). With those funds, Mark
6304 says that Siyavula could have run its entire operation, built a
6305 community-based model for producing more books, and provide Intelligent
6306 Practice for free to every child in the country. But after a lengthy
6307 negotiation, the government said no.
6308     </p><p>
6309       Using Siyavula books generated huge savings for the government.  Providing
6310 students with a traditionally published grade 12 science or math textbook
6311 costs around 250 rand per book (about US$18).  Providing the Siyavula
6312 version cost around 36 rand (about $2.60), a savings of over 200 rand per
6313 book. But none of those savings were passed on to Siyavula. In retrospect,
6314 Mark thinks this may have turned out in their favor as it allowed them to
6315 remain independent from the government.
6316     </p><p>
6317       Just as Siyavula was planning to scale up the production of open textbooks
6318 even more, the South African government changed its textbook policy. To save
6319 costs, the government declared there would be only one authorized textbook
6320 for each grade and each subject. There was no guarantee that Siyavula’s
6321 would be chosen.  This scared away potential sponsors.
6322     </p><p>
6323       Rather than producing more textbooks, Siyavula focused on improving its
6324 Intelligent Practice technology for its existing books. Mark calls this
6325 version three of Siyavula’s business model—focusing on the technology that
6326 provides the revenue-generating service and generating more users of this
6327 service. Version three got a significant boost in 2014 with an investment by
6328 the Omidyar Network (the philanthropic venture started by eBay founder
6329 Pierre Omidyar and his spouse), and continues to be the model Siyavula uses
6330 today.
6331     </p><p>
6332       Mark says sales are way up, and they are really nailing Intelligent
6333 Practice. Schools continue to use their open textbooks. The
6334 government-announced policy that there would be only one textbook per
6335 subject turned out to be highly contentious and is in limbo.
6336     </p><p>
6337       Siyavula is exploring a range of enhancements to their business model. These
6338 include charging a small amount for assessment services provided over the
6339 phone, diversifying their market to all English-speaking countries in
6340 Africa, and setting up a consortium that makes Intelligent Practice free to
6341 all kids by selling the nonpersonal data Intelligent Practice collects.
6342     </p><p>
6343       Siyavula is a for-profit business but one with a social mission.  Their
6344 shareholders’ agreement lists lots of requirements around openness for
6345 Siyavula, including stipulations that content always be put under an open
6346 license and that they can’t charge for something that people volunteered to
6347 do for them. They believe each individual should have access to the
6348 resources and support they need to achieve the education they
6349 deserve. Having educational resources openly licensed with Creative Commons
6350 means they can fulfill their social mission, on top of which they can build
6351 revenue-generating services to sustain the ongoing operation of Siyavula. In
6352 terms of open business models, Mark and Siyavula may have been around the
6353 block a few times, but both he and the company are stronger for it.
6354     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1955" class="footnote"><p><a href="#idm1955" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1961" class="footnote"><p><a href="#idm1961" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1967" class="footnote"><p><a href="#idm1967" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1986" class="footnote"><p><a href="#idm1986" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>Capítulo 24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6355         SparkFun is an online electronics retailer specializing in open
6356 hardware. Founded in 2003 in the U.S.
6357       </p><p>
6358           <a class="ulink" href="http://www.sparkfun.com" target="_top">http://www.sparkfun.com</a>
6359         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
6360 copies (electronics sales)
6361       </p><p><span class="strong"><strong>Interview date</strong></span>: February 29, 2016
6362       </p><p><span class="strong"><strong>Interviewee</strong></span>: Nathan Seidle, founder
6363       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
6364     \textit{
6365         Profile written by Sarah Hinchliff Pearson
6366       }
6367     \end{flushright}</td></tr></table></div><p>
6368       SparkFun founder and former CEO Nathan Seidle has a picture of himself
6369 holding up a clone of a SparkFun product in an electronics market in China,
6370 with a huge grin on his face. He was traveling in China when he came across
6371 their LilyPad wearable technology being made by someone else. His reaction
6372 was glee.
6373     </p><p><span class="quote">“<span class="quote">Being copied is the greatest earmark of flattery and success,</span>”</span>
6374 Nathan said. <span class="quote">“<span class="quote">I thought it was so cool that they were selling to a
6375 market we were never going to get access to otherwise. It was evidence of
6376 our impact on the world.</span>”</span>
6377     </p><p>
6378       This worldview runs through everything SparkFun does. SparkFun is an
6379 electronics manufacturer. The company sells its products directly to the
6380 public online, and it bundles them with educational tools to sell to schools
6381 and teachers. SparkFun applies Creative Commons licenses to all of its
6382 schematics, images, tutorial content, and curricula, so anyone can make
6383 their products on their own. Being copied is part of the design.
6384     </p><p>
6385       Nathan believes open licensing is good for the world. <span class="quote">“<span class="quote">It touches on
6386 our natural human instinct to share,</span>”</span> he said.  But he also strongly
6387 believes it makes SparkFun better at what they do. They encourage copying,
6388 and their products are copied at a very fast rate, often within ten to
6389 twelve weeks of release.  This forces the company to compete on something
6390 other than product design, or what most commonly consider their intellectual
6391 property.
6392     </p><p><span class="quote">“<span class="quote">We compete on business principles,</span>”</span> Nathan said.
6393 <span class="quote">“<span class="quote">Claiming your territory with intellectual property allows you to get
6394 comfy and rest on your laurels. It gives you a safety net. We took away that
6395 safety net.</span>”</span>
6396     </p><p>
6397       The result is an intense company-wide focus on product development and
6398 improvement. <span class="quote">“<span class="quote">Our products are so much better than they were five
6399 years ago,</span>”</span> Nathan said. <span class="quote">“<span class="quote">We used to just sell products. Now
6400 it’s a product plus a video, a seventeen-page hookup guide, and example
6401 firmware on three different platforms to get you up and running faster. We
6402 have gotten better because we had to in order to compete. As painful as it
6403 is for us, it’s better for the customers.</span>”</span>
6404     </p><p>
6405       SparkFun parts are available on eBay for lower prices. But people come
6406 directly to SparkFun because SparkFun makes their lives easier. The example
6407 code works; there is a service number to call; they ship replacement parts
6408 the day they get a service call. They invest heavily in service and
6409 support. <span class="quote">“<span class="quote">I don’t believe businesses should be competing with IP
6410 [intellectual property] barriers,</span>”</span> Nathan said. <span class="quote">“<span class="quote">This is the
6411 stuff they should be competing on.</span>”</span>
6412     </p><p>
6413       SparkFun’s company history began in Nathan’s college dorm room. He spent a
6414 lot of time experimenting with and building electronics, and he realized
6415 there was a void in the market. <span class="quote">“<span class="quote">If you wanted to place an order for
6416 something,</span>”</span> he said, <span class="quote">“<span class="quote">you first had to search far and wide to
6417 find it, and then you had to call or fax someone.</span>”</span> In 2003, during
6418 his third year of college, he registered <a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a>
6419 and started reselling products out of his bedroom. After he graduated, he
6420 started making and selling his own products.
6421     </p><p>
6422       Once he started designing his own products, he began putting the software
6423 and schematics online to help with technical support.  After doing some
6424 research on licensing options, he chose Creative Commons licenses because he
6425 was drawn to the <span class="quote">“<span class="quote">human-readable deeds</span>”</span> that explain the
6426 licensing terms in simple terms.  SparkFun still uses CC licenses for all of
6427 the schematics and firmware for the products they create.
6428     </p><p>
6429       The company has grown from a solo project to a corporation with 140
6430 employees. In 2015, SparkFun earned $33 million in revenue.  Selling
6431 components and widgets to hobbyists, professionals, and artists remains a
6432 major part of SparkFun’s business. They sell their own products, but they
6433 also partner with Arduino (also profiled in this book) by manufacturing
6434 boards for resale using Arduino’s brand.
6435     </p><p>
6436       SparkFun also has an educational department dedicated to creating a hands-on
6437 curriculum to teach students about electronics using prototyping
6438 parts. Because SparkFun has always been dedicated to enabling others to
6439 re-create and fix their products on their own, the more recent focus on
6440 introducing young people to technology is a natural extension of their core
6441 business.
6442     </p><p><span class="quote">“<span class="quote">We have the burden and opportunity to educate the next generation of
6443 technical citizens,</span>”</span> Nathan said. <span class="quote">“<span class="quote">Our goal is to affect the
6444 lives of three hundred and fifty thousand high school students by
6445 2020.</span>”</span>
6446     </p><p>
6447       The Creative Commons license underlying all of SparkFun’s products is
6448 central to this mission. The license not only signals a willingness to
6449 share, but it also expresses a desire for others to get in and tinker with
6450 their products, both to learn and to make their products better. SparkFun
6451 uses the Attribution-ShareAlike license (CC BY-SA), which is a
6452 <span class="quote">“<span class="quote">copyleft</span>”</span> license that allows people to do anything with the
6453 content as long as they provide credit and make any adaptations available
6454 under the same licensing terms.
6455     </p><p>
6456       From the beginning, Nathan has tried to create a work environment at
6457 SparkFun that he himself would want to work in. The result is what appears
6458 to be a pretty fun workplace. The U.S. company is based in Boulder,
6459 Colorado. They have an eighty-thousand-square-foot facility (approximately
6460 seventy-four-hundred square meters), where they design and manufacture their
6461 products. They offer public tours of the space several times a week, and
6462 they open their doors to the public for a competition once a year.
6463     </p><p>
6464       The public event, called the Autonomous Vehicle Competition, brings in a
6465 thousand to two thousand customers and other technology enthusiasts from
6466 around the area to race their own self-created bots against each other,
6467 participate in training workshops, and socialize. From a business
6468 perspective, Nathan says it’s a terrible idea. But they don’t hold the event
6469 for business reasons. <span class="quote">“<span class="quote">The reason we do it is because I get to travel
6470 and have interactions with our customers all the time, but most of our
6471 employees don’t,</span>”</span> he said. <span class="quote">“<span class="quote">This event gives our employees the
6472 opportunity to get face-to-face contact with our customers.</span>”</span> The
6473 event infuses their work with a human element, which makes it more
6474 meaningful.
6475     </p><p>
6476       Nathan has worked hard to imbue a deeper meaning into the work SparkFun
6477 does. The company is, of course, focused on being fiscally responsible, but
6478 they are ultimately driven by something other than money. <span class="quote">“<span class="quote">Profit is
6479 not the goal; it is the outcome of a well-executed plan,</span>”</span> Nathan
6480 said. <span class="quote">“<span class="quote">We focus on having a bigger impact on the world.</span>”</span> Nathan
6481 believes they get some of the brightest and most amazing employees because
6482 they aren’t singularly focused on the bottom line.
6483     </p><p>
6484       The company is committed to transparency and shares all of its financials
6485 with its employees. They also generally strive to avoid being another
6486 soulless corporation. They actively try to reveal the humans behind the
6487 company, and they work to ensure people coming to their site don’t find only
6488 unchanging content.
6489     </p><p>
6490       SparkFun’s customer base is largely made up of industrious electronics
6491 enthusiasts. They have customers who are regularly involved in the company’s
6492 customer support, independently responding to questions in forums and
6493 product-comment sections.  Customers also bring product ideas to the
6494 company. SparkFun regularly sifts through suggestions from customers and
6495 tries to build on them where they can. <span class="quote">“<span class="quote">From the beginning, we have
6496 been listening to the community,</span>”</span> Nathan said.  <span class="quote">“<span class="quote">Customers
6497 would identify a pain point, and we would design something to address
6498 it.</span>”</span>
6499     </p><p>
6500       However, this sort of customer engagement does not always translate to
6501 people actively contributing to SparkFun’s projects.  The company has a
6502 public repository of software code for each of its devices online. On a
6503 particularly active project, there will only be about two dozen people
6504 contributing significant improvements. The vast majority of projects are
6505 relatively untouched by the public. <span class="quote">“<span class="quote">There is a theory that if you
6506 open-source it, they will come,</span>”</span> Nathan said. <span class="quote">“<span class="quote">That’s not
6507 really true.</span>”</span>
6508     </p><p>
6509       Rather than focusing on cocreation with their customers, SparkFun instead
6510 focuses on enabling people to copy, tinker, and improve products on their
6511 own. They heavily invest in tutorials and other material designed to help
6512 people understand how the products work so they can fix and improve things
6513 independently. <span class="quote">“<span class="quote">What gives me joy is when people take open-source
6514 layouts and then build their own circuit boards from our designs,</span>”</span>
6515 Nathan said.
6516     </p><p>
6517       Obviously, opening up the design of their products is a necessary step if
6518 their goal is to empower the public. Nathan also firmly believes it makes
6519 them more money because it requires them to focus on how to provide maximum
6520 value. Rather than designing a new product and protecting it in order to
6521 extract as much money as possible from it, they release the keys necessary
6522 for others to build it themselves and then spend company time and resources
6523 on innovation and service. From a short-term perspective, SparkFun may lose
6524 a few dollars when others copy their products. But in the long run, it makes
6525 them a more nimble, innovative business. In other words, it makes them the
6526 kind of company they set out to be.
6527     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Capítulo 25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6528         TeachAIDS is a nonprofit that creates educational materials designed to
6529 teach people around the world about HIV and AIDS.  Founded in 2005 in the
6530 U.S.
6531       </p><p>
6532           <a class="ulink" href="http://teachaids.org" target="_top">http://teachaids.org</a>
6533         </p><p><span class="strong"><strong>Revenue model</strong></span>: sponsorships
6534       </p><p><span class="strong"><strong>Interview date</strong></span>: March 24, 2016
6535       </p><p><span class="strong"><strong>Interviewees</strong></span>: Piya Sorcar, the CEO, and
6536 Shuman Ghosemajumder, the chair
6537       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
6538     \textit{
6539         Profile written by Sarah Hinchliff Pearson
6540       }
6541     \end{flushright}</td></tr></table></div><p>
6542       TeachAIDS is an unconventional media company with a conventional revenue
6543 model. Like most media companies, they are subsidized by
6544 advertising. Corporations pay to have their logos appear on the educational
6545 materials TeachAIDS distributes.
6546     </p><p>
6547       But unlike most media companies, Teach-AIDS is a nonprofit organization with
6548 a purely social mission. TeachAIDS is dedicated to educating the global
6549 population about HIV and AIDS, particularly in parts of the world where
6550 education efforts have been historically unsuccessful. Their educational
6551 content is conveyed through interactive software, using methods based on the
6552 latest research about how people learn. TeachAIDS serves content in more
6553 than eighty countries around the world. In each instance, the content is
6554 translated to the local language and adjusted to conform to local norms and
6555 customs. All content is free and made available under a Creative Commons
6556 license.
6557     </p><p>
6558       TeachAIDS is a labor of love for founder and CEO Piya Sorcar, who earns a
6559 salary of one dollar per year from the nonprofit. The project grew out of
6560 research she was doing while pursuing her doctorate at Stanford
6561 University. She was reading reports about India, noting it would be the next
6562 hot zone of people living with HIV. Despite international and national
6563 entities pouring in hundreds of millions of dollars on HIV-prevention
6564 efforts, the reports showed knowledge levels were still low. People were
6565 unaware of whether the virus could be transmitted through coughing and
6566 sneezing, for instance. Supported by an interdisciplinary team of experts at
6567 Stanford, Piya conducted similar studies, which corroborated the previous
6568 research. They found that the primary cause of the limited understanding was
6569 that HIV, and issues relating to it, were often considered too taboo to
6570 discuss comprehensively. The other major problem was that most of the
6571 education on this topic was being taught through television advertising,
6572 billboards, and other mass-media campaigns, which meant people were only
6573 receiving bits and pieces of information.
6574     </p><p>
6575       In late 2005, Piya and her team used research-based design to create new
6576 educational materials and worked with local partners in India to help
6577 distribute them. As soon as the animated software was posted online, Piya’s
6578 team started receiving requests from individuals and governments who were
6579 interested in bringing this model to more countries. <span class="quote">“<span class="quote">We realized
6580 fairly quickly that educating large populations about a topic that was
6581 considered taboo would be challenging. We began by identifying optimal local
6582 partners and worked toward creating an effective, culturally appropriate
6583 education,</span>”</span> Piya said.
6584     </p><p>
6585       Very shortly after the initial release, Piya’s team decided to spin the
6586 endeavor into an independent nonprofit out of Stanford University. They also
6587 decided to use Creative Commons licenses on the materials.
6588     </p><p>
6589       Given their educational mission, TeachAIDS had an obvious interest in seeing
6590 the materials as widely shared as possible. But they also needed to preserve
6591 the integrity of the medical information in the content. They chose the
6592 Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which essentially
6593 gives the public the right to distribute only verbatim copies of the
6594 content, and for noncommercial purposes. <span class="quote">“<span class="quote">We wanted attribution for
6595 TeachAIDS, and we couldn’t stand by derivatives without vetting
6596 them,</span>”</span> the cofounder and chair Shuman Ghosemajumder said.  <span class="quote">“<span class="quote">It
6597 was almost a no-brainer to go with a CC license because it was a
6598 plug-and-play solution to this exact problem. It has allowed us to scale our
6599 materials safely and quickly worldwide while preserving our content and
6600 protecting us at the same time.</span>”</span>
6601     </p><p>
6602       Choosing a license that does not allow adaptation of the content was an
6603 outgrowth of the careful precision with which TeachAIDS crafts their
6604 content. The organization invests heavily in research and testing to
6605 determine the best method of conveying the information. <span class="quote">“<span class="quote">Creating
6606 high-quality content is what matters most to us,</span>”</span> Piya
6607 said. <span class="quote">“<span class="quote">Research drives everything we do.</span>”</span>
6608     </p><p>
6609       One important finding was that people accept the message best when it comes
6610 from familiar voices they trust and admire. To achieve this, TeachAIDS
6611 researches cultural icons that would best resonate with their target
6612 audiences and recruits them to donate their likenesses and voices for use in
6613 the animated software. The celebrities involved vary for each localized
6614 version of the materials.
6615     </p><p>
6616       Localization is probably the single-most important aspect of the way
6617 TeachAIDS creates its content. While each regional version builds from the
6618 same core scientific materials, they pour a lot of resources into
6619 customizing the content for a particular population. Because they use a CC
6620 license that does not allow the public to adapt the content, TeachAIDS
6621 retains careful control over the localization process. The content is
6622 translated into the local language, but there are also changes in substance
6623 and format to reflect cultural differences. This process results in minor
6624 changes, like choosing different idioms based on the local language, and
6625 significant changes, like creating gendered versions for places where people
6626 are more likely to accept information from someone of the same gender.
6627     </p><p>
6628       The localization process relies heavily on volunteers. Their volunteer base
6629 is deeply committed to the cause, and the organization has had better luck
6630 controlling the quality of the materials when they tap volunteers instead of
6631 using paid translators. For quality control, TeachAIDS has three separate
6632 volunteer teams translate the materials from English to the local language
6633 and customize the content based on local customs and norms. Those three
6634 versions are then analyzed and combined into a single master
6635 translation. TeachAIDS has additional teams of volunteers then translate
6636 that version back into English to see how well it lines up with the original
6637 materials. They repeat this process until they reach a translated version
6638 that meets their standards. For the Tibetan version, they went through this
6639 cycle eleven times.
6640     </p><p>
6641       TeachAIDS employs full-time employees, contractors, and volunteers, all in
6642 different capacities and organizational configurations. They are careful to
6643 use people from diverse backgrounds to create the materials, including
6644 teachers, students, and doctors, as well as individuals experienced in
6645 working in the NGO space. This diversity and breadth of knowledge help
6646 ensure their materials resonate with people from all walks of life.
6647 Additionally, TeachAIDS works closely with film writers and directors to
6648 help keep the concepts entertaining and easy to understand. The inclusive,
6649 but highly controlled, creative process is undertaken entirely by people who
6650 are specifically brought on to help with a particular project, rather than
6651 ongoing staff. The final product they create is designed to require zero
6652 training for people to implement in practice. <span class="quote">“<span class="quote">In our research, we
6653 found we can’t depend on people passing on the information correctly, even
6654 if they have the best of intentions,</span>”</span> Piya said.  <span class="quote">“<span class="quote">We need
6655 materials where you can push play and they will work.</span>”</span>
6656     </p><p>
6657       Piya’s team was able to produce all of these versions over several years
6658 with a head count that never exceeded eight full-time employees. The
6659 organization is able to reduce costs by relying heavily on volunteers and
6660 in-kind donations. Nevertheless, the nonprofit needed a sustainable revenue
6661 model to subsidize content creation and physical distribution of the
6662 materials. Charging even a low price was simply not an
6663 option. <span class="quote">“<span class="quote">Educators from various nonprofits around the world were just
6664 creating their own materials using whatever they could find for free
6665 online,</span>”</span> Shuman said. <span class="quote">“<span class="quote">The only way to persuade them to use our
6666 highly effective model was to make it completely free.</span>”</span>
6667     </p><p>
6668       Like many content creators offering their work for free, they settled on
6669 advertising as a funding model. But they were extremely careful not to let
6670 the advertising compromise their credibility or undermine the heavy
6671 investment they put into creating quality content. Sponsors of the content
6672 have no ability to influence the substance of the content, and they cannot
6673 even create advertising content. Sponsors only get the right to have their
6674 logo appear before and after the educational content. All of the content
6675 remains branded as TeachAIDS.
6676     </p><p>
6677       TeachAIDS is careful not to seek funding to cover the costs of a specific
6678 project. Instead, sponsorships are structured as unrestricted donations to
6679 the nonprofit. This gives the nonprofit more stability, but even more
6680 importantly, it enables them to subsidize projects being localized for an
6681 area with no sponsors.  <span class="quote">“<span class="quote">If we just created versions based on where we
6682 could get sponsorships, we would only have materials for wealthier
6683 countries,</span>”</span> Shuman said.
6684     </p><p>
6685       As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">“<span class="quote">When we go into a new
6686 country, various companies hear about us and reach out to us,</span>”</span> Piya
6687 said. <span class="quote">“<span class="quote">We don’t have to do much to find or attract them.</span>”</span> They
6688 believe the sponsorships are easy to sell because they offer so much value
6689 to sponsors. TeachAIDS sponsorships give corporations the chance to reach
6690 new eyeballs with their brand, but at a much lower cost than other
6691 advertising channels. The audience for TeachAIDS content also tends to skew
6692 young, which is often a desirable demographic for brands. Unlike traditional
6693 advertising, the content is not time-sensitive, so an investment in a
6694 sponsorship can benefit a brand for many years to come.
6695     </p><p>
6696       Importantly, the value to corporate sponsors goes beyond commercial
6697 considerations. As a nonprofit with a clearly articulated social mission,
6698 corporate sponsorships are donations to a cause. <span class="quote">“<span class="quote">This is something
6699 companies can be proud of internally,</span>”</span> Shuman said. Some companies
6700 have even built publicity campaigns around the fact that they have sponsored
6701 these initiatives.
6702     </p><p>
6703       The core mission of TeachAIDS—ensuring global access to life-saving
6704 education—is at the root of everything the organization does. It underpins
6705 the work; it motivates the funders. The CC license on the materials they
6706 create furthers that mission, allowing them to safely and quickly scale
6707 their materials worldwide. <span class="quote">“<span class="quote">The Creative Commons license has been a
6708 game changer for TeachAIDS,</span>”</span> Piya said.
6709     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Capítulo 26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6710         Tribe of Noise is a for-profit online music platform serving the film, TV,
6711 video, gaming, and in-store-media industries. Founded in 2008 in the
6712 Netherlands.
6713       </p><p>
6714           <a class="ulink" href="http://www.tribeofnoise.com" target="_top">http://www.tribeofnoise.com</a>
6715         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
6716       </p><p><span class="strong"><strong>Interview date</strong></span>: January 26, 2016
6717       </p><p><span class="strong"><strong>Interviewee</strong></span>: Hessel van Oorschot,
6718 cofounder
6719       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
6720     \textit{
6721         Profile written by Paul Stacey
6722       }
6723     \end{flushright}</td></tr></table></div><p>
6724       In the early 2000s, Hessel van Oorschot was an entrepreneur running a
6725 business where he coached other midsize entrepreneurs how to create an
6726 online business. He also coauthored a number of workbooks for small- to
6727 medium-size enterprises to use to optimize their business for the
6728 Web. Through this early work, Hessel became familiar with the principles of
6729 open licensing, including the use of open-source software and Creative
6730 Commons.
6731     </p><p>
6732       In 2005, Hessel and Sandra Brandenburg launched a niche video-production
6733 initiative. Almost immediately, they ran into issues around finding and
6734 licensing music tracks. All they could find was standard, cold
6735 stock-music. They thought of looking up websites where you could license
6736 music directly from the musician without going through record labels or
6737 agents. But in 2005, the ability to directly license music from a rights
6738 holder was not readily available.
6739     </p><p>
6740       They hired two lawyers to investigate further, and while they uncovered five
6741 or six examples, Hessel found the business models lacking. The lawyers
6742 expressed interest in being their legal team should they decide to pursue
6743 this as an entrepreneurial opportunity. Hessel says, <span class="quote">“<span class="quote">When lawyers are
6744 interested in a venture like this, you might have something special.</span>”</span>
6745 So after some more research, in early 2008, Hessel and Sandra decided to
6746 build a platform.
6747     </p><p>
6748       Building a platform posed a real chicken-and-egg problem. The platform had
6749 to build an online community of music-rights holders and, at the same time,
6750 provide the community with information and ideas about how the new economy
6751 works. Community willingness to try new music business models requires a
6752 trust relationship.
6753     </p><p>
6754       In July 2008, Tribe of Noise opened its virtual doors with a couple hundred
6755 musicians willing to use the CC BY-SA license (Attribution-ShareAlike) for a
6756 limited part of their repertoire.  The two entrepreneurs wanted to take the
6757 pain away for media makers who wanted to license music and solve the
6758 problems the two had personally experienced finding this music.
6759     </p><p>
6760       As they were growing the community, Hessel got a phone call from a company
6761 that made in-store music playlists asking if they had enough music licensed
6762 with Creative Commons that they could use.  Stores need quality,
6763 good-listening music but not necessarily hits, a bit like a radio show
6764 without the DJ. This opened a new opportunity for Tribe of Noise. They
6765 started their In-store Music Service, using music (licensed with CC BY-SA)
6766 uploaded by the Tribe of Noise community of musicians.<a href="#ftn.idm2121" class="footnote" name="idm2121"><sup class="footnote">[152]</sup></a>
6767     </p><p>
6768       In most countries, artists, authors, and musicians join a collecting society
6769 that manages the licensing and helps collect the royalties. Copyright
6770 collecting societies in the European Union usually hold monopolies in their
6771 respective national markets. In addition, they require their members to
6772 transfer exclusive administration rights to them of all of their works.
6773 This complicates the picture for Tribe of Noise, who wants to represent
6774 artists, or at least a portion of their repertoire.  Hessel and his legal
6775 team reached out to collecting societies, starting with those in the
6776 Netherlands. What would be the best legal way forward that would respect the
6777 wishes of composers and musicians who’d be interested in trying out new
6778 models like the In-store Music Service? Collecting societies at first were
6779 hesitant and said no, but Tribe of Noise persisted arguing that they
6780 primarily work with unknown artists and provide them exposure in parts of
6781 the world where they don’t get airtime normally and a source of revenue—and
6782 this convinced them that it was OK. However, Hessel says, <span class="quote">“<span class="quote">We are
6783 still fighting for a good cause every single day.</span>”</span>
6784     </p><p>
6785       Instead of building a large sales force, Tribe of Noise partnered with big
6786 organizations who have lots of clients and can act as a kind of Tribe of
6787 Noise reseller. The largest telecom network in the Netherlands, for example,
6788 sells Tribe’s In-store Music Service subscriptions to their business
6789 clients, which include fashion retailers and fitness centers. They have a
6790 similar deal with the leading trade association representing hotels and
6791 restaurants in the country. Hessel hopes to <span class="quote">“<span class="quote">copy and paste</span>”</span>
6792 this service into other countries where collecting societies understand what
6793 you can do with Creative Commons. Outside of the Netherlands, early
6794 adoptions have happened in Scandinavia, Belgium, and the U.S.
6795     </p><p>
6796       Tribe of Noise doesn’t pay the musicians up front; they get paid when their
6797 music ends up in Tribe of Noise’s in-store music channels. The musicians’
6798 share is 42.5 percent. It’s not uncommon in a traditional model for the
6799 artist to get only 5 to 10 percent, so a share of over 40 percent is a
6800 significantly better deal.  Here’s how they give an example on their
6801 website:
6802     </p><p>
6803       A few of your songs [licensed with CC BY-SA], for example five in total, are
6804 selected for a bespoke in-store music channel broadcasting at a large
6805 retailer with 1,000 stores nationwide. In this case the overall playlist
6806 contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
6807 agreed with this retailer is US$12 per month per play-out. So if 42.5% is
6808 shared with the Tribe musicians in this playlist and your share is 1.43%,
6809 you end up with US$12 * 1000 stores * 0.425 * 0.0143 = US$73 per
6810 month.<a href="#ftn.idm2130" class="footnote" name="idm2130"><sup class="footnote">[153]</sup></a>
6811     </p><p>
6812       Tribe of Noise has another model that does not involve Creative Commons. In
6813 a survey with members, most said they liked the exposure using Creative
6814 Commons gets them and the way it lets them reach out to others to share and
6815 remix. However, they had a bit of a mental struggle with Creative Commons
6816 licenses being perpetual.  A lot of musicians have the mind-set that one day
6817 one of their songs may become an overnight hit. If that happened the CC
6818 BY-SA license would preclude them getting rich off the sale of that song.
6819     </p><p>
6820       Hessel’s legal team took this feedback and created a second model and
6821 separate area of the platform called Tribe of Noise Pro. Songs uploaded to
6822 Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
6823 instead created a <span class="quote">“<span class="quote">nonexclusive exploitation</span>”</span> contract, similar
6824 to a Creative Commons license but allowing musicians to opt out whenever
6825 they want. When you opt out, Tribe of Noise agrees to take your music off
6826 the Tribe of Noise platform within one to two months. This lets the musician
6827 reuse their song for a better deal.
6828     </p><p>
6829       Tribe of Noise Pro is primarily geared toward media makers who are looking
6830 for music. If they buy a license from this catalog, they don’t have to state
6831 the name of the creator; they just license the song for a specific
6832 amount. This is a big plus for media makers.  And musicians can pull their
6833 repertoire at any time. Hessel sees this as a more direct and clean deal.
6834     </p><p>
6835       Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and
6836 the community area of Tribe of Noises. There aren’t that many artists who
6837 upload only to Tribe of Noise Pro, which has a smaller repertoire of music
6838 than the community area.
6839     </p><p>
6840       Hessel sees the two as complementary. Both are needed for the model to
6841 work. With a whole generation of musicians interested in the sharing
6842 economy, the community area of Tribe of Noise is where they can build trust,
6843 create exposure, and generate money. And after that, musicians may become
6844 more interested in exploring other models like Tribe of Noise Pro.
6845     </p><p>
6846       Every musician who joins Tribe of Noise gets their own home page and free
6847 unlimited Web space to upload as much of their own music as they like. Tribe
6848 of Noise is also a social network; fellow musicians and professionals can
6849 vote for, comment on, and like your music. Community managers interact with
6850 and support members, and music supervisors pick and choose from the uploaded
6851 songs for in-store play or to promote them to media producers. Members
6852 really like having people working for the platform who truly engage with
6853 them.
6854     </p><p>
6855       Another way Tribe of Noise creates community and interest is with contests,
6856 which are organized in partnership with Tribe of Noise clients. The client
6857 specifies what they want, and any member can submit a song. Contests usually
6858 involve prizes, exposure, and money. In addition to building member
6859 engagement, contests help members learn how to work with clients: listening
6860 to them, understanding what they want, and creating a song to meet that
6861 need.
6862     </p><p>
6863       Tribe of Noise now has twenty-seven thousand members from 192 countries, and
6864 many are exploring do-it-yourself models for generating revenue. Some came
6865 from music labels and publishers, having gone through the traditional way of
6866 music licensing and now seeing if this new model makes sense for
6867 them. Others are young musicians, who grew up with a DIY mentality and see
6868 little reason to sign with a third party or hand over some of the
6869 control. Still a small but growing group of Tribe members are pursuing a
6870 hybrid model by licensing some of their songs under CC BY-SA and opting in
6871 others with collecting societies like ASCAP or BMI.
6872     </p><p>
6873       It’s not uncommon for performance-rights organizations, record labels, or
6874 music publishers to sign contracts with musicians based on exclusivity. Such
6875 an arrangement prevents those musicians from uploading their music to Tribe
6876 of Noise. In the United States, you can have a collecting society handle
6877 only some of your tracks, whereas in many countries in Europe, a collecting
6878 society prefers to represent your entire repertoire (although the European
6879 Commission is making some changes). Tribe of Noise deals with this issue all
6880 the time and gives you a warning whenever you upload a song. If collecting
6881 societies are willing to be open and flexible and do the most they can for
6882 their members, then they can consider organizations like Tribe of Noise as a
6883 nice add-on, generating more exposure and revenue for the musicians they
6884 represent. So far, Tribe of Noise has been able to make all this work
6885 without litigation.
6886     </p><p>
6887       For Hessel the key to Tribe of Noise’s success is trust. The fact that
6888 Creative Commons licenses work the same way all over the world and have been
6889 translated into all languages really helps build that trust. Tribe of Noise
6890 believes in creating a model where they work together with musicians. They
6891 can only do that if they have a live and kicking community, with people who
6892 think that the Tribe of Noise team has their best interests in
6893 mind. Creative Commons makes it possible to create a new business model for
6894 music, a model that’s based on trust.
6895     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2121" class="footnote"><p><a href="#idm2121" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2130" class="footnote"><p><a href="#idm2130" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>Capítulo 27. Wikimedia Foundation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6896         The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia
6897 and its sister projects. Founded in 2003 in the U.S.
6898       </p><p>
6899           <a class="ulink" href="http://wikimediafoundation.org" target="_top">http://wikimediafoundation.org</a>
6900         </p><p><span class="strong"><strong>Revenue model</strong></span>: donations
6901       </p><p><span class="strong"><strong>Interview date</strong></span>: December 18, 2015
6902       </p><p><span class="strong"><strong>Interviewees</strong></span>: Luis Villa, former Chief
6903 Officer of Community Engagement, and Stephen LaPorte, legal counsel
6904       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
6905     \textit{
6906         Profile written by Sarah Hinchliff Pearson
6907       }
6908     \end{flushright}</td></tr></table></div><p>
6909       Nearly every person with an online presence knows Wikipedia.
6910     </p><p>
6911       In many ways, it is the preeminent open project: The online encyclopedia is
6912 created entirely by volunteers. Anyone in the world can edit the
6913 articles. All of the content is available for free to anyone online. All of
6914 the content is released under a Creative Commons license that enables people
6915 to reuse and adapt it for any purpose.
6916     </p><p>
6917       As of December 2016, there were more than forty-two million articles in the
6918 295 language editions of the online encyclopedia, according to—what
6919 else?—the Wikipedia article about Wikipedia.
6920     </p><p>
6921       The Wikimedia Foundation is a U.S.-based nonprofit organization that owns
6922 the Wikipedia domain name and hosts the site, along with many other related
6923 sites like Wikidata and Wikimedia Commons. The foundation employs about two
6924 hundred and eighty people, who all work to support the projects it
6925 hosts. But the true heart of Wikipedia and its sister projects is its
6926 community. The numbers of people in the community are variable, but about
6927 seventy-five thousand volunteers edit and improve Wikipedia articles every
6928 month. Volunteers are organized in a variety of ways across the globe,
6929 including formal Wikimedia chapters (mostly national), groups focused on a
6930 particular theme, user groups, and many thousands who are not connected to a
6931 particular organization.
6932     </p><p>
6933       As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">“<span class="quote">There is a common
6934 saying that Wikipedia works in practice but not in theory.</span>”</span> While it
6935 undoubtedly has its challenges and flaws, Wikipedia and its sister projects
6936 are a striking testament to the power of human collaboration.
6937     </p><p>
6938       Because of its extraordinary breadth and scope, it does feel a bit like a
6939 unicorn. Indeed, there is nothing else like Wikipedia.  Still, much of what
6940 makes the projects successful—community, transparency, a strong mission,
6941 trust—are consistent with what it takes to be successfully Made with
6942 Creative Commons more generally. With Wikipedia, everything just happens at
6943 an unprecedented scale.
6944     </p><p>
6945       The story of Wikipedia has been told many times. For our purposes, it is
6946 enough to know the experiment started in 2001 at a small scale, inspired by
6947 the crazy notion that perhaps a truly open, collaborative project could
6948 create something meaningful. At this point, Wikipedia is so ubiquitous and
6949 ingrained in our digital lives that the fact of its existence seems less
6950 remarkable. But outside of software, Wikipedia is perhaps the single most
6951 stunning example of successful community cocreation. Every day, seven
6952 thousand new articles are created on Wikipedia, and nearly fifteen thousand
6953 edits are made every hour.
6954     </p><p>
6955       The nature of the content the community creates is ideal for asynchronous
6956 cocreation. <span class="quote">“<span class="quote">An encyclopedia is something where incremental community
6957 improvement really works,</span>”</span> Luis Villa, former Chief Officer of
6958 Community Engagement, told us. The rules and processes that govern
6959 cocreation on Wikipedia and its sister projects are all community-driven and
6960 vary by language edition. There are entire books written on the intricacies
6961 of their systems, but generally speaking, there are very few exceptions to
6962 the rule that anyone can edit any article, even without an account on their
6963 system. The extensive peer-review process includes elaborate systems to
6964 resolve disputes, methods for managing particularly controversial subject
6965 areas, talk pages explaining decisions, and much, much more. The Wikimedia
6966 Foundation’s decision to leave governance of the projects to the community
6967 is very deliberate. <span class="quote">“<span class="quote">We look at the things that the community can do
6968 well, and we want to let them do those things,</span>”</span> Stephen told
6969 us. Instead, the foundation focuses its time and resources on what the
6970 community cannot do as effectively, like the software engineering that
6971 supports the technical infrastructure of the sites. In 2015-16, about half
6972 of the foundation’s budget went to direct support for the Wikimedia sites.
6973     </p><p>
6974       Some of that is directed at servers and general IT support, but the
6975 foundation also invests a significant amount on architecture designed to
6976 help the site function as effectively as possible.  <span class="quote">“<span class="quote">There is a
6977 constantly evolving system to keep the balance in place to avoid Wikipedia
6978 becoming the world’s biggest graffiti wall,</span>”</span> Luis said. Depending on
6979 how you measure it, somewhere between 90 to 98 percent of edits to Wikipedia
6980 are positive. Some portion of that success is attributable to the tools
6981 Wikimedia has in place to try to incentivize good actors.  <span class="quote">“<span class="quote">The secret
6982 to having any healthy community is bringing back the right people,</span>”</span>
6983 Luis said. <span class="quote">“<span class="quote">Vandals tend to get bored and go away. That is partially
6984 our model working, and partially just human nature.</span>”</span> Most of the
6985 time, people want to do the right thing.
6986     </p><p>
6987       Wikipedia not only relies on good behavior within its community and on its
6988 sites, but also by everyone else once the content leaves Wikipedia. All of
6989 the text of Wikipedia is available under an Attribution-ShareAlike license
6990 (CC BY-SA), which means it can be used for any purpose and modified so long
6991 as credit is given and anything new is shared back with the public under the
6992 same license. In theory, that means anyone can copy the content and start a
6993 new Wikipedia. But as Stephen explained, <span class="quote">“<span class="quote">Being open has only made
6994 Wikipedia bigger and stronger. The desire to protect is not always what is
6995 best for everyone.</span>”</span>
6996     </p><p>
6997       Of course, the primary reason no one has successfully co-opted Wikipedia is
6998 that copycat efforts do not have the Wikipedia community to sustain what
6999 they do. Wikipedia is not simply a source of up-to-the-minute content on
7000 every given topic—it is also a global patchwork of humans working together
7001 in a million different ways, in a million different capacities, for a
7002 million different reasons. While many have tried to guess what makes
7003 Wikipedia work as well it does, the fact is there is no single
7004 explanation. <span class="quote">“<span class="quote">In a movement as large as ours, there is an incredible
7005 diversity of motivations,</span>”</span> Stephen said. For example, there is one
7006 editor of the English Wikipedia edition who has corrected a single
7007 grammatical error in articles more than forty-eight thousand
7008 times.<a href="#ftn.idm2176" class="footnote" name="idm2176"><sup class="footnote">[154]</sup></a> Only a fraction of Wikipedia
7009 users are also editors.  But editing is not the only way to contribute to
7010 Wikipedia.  <span class="quote">“<span class="quote">Some donate text, some donate images, some donate
7011 financially,</span>”</span> Stephen told us. <span class="quote">“<span class="quote">They are all
7012 contributors.</span>”</span>
7013     </p><p>
7014       But the vast majority of us who use Wikipedia are not contributors; we are
7015 passive readers. The Wikimedia Foundation survives primarily on individual
7016 donations, with about $15 as the average. Because Wikipedia is one of the
7017 ten most popular websites in terms of total page views, donations from a
7018 small portion of that audience can translate into a lot of money. In the
7019 2015-16 fiscal year, they received more than $77 million from more than five
7020 million donors.
7021     </p><p>
7022       The foundation has a fund-raising team that works year-round to raise money,
7023 but the bulk of their revenue comes in during the December campaign in
7024 Australia, Canada, Ireland, New Zealand, the United Kingdom, and the United
7025 States. They engage in extensive user testing and research to maximize the
7026 reach of their fund-raising campaigns. Their basic fund-raising message is
7027 simple: We provide our readers and the world immense value, so give
7028 back. Every little bit helps. With enough eyeballs, they are right.
7029     </p><p>
7030       The vision of the Wikimedia Foundation is a world in which every single
7031 human being can freely share in the sum of all knowledge.  They work to
7032 realize this vision by empowering people around the globe to create
7033 educational content made freely available under an open license or in the
7034 public domain. Stephen and Luis said the mission, which is rooted in the
7035 same philosophy behind Creative Commons, drives everything the foundation
7036 does.
7037     </p><p>
7038       The philosophy behind the endeavor also enables the foundation to be
7039 financially sustainable. It instills trust in their readership, which is
7040 critical for a revenue strategy that relies on reader donations. It also
7041 instills trust in their community.
7042     </p><p>
7043       Any given edit on Wikipedia could be motivated by nearly an infinite number
7044 of reasons. But the social mission of the project is what binds the global
7045 community together. <span class="quote">“<span class="quote">Wikipedia is an example of how a mission can
7046 motivate an entire movement,</span>”</span> Stephen told us.
7047     </p><p>
7048       Of course, what results from that movement is one of the Internet’s great
7049 public resources. <span class="quote">“<span class="quote">The Internet has a lot of businesses and stores,
7050 but it is missing the digital equivalent of parks and open public
7051 spaces,</span>”</span> Stephen said.  <span class="quote">“<span class="quote">Wikipedia has found a way to be that
7052 open public space.</span>”</span>
7053     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2176" class="footnote"><p><a href="#idm2176" class="para"><sup class="para">[154] </sup></a><a class="ulink" href="http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/" target="_top">http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/</a></p></div></div></div></div>\chapter*{<title>Bibliography</title>}\addcontentsline{toc}{chapter}{<title>Bibliography</title>}<p>
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7215 People Help. New York: Grand Central, 2014.
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7217     Pekel, Joris. Democratising the Rijksmuseum: Why Did the Rijksmuseum Make
7218 Available Their Highest Quality Material without Restrictions, and What Are
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7222     Ramos, José Maria, ed. The City as Commons: A Policy Reader.  Melbourne,
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7226     Raymond, Eric S. The Cathedral and the Bazaar: Musings on Linux and Open
7227 Source by an Accidental Revolutionary. Rev. ed. Sebastopol, CA: O’Reilly
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7230     Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous
7231 Innovation to Create Radically Successful Businesses. New York: Crown
7232 Business, 2011.
7233   </p><p>
7234     Rifkin, Jeremy. The Zero Marginal Cost Society: The Internet of Things, the
7235 Collaborative Commons, and the Eclipse of Capitalism.  New York: Palgrave
7236 Macmillan, 2014.
7237   </p><p>
7238     Rowe, Jonathan. Our Common Wealth. San Francisco: Berrett-Koehler, 2013.
7239   </p><p>
7240     Rushkoff, Douglas. Throwing Rocks at the Google Bus: How Growth Became the
7241 Enemy of Prosperity. New York: Portfolio, 2016.
7242   </p><p>
7243     Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets. New
7244 York: Farrar, Straus and Giroux, 2012.
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7246     Shirky, Clay. Cognitive Surplus: How Technology Makes Consumers into
7247 Collaborators. London, England: Penguin Books, 2010.
7248   </p><p>
7249     Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York: OR
7250 Books, 2015.
7251   </p><p>
7252     Stephany, Alex. The Business of Sharing: Making in the New Sharing
7253 Economy. New York: Palgrave Macmillan, 2015.
7254   </p><p>
7255     Stepper, John. Working Out Loud: For a Better Career and Life. New York:
7256 Ikigai Press, 2015.
7257   </p><p>
7258     Sull, Donald, and Kathleen M. Eisenhardt. Simple Rules: How to Thrive in a
7259 Complex World. Boston: Houghton Mifflin Harcourt, 2015.
7260   </p><p>
7261     Sundararajan, Arun. The Sharing Economy: The End of Employment and the Rise
7262 of Crowd-Based Capitalism. Cambridge, MA: MIT Press, 2016.
7263   </p><p>
7264     Surowiecki, James. The Wisdom of Crowds. New York: Anchor Books, 2005.
7265   </p><p>
7266     Tapscott, Don, and Alex Tapscott. Blockchain Revolution: How the Technology
7267 Behind Bitcoin Is Changing Money, Business, and the World. Toronto:
7268 Portfolio, 2016.
7269   </p><p>
7270     Tharp, Twyla. The Creative Habit: Learn It and Use It for Life. With Mark
7271 Reiter. New York: Simon and Schuster, 2006.
7272   </p><p>
7273     Tkacz, Nathaniel. Wikipedia and the Politics of Openness. Chicago:
7274 University of Chicago Press, 2015.
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7276     Van Abel, Bass, Lucas Evers, Roel Klaassen, and Peter Troxler, eds.  Open
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7282 3.0. Utrecht, the Netherlands: Society 3.0 Foundation, 2014.  <a class="ulink" href="http://society30.com/get-the-book/" target="_top">http://society30.com/get-the-book/</a> (licensed under CC BY-NC-ND).
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7284     Von Hippel, Eric. Democratizing Innovation. London: MIT Press, 2005.  <a class="ulink" href="http://web.mit.edu/evhippel/www/democ1.htm" target="_top">http://web.mit.edu/evhippel/www/democ1.htm</a> (licensed under CC
7285 BY-NC-ND).
7286   </p><p>
7287     Whitehurst, Jim. The Open Organization: Igniting Passion and
7288 Performance. Boston: Harvard Business Review Press, 2015.
7289   </p>\chapter*{<title>Acknowledgments</title>}\addcontentsline{toc}{chapter}{<title>Acknowledgments</title>}<p>
7290     We extend special thanks to Creative Commons CEO Ryan Merkley, the Creative
7291 Commons Board, and all of our Creative Commons colleagues for
7292 enthusiastically supporting our work. Special gratitude to the William and
7293 Flora Hewlett Foundation for the initial seed funding that got us started on
7294 this project.
7295   </p><p>
7296     Huge appreciation to all the Made with Creative Commons interviewees for
7297 sharing their stories with us. You make the commons come alive.  Thanks for
7298 the inspiration.
7299   </p><p>
7300     We interviewed more than the twenty-four organizations profiled in this
7301 book. We extend special thanks to Gooru, OERu, Sage Bionetworks, and Medium
7302 for sharing their stories with us. While not featured as case studies in
7303 this book, you all are equally interesting, and we encourage our readers to
7304 visit your sites and explore your work.
7305   </p><p>
7306     This book was made possible by the generous support of 1,687 Kickstarter
7307 backers listed below. We especially acknowledge our many Kickstarter
7308 co-editors who read early drafts of our work and provided invaluable
7309 feedback. Heartfelt thanks to all of you.
7310   </p><p>
7311     Co-editor Kickstarter backers (alphabetically by first name): Abraham
7312 Taherivand, Alan Graham, Alfredo Louro, Anatoly Volynets, Aurora Thornton,
7313 Austin Tolentino, Ben Sheridan, Benedikt Foit, Benjamin Costantini, Bernd
7314 Nurnberger, Bernhard Seefeld, Bethanye Blount, Bradford Benn, Bryan Mock,
7315 Carmen Garcia Wiedenhoeft, Carolyn Hinchliff, Casey Milford, Cat Cooper,
7316 Chip McIntosh, Chris Thorne, Chris Weber, Chutika Udomsinn, Claire Wardle,
7317 Claudia Cristiani, Cody Allard, Colleen Cressman, Craig Thomler, Creative
7318 Commons Uruguay, Curt McNamara, Dan Parson, Daniel Dominguez, Daniel Morado,
7319 Darius Irvin, Dave Taillefer, David Lewis, David Mikula, David Varnes, David
7320 Wiley, Deborah Nas, Diderik van Wingerden, Dirk Kiefer, Dom Lane, Domi
7321 Enders, Douglas Van Houweling, Dylan Field, Einar Joergensen, Elad Wieder,
7322 Elie Calhoun, Erika Reid, Evtim Papushev, Fauxton Software, Felix
7323 Maximiliano Obes, Ferdies Food Lab, Gatien de Broucker, Gaurav Kapil, Gavin
7324 Romig-Koch, George Baier IV, George De Bruin, Gianpaolo Rando, Glenn Otis
7325 Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan,
7326 Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie
7327 Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M
7328 Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
7329 Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
7330 Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
7331 Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
7332 Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie
7333 Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen,
7334 Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos
7335 Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi
7336 Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley,
7337 MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black,
7338 Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
7339 Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike
7340 Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall
7341 McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman,
7342 Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
7343 Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny
7344 Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv
7345 Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones,
7346 Robert Thompson, Ronald van den Hoff, Rusi Popov, Ryan Merkley, S Searle,
7347 Salomon Riedo, Samuel A. Rebelsky, Samuel Tait, Sarah McGovern, Scott
7348 Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio,
7349 Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun,
7350 Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent,
7351 Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
7352 Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh,
7353 William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque,
7354 Yancey Strickler
7355   </p><p>
7356     All other Kickstarter backers (alphabetically by first name): A.  Lee, Aaron
7357 C. Rathbun, Aaron Stubbs, Aaron Suggs, Abdul Razak Manaf, Abraham
7358 Taherivand, Adam Croom, Adam Finer, Adam Hansen, Adam Morris, Adam Procter,
7359 Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam Zimmerman,
7360 Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain
7361 Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert
7362 O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
7363 Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown,
7364 Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar,
7365 Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre
7366 Rafalovitch, Alexey Volkow, Alexi Wheeler, Alexis Sevault, Alfredo Louro,
7367 Ali Sternburg, Alicia Gibb &amp; Lunchbox Electronics, Alison Link, Alison
7368 Pentecost, Alistair Boettiger, Alistair Walder, Alix Bernier, Allan
7369 Callaghan, Allen Riddell, Allison Breland Crotwell, Allison Jane Smith,
7370 Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
7371 Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
7372 Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
7373 Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas
7374 Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew
7375 Hearse, Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew
7376 Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve, Andy
7377 Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan, Anne-Marie Scott,
7378 Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton
7379 Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
7380 publishing, April Johnson, Aria F.  Chernik, Ariane Allan, Ariel Katz,
7381 Arithmomaniac, Arnaud Tessier, Arnim Sommer, Ashima Bawa, Ashley Elsdon,
7382 Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin
7383 Hartzheim, Austin Tolentino, Avner Shanan, Axel Pettersson, Axel
7384 Stieglbauer, Ay Okpokam, Barb Bartkowiak, Barbara Lindsey, Barry Dayton,
7385 Bastian Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben
7386 Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini,
7387 Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
7388 Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth
7389 Tillinghast, Bethanye Blount, Bill Bonwitt, Bill Browne, Bill Keaggy, Bill
7390 Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker,
7391 Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
7392 Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak,
7393 Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden Hassett, Bradford
7394 Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
7395 Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
7396 Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian
7397 S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke
7398 Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin, Bryan
7399 Mock, Bryant Durrell, Bryce Barbato, Buzz Technology Limited, Byung-Geun
7400 Jeon, C. Glen Williams, C. L. Couch, Cable Green, Callum Gare, Cameron
7401 Callahan, Cameron Colby Thomson, Cameron Mulder, Camille Bissuel / Nylnook,
7402 Candace Robertson, Carl Morris, Carl Perry, Carl Rigney, Carles Mateu,
7403 Carlos Correa Loyola, Carlos Solis, Carmen Garcia Wiedenhoeft, Carol Long,
7404 Carol marquardsen, Caroline Calomme, Caroline Mailloux, Carolyn Hinchliff,
7405 Carolyn Rude, Carrie Cousins, Carrie Watkins, Casey Hunt, Casey Milford,
7406 Casey Powell Shorthouse, Cat Cooper, Cecilie Maria, Cedric Howe, Cefn Hoile,
7407 @ShrimpingIt, Celia Muller, Ces Keller, Chad Anderson, Charles Butler,
7408 Charles Carstensen, Charles Chi Thoi Le, Charles Kobbe, Charles S. Tritt,
7409 Charles Stanhope, Charlotte Ong-Wisener, Chealsye Bowley, Chelle Destefano,
7410 Chenpang Chou, Cheryl Corte, Cheryl Todd, Chip Dickerson, Chip McIntosh,
7411 Chris Bannister, Chris Betcher, Chris Coleman, Chris Conway, Chris Foote
7412 (Spike), Chris Hurst, Chris Mitchell, Chris Muscat Azzopardi, Chris
7413 Niewiarowski, Chris Opperwall, Chris Stieha, Chris Thorne, Chris Weber,
7414 Chris Woolfrey, Chris Zabriskie, Christi Reid, Christian Holzberger,
7415 Christian Schubert, Christian Sheehy, Christian Thibault, Christian Villum,
7416 Christian Wachter, Christina Bennett, Christine Henry, Christine Rico,
7417 Christopher Burrows, Christopher Chan, Christopher Clay, Christopher Harris,
7418 Christopher Opiah, Christopher Swenson, Christos Keramitsis, Chuck Roslof,
7419 Chutika Udomsinn, Claire Wardle, Clare Forrest, Claudia Cristiani, Claudio
7420 Gallo, Claudio Ruiz, Clayton Dewey, Clement Delort, Cliff Church, Clint
7421 Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
7422 Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
7423 Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
7424 Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney,
7425 Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini,
7426 Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei,
7427 Dagmar M. Meyer, Dan Mcalister, Dan Mohr, Dan Parson, Dana Freeman, Dana
7428 Ospina, Dani Leviss, Daniel Bustamante, Daniel Demmel, Daniel Dominguez,
7429 Daniel Dultz, Daniel Gallant, Daniel Kossmann, Daniel Kruse, Daniel Morado,
7430 Daniel Morgan, Daniel Pimley, Daniel Sabo, Daniel Sobey, Daniel Stein,
7431 Daniel Wildt, Daniele Prati, Danielle Moss, Danny Mendoza, Dario
7432 Taraborelli, Darius Irvin, Darius Whelan, Darla Anderson, Dasha Brezinova,
7433 Dave Ainscough, Dave Bull, Dave Crosby, Dave Eagle, Dave Moskovitz, Dave
7434 Neeteson, Dave Taillefer, Dave Witzel, David Bailey, David Cheung, David
7435 Eriksson, David Gallagher, David H. Bronke, David Hartley, David Hellam,
7436 David Hood, David Hunter, David jlaietta, David Lewis, David Mason, David
7437 Mcconville, David Mikula, David Nelson, David Orban, David Parry, David
7438 Spira, David T.  Kindler, David Varnes, David Wiley, David Wormley, Deborah
7439 Nas, Denis Jean, dennis straub, Dennis Whittle, Denver Gingerich, Derek
7440 Slater, Devon Cooke, Diana Pasek-Atkinson, Diane Johnston Graves, Diane
7441 K. Kovacs, Diane Trout, Diderik van Wingerden, Diego Cuevas, Diego De La
7442 Cruz, Dimitrie Grigorescu, Dina Marie Rodriguez, Dinah Fabela, Dirk Haun,
7443 Dirk Kiefer, Dirk Loop, DJ Fusion - FuseBox Radio Broadcast, Dom jurkewitz,
7444 Dom Lane, Domi Enders, Domingo Gallardo, Dominic de Haas, Dominique
7445 Karadjian, Dongpo Deng, Donnovan Knight, Door de Flines, Doug Fitzpatrick,
7446 Doug Hoover, Douglas Craver, Douglas Van Camp, Douglas Van Houweling,
7447 Dr. Braddlee, Drew Spencer, Duncan Sample, Durand D’souza, Dylan Field, E C
7448 Humphries, Eamon Caddigan, Earleen Smith, Eden Sarid, Eden Spodek, Eduardo
7449 Belinchon, Eduardo Castro, Edwin Vandam, Einar Joergensen, Ejnar Brendsdal,
7450 Elad Wieder, Elar Haljas, Elena Valhalla, Eli Doran, Elias Bouchi, Elie
7451 Calhoun, Elizabeth Holloway, Ellen Buecher, Ellen Kaye- Cheveldayoff, Elli
7452 Verhulst, Elroy Fernandes, Emery Hurst Mikel, Emily Catedral, Enrique
7453 Mandujano R., Eric Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric
7454 Hellman, Eric Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard,
7455 Erika Reid, Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan
7456 Bousse, Erwin Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan
7457 Tangman, Evonne Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton
7458 Software, Felix Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix
7459 Schmidt, Felix Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe
7460 Rodrigues, Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer,
7461 Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
7462 Games, Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois
7463 Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
7464 Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
7465 Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
7466 Gary Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de
7467 Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George
7468 Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman,
7469 Geronimo de la Lama, Gianpaolo Rando, Gil Stendig, Gino Cingolani Trucco,
7470 Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives
7471 Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman,
7472 Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg
7473 Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
7474 Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho
7475 Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
7476 Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de
7477 Raad, Hans Vd Horst, Harold van Ingen, Harold Watson, Harry Chapman, Harry
7478 Kaczka, Harry Torque, Hayden Glass, Hayley Rosenblum, Heather Leson, Helen
7479 Crisp, Helen Michaud, Helen Qubain, Helle Rekdal Schønemann, Henrique Flach
7480 Latorre Moreno, Henry Finn, Henry Kaiser, Henry Lahore, Henry Steingieser,
7481 Hermann Paar, Hillary Miller, Hironori Kuriaki, Holly Dykes, Holly Lyne,
7482 Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
7483 Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider,
7484 Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah
7485 Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek
7486 Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
7487 Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach,
7488 James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James
7489 Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol,
7490 Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park,
7491 Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason
7492 E. Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy
7493 Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
7494 Jean-Philippe Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff
7495 De Cagna, Jeff Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff
7496 Rasalla, Jeff Ski Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen
7497 Garcia, Jens Erat, Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell,
7498 Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
7499 Jessica Dickinson Goodman, Jessica Litman, Jessica Mackay, Jessy Kate
7500 Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
7501 O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
7502 Allum, Joachim Brandon LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim
7503 Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
7504 Sandfort, Joe Cardillo, Joe Carpita, Joe Moross, Joerg Fricke, Johan Adda,
7505 Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
7506 Bevan, John C Patterson, John Crumrine, John Dimatos, John Feyler, John
7507 Huntsman, John Manoogian III, John Muller, John Ober, John Paul Blodgett,
7508 John Pearce, John Shale, John Sharp, John Simpson, John Sumser, John Weeks,
7509 John Wilbanks, John Worland, Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon
7510 Andersen, Jon Cohrs, Jon Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith,
7511 Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
7512 Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
7513 Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
7514 Sullivan, Joseph Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP
7515 Rangaswami, Juan Carlos Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo
7516 Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
7517 Julia Devonshire, Julian Fietkau, Julie Harboe, Julien Brossoit, Julien
7518 Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
7519 Grimes, Justin Jones, Justin Szlasa, Justin Walsh, JustinChung.com, K. J.
7520 Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
7521 Kara Monroe, Karen Pe, Karl Jahn, Karl Jonsson, Karl Nelson, Kasia
7522 Zygmuntowicz, Kat Lim, Kate Chapman, Kate Stewart, Kathleen Beck, Kathleen
7523 Hanrahan, Kathryn Abuzzahab, Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie
7524 Lynn Daniels, Katie Meek, Katie Teague, Katrina Hennessy, Katriona Main,
7525 Kavan Antani, Keith Adams, Keith Berndtson, MD, Keith Luebke, Kellie
7526 Higginbottom, Ken Friis Larsen, Ken Haase, Ken Torbeck, Kendel Ratley,
7527 Kendra Byrne, Kerry Hicks, Kevin Brown, Kevin Coates, Kevin Flynn, Kevin
7528 Rumon, Kevin Shannon, Kevin Taylor, Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane
7529 l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
7530 Rennert, Kris Kasianovitz, Kristian Lundquist, Kristin Buxton, Kristina
7531 Popova, Kristofer Bratt, Kristoffer Steen, Kumar McMillan, Kurt Whittemore,
7532 Kyle Pinches, Kyle Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry
7533 Garfield, Larry Singer, Lars Josephsen, Lars Klaeboe, Laura Anne Brown,
7534 Laura Billings, Laura Ferejohn, Lauren Pedersen, Laurence Gonsalves, Laurent
7535 Muchacho, Laurie Racine, Laurie Reynolds, Lawrence M. Schoen, Leandro
7536 Pangilinan, Leigh Verlandson, Lenka Gondolova, Leonardo Bueno Postacchini,
7537 leonardo menegola, Lesley Mitchell, Leslie Krumholz, Leticia Britos
7538 Cavagnaro, Levi Bostian, Leyla Acaroglu, Liisa Ummelas, Lilly Kashmir
7539 Marques, Lior Mazliah, Lisa Bjerke, Lisa Brewster, Lisa Canning, Lisa
7540 Cronin, Lisa Di Valentino, Lisandro Gaertner, Livia Leskovec, Liynn
7541 Worldlaw, Liz Berg, Liz White, Logan Cox, Loki Carbis, Lora Lynn, Lorna
7542 Prescott, Lou Yufan, Louie Amphlett, Louis-David Benyayer, Louise Denman,
7543 Luca Corsato, Luca Lesinigo, Luca Palli, Luca Pianigiani, Luca S.G. de
7544 Marinis, Lucas Lopez, Lukas Mathis, Luke Chamberlin, Luke Chesser, Luke
7545 Woodbury, Lulu Tang, Lydia Pintscher, M Alexander Jurkat, Maarten Sander,
7546 Macie J Klosowski, Magnus Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh,
7547 Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
7548 Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich, Marc Harpster, Marc
7549 Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
7550 Leeuwe, Marcel Hill, Marcia Hofmann, Marcin Olender, Marco Massarotto, Marco
7551 Montanari, Marco Morales, Marcos Medionegro, Marcus Bitzl, Marcus Norrgren,
7552 Margaret Gary, Mari Moreshead, Maria Liberman, Marielle Hsu, Marino
7553 Hernandez, Mario Lurig, Mario R. Hemsley, MD, Marissa Demers, Mark Chandler,
7554 Mark Cohen, Mark De Solla Price, Mark Gabby, Mark Gray, Mark Koudritsky,
7555 Mark Kupfer, Mark Lednor, Mark McGuire, Mark Moleda, Mark Mullen, Mark
7556 Murphy, Mark Perot, Mark Reeder, Mark Spickett, Mark Vincent Adams, Mark
7557 Waks, Mark Zuccarell II, Markus Deimann, Markus Jaritz, Markus Luethi,
7558 Marshal Miller, Marshall Warner, Martijn Arets, Martin Beaudoin, Martin
7559 Decky, Martin DeMello, Martin Humpolec, Martin Mayr, Martin Peck, Martin
7560 Sanchez, Martino Loco, Martti Remmelgas, Martyn Eggleton, Martyn Lewis, Mary
7561 Ellen Davis, Mary Heacock, Mary Hess, Mary Mi, Masahiro Takagi, Mason Du,
7562 Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
7563 Kruk, Matija Nalis, Matt Alcock, Matt Black, Matt Broach, Matt Hall, Matt
7564 Haughey, Matt Lee, Matt Plec, Matt Skoss, Matt Thompson, Matt Vance, Matt
7565 Wagstaff, Matteo Cocco, Matthew Bendert, Matthew Bergholt, Matthew Darlison,
7566 Matthew Epler, Matthew Hawken, Matthew Heimbecker, Matthew Orstad, Matthew
7567 Peterworth, Matthew Sheehy, Matthew Tucker, Adaptive Handy Apps, LLC,
7568 Mattias Axell, Max Green, Max Kossatz, Max lupo, Max Temkin, Max van
7569 Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
7570 Finlayson, Melissa Aho, Melissa Sterry, Melle Funambuline, Menachem
7571 Goldstein, Micah Bridges, Michael Ailberto, Michael Anderson, Michael
7572 Andersson Skane, Michael C. Stewart, Michael Carroll, Michael Cavette,
7573 Michael Crees, Michael David Johas Teener, Michael Dennis Moore, Michael
7574 Freundt Karlsen, Michael Harries, Michael Hawel, Michael Lewis, Michael May,
7575 Michael Murphy, Michael Murvine, Michael Perkins, Michael Sauers, Michael
7576 St.Onge, Michael Stanford, Michael Stanley, Michael Underwood, Michael
7577 Weiss, Michael Wright, Michael-Andreas Kuttner, Michaela Voigt, Michal
7578 Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
7579 You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike Chelen, Mike Habicher,
7580 Mike Maloney, Mike Masnick, Mike McDaniel, Mike Pouraryan, Mike Sheldon,
7581 Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
7582 Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko
7583 <span class="quote">“<span class="quote">Macro</span>”</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
7584 Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, Moritz
7585 Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
7586 Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, Nah Wee Yang,
7587 Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey, Nathan Miller,
7588 Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele Wollert,
7589 Neuchee Chang, Niall McDonagh, Niall Twohig, Nic McPhee, Nicholas Bentley,
7590 Nicholas Koran, Nicholas Norfolk, Nicholas Potter, Nick Bell, Nick Coghlan,
7591 Nick Isaacs, Nick M. Daly, Nick Vance, Nickolay Vedernikov, Nicky
7592 Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole Hickman, Niek
7593 Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola Chernev,
7594 Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-Fein, Noah
7595 Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
7596 Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle Ahnve, Omar
7597 Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
7598 Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
7599 Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat
7600 Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf,
7601 Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, Patrick
7602 McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik
7603 Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey,
7604 Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul
7605 Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
7606 Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
7607 Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
7608 Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter
7609 O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
7610 Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip
7611 Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer,
7612 Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels,
7613 Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill,
7614 Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer,
7615 Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani,
7616 Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
7617 Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
7618 Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich
7619 McCue, Richard <span class="quote">“<span class="quote">TalkToMeGuy</span>”</span> Olson, Richard Best, Richard
7620 Blumberg, Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly,
7621 Richard Littauer, Richard Sobey, Richard White, Richard Winchell, Rik
7622 ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley,
7623 Rob Bertholf, Rob Emanuele, Rob McAuliffe, Rob McKaughan, Rob Tillie, Rob
7624 Utter, Rob Vincent, Robert Gaffney, Robert Jones, Robert Kelly, Robert
7625 Lawlis, Robert McDonald, Robert Orzanna, Robert Paterson Hunter, Robert
7626 R. Daniel Jr., Robert Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto
7627 Selvaggio, Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon,
7628 Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
7629 Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald
7630 Bissell, Ronald van den Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay,
7631 Ross Pruden, Ross Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert
7632 Hitzenberger, Rusi Popov, Russ Antonucci, Russ Spollin, Russell Brand, Rute
7633 Correia, Ruth Ann Carpenter, Ruth White, Ryan Mentock, Ryan Merkley, Ryan
7634 Price, Ryan Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin
7635 Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin,
7636 Samantha-Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel
7637 A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
7638 Cersosimo, Samuel Tait, Sandra Fauconnier, Sandra Markus, Sandy Bjar, Sandy
7639 ONeil, Sang-Phil Ju, Sanjay Basu, Santiago Garcia, Sara Armstrong, Sara
7640 Lucca, Sara Rodriguez Marin, Sarah Brand, Sarah Cove, Sarah Curran, Sarah
7641 Gold, Sarah McGovern, Sarah Smith, Sarinee Achavanuntakul, Sasha Moss, Sasha
7642 VanHoven, Saul Gasca, Scott Abbott, Scott Akerman, Scott Beattie, Scott
7643 Bruinooge, Scott Conroy, Scott Gillespie, Scott Williams, Sean Anderson,
7644 Sean Johnson, Sean Lim, Sean Wickett, Seb Schmoller, Sebastiaan Bekker,
7645 Sebastiaan ter Burg, Sebastian Makowiecki, Sebastian Meyer, Sebastian
7646 Schweizer, Sebastian Sigloch, Sebastien Huchet, Seokwon Yang, Sergey
7647 Chernyshev, Sergey Storchay, Sergio Cardoso, Seth Drebitko, Seth Gover, Seth
7648 Lepore, Shannon Turner, Sharon Clapp, Shauna Redmond, Shawn Gaston, Shawn
7649 Martin, Shay Knohl, Shelby Hatfield, Sheldon (Vila) Widuch, Sheona Thomson,
7650 Si Jie, Sicco van Sas, Siena Oristaglio, Simon Glover, Simon John King,
7651 Simon Klose, Simon Law, Simon Linder, Simon Moffitt, Solomon Kahn, Solomon
7652 Simon, Soujanna Sarkar, Stanislav Trifonov, Stefan Dumont, Stefan Jansson,
7653 Stefan Langer, Stefan Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan
7654 Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
7655 Stephen Pearce, Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson,
7656 Steve Battle, Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve
7657 Ingram, Steve Kroy, Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven
7658 Knudsen, Steven Melvin, Stig-Jørund B. Ö.  Arnesen, Stuart Drewer, Stuart
7659 Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
7660 Susan R Grossman, Suzie Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle,
7661 Sylvain Chery, Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz,
7662 T. L. Mason, Tanbir Baeg, Tanya Hart, Tara Tiger Brown, Tara Westover, Tarmo
7663 Toikkanen, Tasha Turner Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan,
7664 Teresa Gonczy, Terry Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo,
7665 Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
7666 Chang, Thomas Hartman, Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds,
7667 Thomas Thrush, Thomas Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim
7668 Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
7669 Timothy Arfsten, Timothy Hinchliff, Timothy Vollmer, Tina Coffman, Tisza
7670 Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
7671 Bamford, Tom Caswell, Tom Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom
7672 Merkli, Tom Merritt, Tom Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti,
7673 Tommy Dahlen, Tony Ciak, Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin,
7674 Tracey Henton, Tracey James, Traci Long DeForge, Trent Yarwood, Trevor
7675 Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
7676 Tyler Occhiogrosso, Udo Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum,
7677 Vaughan jenkins, Veethika Mishra, Vic King, Vickie Goode, Victor DePina,
7678 Victor Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture, Vikas
7679 Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
7680 Gentilini, Virginia Kopelman, Vitor Menezes, Vivian Marthell, Wayne
7681 Mackintosh, Wendy Keenan, Werner Wiethege, Wesley Derbyshire, Widar Hellwig,
7682 Willa Köerner, William Bettridge-Radford, William Jefferson, William
7683 Marshall, William Peter Nash, William Ray, William Robins, Willow Rosenberg,
7684 Winie Evers, Wolfgang Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier
7685 Moisant, Xueqi Li, Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian
7686 Sun, Yves Deruisseau, Zach Chandler, Zak Zebrowski, Zane Amiralis and Joshua
7687 de Haan, ZeMarmot Open Movie
7688   </p></div></body></html>