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

# MADE WITH CREATIVE COMMONS
# Copyright (C) 2017 by Creative Commons.
# This file is published under a Creative Commons Attribution-ShareAlike license (CC BY-SA), version 4.0
# Authors: Paul Stacey and Sarah Hinchliff Pearson
#
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msgstr ""
"Project-Id-Version: Made with Creative Commons\n"
"POT-Creation-Date: 2018-02-06 08:32+0000\n"
"PO-Revision-Date: 2018-02-09 15:40+0000\n"
"Last-Translator: Ingrid Yrvin <ingrid.yrvin@gmail.com>\n"
"Language-Team: Norwegian Bokmål "
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"Language: nb\n"
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#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3
msgid "% Made with Creative Commons % Paul Stacey;Sarah Hinchliff Pearson"
msgstr "% Ved hjelp av Creative Commons % Paul Stacey;Sarah Hinchliff Pearson"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5
msgid "Made With Creative Commons"
msgstr "Laget med Creative Commons"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7
msgid "by Paul Stacey & Sarah Hinchliff Pearson"
msgstr "av Paul Stacey & Sarah Hinchliff Pearson"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:9
msgid "© 2017, by Creative Commons."
msgstr "© 2017, av Creative Commons."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:12
msgid ""
"Published under a Creative Commons Attribution-ShareAlike license (CC BY-"
"SA), version 4.0."
msgstr ""
"Publisert med lisensen Creative Commons Attribution-ShareAlike (CC BY-SA), "
"versjon 4.0."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:14
msgid "ISBN 978-87-998733-3-3"
msgstr "Vanlig tekst"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:16
msgid "Cover and interior design by Klaus Nielsen, vinterstille.dk"
msgstr "Omslag og boksideutforming av Klaus Nielsen, vinterstille.dk"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:18
msgid "Content editing by Grace Yaginuma"
msgstr "Innhold redigert av Grace Yaginuma"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:20
msgid "Illustrations by Bryan Mathers, bryanmathers.com"
msgstr "Illustrasjoner av Bryan Mathers, bryanmathers.com"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:22
msgid "Downloadable e-book available at madewith.cc"
msgstr "Nedlastbar e-bok er tilgjengelig fra madewith.cc"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:24
msgid "Publisher:"
msgstr "Forlegger:"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:26
msgid "Ctrl+Alt+Delete Books"
msgstr "Ctrl+Alt+Delete Bøker"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:28
msgid "Husumgade 10, 5."
msgstr "Husumgade 10, 5."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:30
msgid "2200 Copenhagen N"
msgstr "2200 København N"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:32
msgid "Denmark"
msgstr "Danmark"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:34
msgid "www.cadb.dk"
msgstr "www.cadb.dk"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:36
msgid "hey@cadb.dk"
msgstr "hey@cadb.dk"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:38
msgid "Printer:"
msgstr "Trykkeri:"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:40
msgid "Drukarnia POZKAL Spółka z o.o. Spółka komandytowa"
msgstr "Drukarnia POZKAL Spółka z o.o. Spółka komandytowa"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:42
msgid "88-100 Inowrocław,"
msgstr "88-100 Inowrocław,"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:44
msgid "ul. Cegielna 10/12,"
msgstr "ul. Cegielna 10/12,"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:46
msgid "Poland"
msgstr "Polen"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:54
msgid ""
"This book is published under a CC BY-SA license, which means that you can "
"copy, redistribute, remix, transform, and build upon the content for any "
"purpose, even commercially, as long as you give appropriate credit, provide "
"a link to the license, and indicate if changes were made. If you remix, "
"transform, or build upon the material, you must distribute your "
"contributions under the same license as the original. License details: "
"creativecommons.org/licenses/by-sa/4.0/"
msgstr ""
"Denne boken er utgitt under en CC BY-SA lisens, noe som betyr at du kan "
"kopiere, distribuere videre, remikse, transformere og bygge videre for ulike "
"formål, også kommersielt, så lenge du gir riktig kreditering, gir en link "
"til lisensen og angir om endringer er gjort. Hvis du remikser, transformerer "
"eller bygger på materialet, må du distribuere dine bidrag under samme lisens "
"som den opprinnelige. Lisensdetaljer: creativecommons.org/licenses/by-sa/4.0/"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:58
msgid ""
"Made With Creative Commons is published with the kind support of Creative "
"Commons and backers of our crowdfunding-campaign on the Kickstarter.com "
"platform."
msgstr ""
"Laget med Creative Commons er offentliggjort med godhjertet støtte fra "
"Creative Commons og bidragsytere fra vår kronerullingskampanje på "
"Kickstarter.com-plattformen."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:69
msgid ""
"> “I don’t know a whole lot about nonfiction journalism. . .  > The way that "
"I think about these things, and in terms of what I can do > is. . . essays "
"like this are occasions to watch somebody reasonably > bright but also "
"reasonably average pay far closer attention and think at > far more length "
"about all sorts of different stuff than most of us have > a chance to in our "
"daily lives.” > > > > &mdash; *David Foster Wallace*"
msgstr ""
"«Jeg vet ikke mye om faglitteratur . . . Måten jeg tenker på disse tingene, "
"og hva jeg kan gjøre er . . . essays som dette er anledninger til å følge "
"noen med et rimelig lyst hode, men også rimelige gjennomsnittlige både "
"følger nærmere og tenker mer i dybden om mange  forskjellige ting enn de "
"fleste av oss har en sjanse til i våre daglige liv.»"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:71
msgid "## Foreword"
msgstr "## Forord"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:79
msgid ""
"Three years ago, just after I was hired as CEO of Creative Commons, I met "
"with Cory Doctorow in the hotel bar of Toronto’s Gladstone Hotel. As one of "
"CC’s most well-known proponents—one who has also had a successful career as "
"a writer who shares his work using CC—I told him I thought CC had a role in "
"defining and advancing open business models. He kindly disagreed, and called "
"the pursuit of viable business models through CC “a red herring.”"
msgstr ""
"For tre år siden, like etter at jeg ble ansatt som daglig leder av Creative "
"Commons, møtte jeg Cory Doctorow i en hotellbar på Gladstone Hotell i "
"Toronto.  Som en av CCs mest velkjente forkjempere - en som har hatt en "
"suksessfull karrière som en skribent som deler alle sine verk som CC - "
"fortalte jeg ham at jeg mente CC hadde en rolle i å definere og fremme åpne "
"forretningsmodeller.  Han forklarte på en hyggelig måte at han var uenig, og "
"kalte jakten på fungerende forretningsmodeller via CC en blindvei."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:85
msgid ""
"He was, in a way, completely correct—those who make things with Creative "
"Commons have ulterior motives, as Paul Stacey explains in this book: "
"“Regardless of legal status, they all have a social mission. Their primary "
"reason for being is to make the world a better place, not to profit. Money "
"is a means to a social end, not the end itself.”"
msgstr ""
"Han hadde på en måte helt rett - de som gjør ting med Creative Commons har "
"underliggende motiver, som Paul Stacey forklarer i denne boken: «Uavhengig "
"av juridisk status, har de alle en sosial oppgave. Deres primære grunn til å "
"være til er å gjøre verden til et bedre sted, ikke for fortjeneste. Penger "
"er et middel til et sosialt mål, ikke målet selv. »"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:91
msgid ""
"In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites Cory’s "
"words from his book Information Doesn’t Want to Be Free: “Entering the arts "
"because you want to get rich is like buying lottery tickets because you want "
"to get rich. It might work, but it almost certainly won’t. Though, of "
"course, someone always wins the lottery.”"
msgstr ""
"I enkeltstudien om Cory Doctorow siterer Sarah Hinchliff Pearson Corys ord "
"fra hans bok om «Information Doesn’t Want to Be Free»: «Å gå inn i kunsten "
"fordi du vil bli rik, er som å kjøpe lottobilletter fordi du vil bli rik. "
"Det kan fungere, men nesten helt sikkert så vil det ikke det. Men, "
"selvfølgelig, noen vinner alltid i et lotteri.»"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:98
msgid ""
"Today, copyright is like a lottery ticket—everyone has one, and almost "
"nobody wins. What they don’t tell you is that if you choose to share your "
"work, the returns can be significant and long-lasting. This book is filled "
"with stories of those who take much greater risks than the two dollars we "
"pay for a lottery ticket, and instead reap the rewards that come from "
"pursuing their passions and living their values."
msgstr ""
"I dag er opphavsrett som et lodd i et lotteri - alle har et, og nesten ingen "
"vinner. Hva de ikke forteller deg, er at hvis du velger å dele ditt arbeid, "
"kan det du får igjen være betydelig, og vare lenge. Denne boken er fylt med "
"historier om dem som tar mye større risiko enn de kronene vi betaler for et "
"lodd, og i stedet høster belønninger som kommer fra å følge sin lidenskap og "
"bygge på sine verdier."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:104
msgid ""
"So it’s not about the money. Also: it is. Finding the means to continue to "
"create and share often requires some amount of income. Max Temkin of Cards "
"Against Humanity says it best in their case study: “We don’t make jokes and "
"games to make money—we make money so we can make more jokes and games.”"
msgstr ""
"Så det er ikke om pengene. Men er også om det. Å finne midler til å "
"fortsette å opprette og dele krever ofte en viss inntekt. Max Temkin i Cards "
"Against Humanity sier det best i sin eksempelstudie: «Vi lager ikke vitser "
"og spill for å tjene penger - vi tjener penger slik at vi kan lage flere "
"vitser og spill.»"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:112
msgid ""
"Creative Commons’ focus is on building a vibrant, usable commons, powered by "
"collaboration and gratitude. Enabling communities of collaboration is at the "
"heart of our strategy. With that in mind, Creative Commons began this book "
"project. Led by Paul and Sarah, the project set out to define and advance "
"the best open business models.  Paul and Sarah were the ideal authors to "
"write Made with Creative Commons."
msgstr ""
"Creative Commons fokuserer på å bygge levende, nyttige allmenninger, drevet "
"av samarbeid og takknemlighet. Å få til samarbeidsfelleskap (communities) er "
"kjernen i vår strategi. Med det i mente startet Creative Commons dette "
"bokprosjektet. Ledet av Paul og Sarah, gikk prosjektet i gang med å definere "
"og fremme de beste åpne forretningsmodellene.  Paul og Sarah var ideelle "
"forfatterne skrive Made with Creative Commons: Laget med kreative "
"allmenninger."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:120
msgid ""
"Paul dreams of a future where new models of creativity and innovation "
"overpower the inequality and scarcity that today define the worst parts of "
"capitalism. He is driven by the power of human connections between "
"communities of creators. He takes a longer view than most, and it’s made him "
"a better educator, an insightful researcher, and also a skilled gardener. He "
"has a calm, cool voice that conveys a passion that inspires his colleagues "
"and community."
msgstr ""
"Paul drømmer om en fremtid der nye modeller for kreativitet og innovasjon "
"overgår den ulikhet og knapphet som i dag viser de verste delene av "
"kapitalismen. Han drives av kraften i mellommenneskelige forbindelser i "
"skapende samarbeidsfellesskap. Han ser lengre enn de fleste, og det har "
"gjort ham til en bedre pedagog, en innsiktsfull forsker, og også en dyktig "
"gartner. Han har en rolig, kul stemme som formidler en lidenskap som "
"inspirerer kolleger og samfunn."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:130
msgid ""
"Sarah is the best kind of lawyer—a true advocate who believes in the good of "
"people, and the power of collective acts to change the world.  Over the past "
"year I’ve seen Sarah struggle with the heartbreak that comes from investing "
"so much into a political campaign that didn’t end as she’d hoped. Today, "
"she’s more determined than ever to live with her values right out on her "
"sleeve. I can always count on Sarah to push Creative Commons to focus on our "
"impact—to make the main thing the main thing. She’s practical, detail-"
"oriented, and clever. There’s no one on my team that I enjoy debating more."
msgstr ""
"Sarah er en meget solid advokat - en sann forkjemper som tror på det gode i "
"mennesker, og på kraften i kollektive handlinger for å forandre verden. I "
"løpet av det siste året har jeg sett Sarah kjempe med den hjertesorg som "
"kommer fra å ha investert så mye i en politisk kampanje som ikke sluttet som "
"hun hadde håpet. I dag er hun mer bestemt enn noen gang på å leve med sine "
"verdier rett fra hjertet. Jeg kan alltid stole på at Sarah skyver på for at "
"Creative Commmons skal påvirke  - gjøre det viktigste viktigst. Hun er "
"praktisk, detaljorientert og dyktig. Det er ingen på mitt laget jeg liker "
"mer å debattere med."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:139
msgid ""
"As coauthors, Paul and Sarah complement each other perfectly. They "
"researched, analyzed, argued, and worked as a team, sometimes together and "
"sometimes independently. They dove into the research and writing with "
"passion and curiosity, and a deep respect for what goes into building the "
"commons and sharing with the world. They remained open to new ideas, "
"including the possibility that their initial theories would need refinement "
"or might be completely wrong. That’s courageous, and it has made for a "
"better book that is insightful, honest, and useful."
msgstr ""
"Som medforfattere, utfylte Paul og Sarah hverandre perfekt. De forsket, "
"analyserte, hevdet og jobbet som et lag, noen ganger sammen og noen ganger "
"hver for seg. De grov seg ned i forskningen og skrivingen med lidenskap og "
"nysgjerrighet, og en dyp respekt for hva som inngår i å lage allmenninger og "
"å dele med verden. De var åpne for nye ideer, medregnet muligheten for at "
"utgangsteoriene deres måtte utvikles videre eller kanskje var helt feil. Det "
"er modig, og det har gitt en bedre bok som er mer innsiktsfull, ærlig og "
"nyttig."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:145
msgid ""
"From the beginning, CC wanted to develop this project with the principles "
"and values of open collaboration. The book was funded, developed, "
"researched, and written in the open. It is being shared openly under a CC BY-"
"SA license for anyone to use, remix, or adapt with attribution. It is, in "
"itself, an example of an open business model."
msgstr ""
"Fra begynnelsen ønsket CC å utvikle dette prosjektet med prinsipper og "
"verdier fra åpent samarbeid. Boken ble finansiert, utviklet, undersøkt og "
"skrevet åpent. Det blir delt åpent under en CC BY-SA-lisens slik at alle kan "
"bruke, remikse eller tilpasse med henvisning på plass. Det er i seg selv et "
"eksempel på en åpen forretningsmodell."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:152
msgid ""
"For 31 days in August of 2015, Sarah took point to organize and execute a "
"Kickstarter campaign to generate the core funding for the book. The "
"remainder was provided by CC’s generous donors and supporters. In the end, "
"it became one of the most successful book projects on Kickstarter, smashing "
"through two stretch goals and engaging over 1,600 donors—the majority of "
"them new supporters of Creative Commons."
msgstr ""
"I 31 dager i august 2015 organiserte Sarah en Kickstarter-kampanje for å  "
"finansiere oppstarten av boken. Resten ble finansiert av Create Commons "
"sjenerøse givere og støttespillere. Til slutt ble den en av de mest "
"vellykkede bokprosjektene på Kickstarter, med 1600 engasjerte givere i to "
"strekk helt til mål. De fleste giverne var nye tilhengere av Creative "
"Commons."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:161
msgid ""
"Paul and Sarah worked openly throughout the project, publishing the plans, "
"drafts, case studies, and analysis, early and often, and they engaged "
"communities all over the world to help write this book. As their opinions "
"diverged and their interests came into focus, they divided their voices and "
"decided to keep them separate in the final product.  Working in this way "
"requires both humility and self-confidence, and without question it has made "
"Made with Creative Commons a better project."
msgstr ""
"Paul og Sarah jobbet åpent gjennom hele prosjektet, publiserte planene, "
"utkast, casestudier og analyser, tidlig og sent, og de engasjerte miljøer "
"over hele verden til å skrive denne boken. Ettersom meninger varierte, og "
"interessene kom i fokus,  laget de ulike løp, og besluttet å holde dem "
"atskilt i sluttproduktet.  Å arbeide på denne måten krever både ydmykhet og "
"selvtillit, og det har uten tvil gjort «Made with Creative Commons» til et "
"bedre prosjekt."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:166
msgid ""
"Those who work and share in the commons are not typical creators. They are "
"part of something greater than themselves, and what they offer us all is a "
"profound gift. What they receive in return is gratitude and a community."
msgstr ""
"De som jobber og deler i allmenningen (commons) er ikke typiske skapere. De "
"er en del av noe større enn seg selv, og hva de tilbyr oss alle er en raus "
"gave. Hva de får tilbake er takknemlighet og et fellesskap."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:173
msgid ""
"Jonathan Mann, who is profiled in this book, writes a song a day. When I "
"reached out to ask him to write a song for our Kickstarter (and to offer "
"himself up as a Kickstarter benefit), he agreed immediately. Why would he "
"agree to do that? Because the commons has collaboration at its core, and "
"community as a key value, and because the CC licenses have helped so many to "
"share in the ways that they choose with a global audience."
msgstr ""
"Jonathan Mann, som er løftet frem i denne boken, skriver en dag en sang. Da "
"jeg tok kontakt for å be ham om å skrive en sang for vår Kickstarter (og å "
"tilby seg å støtte Kickstarter), stilte han umiddelbart opp. Hvorfor ville "
"han stille opp på det? Fordi allmenningen har samarbeid som sin kjerne, og "
"allmenning er en nøkkelverdi, og fordi CC-lisensene har hjulpet så mange å "
"dele med et globalt publikum på den måten de velger."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:185
msgid ""
"Sarah writes, “Endeavors that are Made with Creative Commons thrive when "
"community is built around what they do. This may mean a community "
"collaborating together to create something new, or it may simply be a "
"collection of like-minded people who get to know each other and rally around "
"common interests or beliefs. To a certain extent, simply being Made with "
"Creative Commons automatically brings with it some element of community, by "
"helping connect you to like-minded others who recognize and are drawn to the "
"values symbolized by using CC.” Amanda Palmer, the other musician profiled "
"in the book, would surely add this from her case study: “There is no more "
"satisfying end goal than having someone tell you that what you do is "
"genuinely of value to them.”"
msgstr ""
"Sarah skriver, «Innsats som lages med Made with Creative Commons trives når "
"allmenningen bygges rundt hva som gjøres. Dette kan bety at et fellesskap "
"samarbeider for å skape noe nytt, eller kan rett og slett være en samling av "
"likesinnede som blir kjent hverandre og samler seg rundt felles interesser "
"eller tro. Til en viss grad, å bare bruke Made with Creative Commons bringer "
"automatisk med seg elementer av allmenningen, ved å hjelpe til med å koble "
"deg til likesinnede, som gjenkjenner og trekkes til de verdiene som "
"symboliseres ved å bruke CC.» Amanda Palmer, den andre musikeren som er "
"profilert i boken, vil sikkert legge til dette fra sin studie: «Det er ikke "
"noe mer tilfredsstillende mål enn når noen forteller deg at det du gjør "
"virkelig verdi for dem.»"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:194
msgid ""
"This is not a typical business book. For those looking for a recipe or a "
"roadmap, you might be disappointed. But for those looking to pursue a social "
"end, to build something great through collaboration, or to join a powerful "
"and growing global community, they’re sure to be satisfied.  Made with "
"Creative Commons offers a world-changing set of clearly articulated values "
"and principles, some essential tools for exploring your own business "
"opportunities, and two dozen doses of pure inspiration."
msgstr ""
"Dette er ikke en typisk bedriftsøkonomibok. For de som leter etter en "
"oppskrift eller et veikart, kan du bli skuffet. Men for de som ønsker å "
"bidra til et sosialt mål, å bygge noe stort gjennom samarbeid, eller bli med "
"i en kraftig og voksende globalt samfunn, kan de være sikre på å bli "
"fornøyd.  Made with Creative Commons tilbyr en global endring med et sett "
"med tydelig artikulerte verdier og prinsipper, noen viktige verktøy til å "
"utforske dine egne forretningsmuligheter, og to dusin doser med ren "
"inspirasjon."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:202
msgid ""
"In a 1996 Stanford Law Review article “The Zones of Cyberspace”, CC founder "
"Lawrence Lessig wrote, “Cyberspace is a place. People live there. They "
"experience all the sorts of things that they experience in real space, "
"there. For some, they experience more. They experience this not as isolated "
"individuals, playing some high tech computer game; they experience it in "
"groups, in communities, among strangers, among people they come to know, and "
"sometimes like.”"
msgstr ""
"I 1996-artikkelen i Stanford Law Review «Sonene i kyberrom», skrev CC-"
"grunnlegger Lawrence Lessig: «Kyberrommet et sted. Folk bor der. Der "
"opplever de alle mulige ting, og de oppleves i reelle rom . Og noen, de "
"opplever mer. Dette opplever de ikke som isolerte individer, som spillere av "
"noe høyteknologiske dataspill; De opplever det i grupper, i fellesskap, "
"blant fremmede, blant dem de lærer å kjenne, og noen ganger like.»"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:208
msgid ""
"I’m incredibly proud that Creative Commons is able to publish this book for "
"the many communities that we have come to know and like. I’m grateful to "
"Paul and Sarah for their creativity and insights, and to the global "
"communities that have helped us bring it to you. As CC board member "
"Johnathan Nightingale often says, “It’s all made of people.”"
msgstr ""
"Jeg er utrolig stolt at Creative Commons er i stand å utgi denne boken for "
"så mange allmenninger som vi har lært å kjenne og liker. Jeg er takknemlig "
"overfor Paul og Sarah for deres kreativitet og innsikt, og de globale "
"samfunn som har hjulpet oss å bringe den til deg. Som CC-styremedlem "
"Johnathan Nightingale ofte sier: «Alt er laget av mennesker.»"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:210
msgid "That’s the true value of things that are Made with Creative Commons."
msgstr "Det er den sanne verdien av ting som er laget med Creative Commons."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:212
#, no-wrap
msgid "*Ryan Merkley*\n"
msgstr "*Ryan Merkley*\n"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:214
#, no-wrap
msgid "*CEO, Creative Commons*\n"
msgstr "*CEO, Creative Commons*\n"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:216
msgid "## Introduction"
msgstr "## Introduksjon"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:219
msgid ""
"This book shows the world how sharing can be good for business—but with a "
"twist."
msgstr ""
"Denne boken viser verden hvordan deling kan være bra i forretningsøyemed, "
"men med en vri."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:229
msgid ""
"We began the project intending to explore how creators, organizations, and "
"businesses make money to sustain what they do when they share their work "
"using Creative Commons licenses. Our goal was not to identify a formula for "
"business models that use Creative Commons but instead gather fresh ideas and "
"dynamic examples that spark new, innovative models and help others follow "
"suit by building on what already works. At the onset, we framed our "
"investigation in familiar business terms. We created a blank “open business "
"model canvas,” an interactive online tool that would help people design and "
"analyze their business model."
msgstr ""
"Vi startet prosjektet å utforske hvordan skapere, organisasjoner og "
"bedrifter tjener penger på å videreføre hva de gjør når de deler arbeidet "
"sitt med Creative Commons-lisenser. Målet var ikke å identifisere en formel "
"for forretningsmodeller som bruker Creative Commons, men i stedet samle "
"friske ideer og dynamiske eksempler som tenner nye, innovative modeller, og "
"hjelper andre å følge etter ved å bygge på det som allerede virker. I "
"starten rammet vi inn våre undersøkelser i kjente forretningsbegreper. Vi "
"laget et ubeskrevet «åpent forretningsmodell-lerret,» et interaktivt "
"nettbasert verktøy som hjelper folk å skape og analysere sin "
"forretningsmodell."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:236
msgid ""
"Through the generous funding of Kickstarter backers, we set about this "
"project first by identifying and selecting a diverse group of creators, "
"organizations, and businesses who use Creative Commons in an integral way—"
"what we call being Made with Creative Commons. We interviewed them and wrote "
"up their stories. We analyzed what we heard and dug deep into the literature."
msgstr ""
"Med raus finansiering fra Kickstarters støttespillere, satte vi i gang dette "
"prosjektet, først ved å identifisere og velge ut en bred gruppe av skapere, "
"organisasjoner og bedrifter som bruker Creative Commons på en integrert måte "
"- det vi kaller «Gjort på Creative Commons-vis». Vi intervjuet dem og skrev "
"ned deres historier. Vi analyserte hva vi hørte, og gravde dypt i "
"litteraturen."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:239
msgid ""
"But as we did our research, something interesting happened. Our initial way "
"of framing the work did not match the stories we were hearing."
msgstr ""
"Mens vi gjorde våre undersøkelser, skjedde det noe interessant. Vår første "
"måte å ramme inn arbeidet på, samsvarte ikke med de historiene vi hørte."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:245
msgid ""
"Those we interviewed were not typical businesses selling to consumers and "
"seeking to maximize profits and the bottom line. Instead, they were sharing "
"to make the world a better place, creating relationships and community "
"around the works being shared, and generating revenue not for unlimited "
"growth but to sustain the operation."
msgstr ""
"De vi intervjuet var ikke typiske bedrifter som selger til forbrukerne og "
"søker å maksimere overskudd og bunnlinje. I stedet delte de for å gjøre "
"verden til et bedre sted, ved å skape relasjoner og samfunn rundt arbeidene "
"som ble delt, og genererte inntekter, ikke for ubegrenset vekst, men for å "
"opprettholde driften."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:251
#, fuzzy
msgid ""
"They often didn’t like hearing what they do described as an open business "
"model. Their endeavor was something more than that. Something different. "
"Something that generates not just economic value but social and cultural "
"value. Something that involves human connection. Being Made with Creative "
"Commons is not “business as usual.”"
msgstr ""
"Ofte likte de ikke å høre hva de gjorde beskrevet som åpen "
"forretningsmodell. Deres oppgave var noe mer enn det. Noe annet. Noe til "
"ervervelse av ikke bare økonomisk, men sosial og kulturell verdi. Til "
"knytting av mellommenneskelige forbindelser. Å «Gjøre med Creative Commons» "
"er ikke «business as usual» («som vi pleier»)."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:259
msgid ""
"We had to rethink the way we conceived of this project. And it didn’t happen "
"overnight. From the fall of 2015 through 2016, we documented our thoughts in "
"blog posts on Medium and with regular updates to our Kickstarter backers. We "
"shared drafts of case studies and analysis with our Kickstarter cocreators, "
"who provided invaluable edits, feedback, and advice. Our thinking changed "
"dramatically over the course of a year and a half."
msgstr ""
"Vi måtte revurdere måten vi oppfattet dette prosjektet på. Og det skjedde "
"ikke over natten. Fra høsten av 2015 og hele 2016 dokumenterte vi våre "
"tanker i blogginnlegg på Medium og med regelmessige oppdateringer til våre "
"Kickstarter-støttespillere. Vi delte utkast av enkeltstudier og analyse med "
"våre Kickstarter-samarbeidspartnere, som ga uvurderlige endringer, "
"tilbakemeldinger og råd. Vår tenkning endret seg dramatisk i løpet av "
"halvannet år."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:268
msgid ""
"Throughout the process, the two of us have often had very different ways of "
"understanding and describing what we were learning. Learning from each other "
"has been one of the great joys of this work, and, we hope, something that "
"has made the final product much richer than it ever could have been if "
"either of us undertook this project alone. We have preserved our voices "
"throughout, and you’ll be able to sense our different but complementary "
"approaches as you read through our different sections."
msgstr ""
"Gjennom hele prosessen, har vi to ofte hatt svært ulike måter å forstå og "
"beskrive hva vi lærer. Gjensidig læring har vært en av de store gledene i "
"dette arbeidet, og vi håper; noe som har gjort det endelige produktet mye "
"mer innholdsrikt enn det ville vært hvis én av oss gjennomførte dette "
"prosjektet alene. Våre stemmer er tatt vare på underveis, og du vil kunne "
"finne våre ulike, men utfyllende, tilnærminger når du henholdsvis leser "
"gjennom våre ulike seksjoner."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:272
msgid ""
"While we recommend that you read the book from start to finish, each section "
"reads more or less independently. The book is structured into two main parts."
msgstr ""
"Mens vi anbefaler at du leser boken fra start til slutt, kan hver del leses "
"mer eller mindre uavhengig av hverandre. Boken er organisert i to hoveddeler."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:279
msgid ""
"Part one, the overview, begins with a big-picture framework written by Paul. "
"He provides some historical context for the digital commons, describing the "
"three ways society has managed resources and shared wealth—the commons, the "
"market, and the state. He advocates for thinking beyond business and market "
"terms and eloquently makes the case for sharing and enlarging the digital "
"commons."
msgstr ""
"Første del, oversikten, som begynner med det store bildet, er skrevet av "
"Paul. Han gir litt historisk bakgrunn for Digital Commons, som beskriver de "
"tre måtene samfunnet håndterer ressurser og deler inntekter: Allmenninger, "
"markedet og staten. Han er talsmann for tenkning utover næringsvirksomhet og "
"markedsbegreper, og er velformulert om deling og utvidelse av Digital "
"Commons."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:288
msgid ""
"The overview continues with Sarah’s chapter, as she considers what it means "
"to be successfully Made with Creative Commons. While making money is one "
"piece of the pie, there is also a set of public-minded values and the kind "
"of human connections that make sharing truly meaningful. This section "
"outlines the ways the creators, organizations, and businesses we interviewed "
"bring in revenue, how they further the public interest and live out their "
"values, and how they foster connections with the people with whom they share."
msgstr ""
"Oversikten fortsetter med Sarahs kapittel, der hun vurderer hva det betyr å "
"lykkes med Creative Commons. Mens å tjene penger er en del av kaken, er det "
"også et sett av offentlig-baserte verdier, og hva slags menneskelige "
"forbindelser som gjør deling virkelig meningsfullt. Denne delen beskriver "
"hvordan skaperne, organisasjoner og bedrifter vi intervjuet, skaffer "
"inntekter, hvordan de videre fremmer allmenne interesser og realiserer sine "
"verdier, og hvordan de bygger forbindelser med folk de deler med."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:294
msgid ""
"And to end part one, we have a short section that explains the different "
"Creative Commons licenses. We talk about the misconception that the more "
"restrictive licenses—the ones that are closest to the all-rights-reserved "
"model of traditional copyright—are the only ways to make money."
msgstr ""
"Og for å avslutte første del, har vi et kort avsnitt som forklarer de ulike "
"Creative Commons-lisensene. Vi snakker om misforståelsen om at jo mer "
"restriktiv lisensene - de som er nærmest «alle rettigheter reservert»-"
"modellen i tradisjonell opphavsrett - er den eneste måten å tjene penger på."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:299
msgid ""
"Part two of the book is made up of the twenty-four stories of the creators, "
"businesses, and organizations we interviewed. While both of us participated "
"in the interviews, we divided up the writing of these profiles."
msgstr ""
"Del to av boken består av de fireogtyve historiene til aktører, bedrifter og "
"organisasjoner vi intervjuet. Begge deltok i intervjuene, mens vi fordelte "
"skrivingen av profilene."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:303
msgid ""
"Of course, we are pleased to make the book available using a Creative "
"Commons Attribution-ShareAlike license. Please copy, distribute, translate, "
"localize, and build upon this work."
msgstr ""
"Selvfølgelig er vi glade for å gjøre boken tilgjengelig med en Creative "
"Commons Attribution-ShareAlike lisens. Kopier, distribuer, oversett, "
"lokaliser, og bygg gjerne videre på dette arbeidet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:309
msgid ""
"Writing this book has transformed and inspired us. The way we now look at "
"and think about what it means to be Made with Creative Commons has "
"irrevocably changed. We hope this book inspires you and your enterprise to "
"use Creative Commons and in so doing contribute to the transformation of our "
"economy and world for the better."
msgstr ""
"Denne boka har endret og inspirert oss. Måten vi nå betrakter og tenker på "
"hva det betyr å «gjøre med Creative Commons» er ugjenkallelig forandret. Vi "
"håper denne boken inspirerer deg og ditt foretak til å bruke Creative "
"Commons, og dermed bidra til forandringen av vår økonomi og verden til det "
"bedre."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:311
#, no-wrap
msgid "*Paul and Sarah *\n"
msgstr "*Paul og Sarah *\n"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:314
msgid "# The Big Picture"
msgstr "# Det store bildet"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:316
msgid "## The New World of Digital Commons"
msgstr "## Digital Commons nye verden"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:318
msgid "Paul Stacey"
msgstr "Paul Stacey"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:326
#, fuzzy
msgid ""
"Jonathan Rowe eloquently describes the commons as “the air and oceans, the "
"web of species, wilderness and flowing water—all are parts of the commons. "
"So are language and knowledge, sidewalks and public squares, the stories of "
"childhood and the processes of democracy. Some parts of the commons are "
"gifts of nature, others the product of human endeavor.  Some are new, such "
"as the Internet; others are as ancient as soil and calligraphy.”1"
msgstr ""
"Jonathan Rowe beskriver elegant allmenningen som «luften og havene, "
"nettverket av arter, villmark og rennende vann - alle er deler av "
"allmenninger. Det samme er språk og kunnskap, fortau og torg, historier fra "
"barndommen og demokratiske prosesser. Noen deler av allmenningen er gaver "
"fra naturen, andre er resultat av av menneskelige bestrebelser.  Noen er "
"nye, for eksempel Internett; andre er like gamle som jord og kalligrafi.»1"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:335
msgid ""
"In Made with Creative Commons, we focus on our current era of digital "
"commons, a commons of human-produced works. This commons cuts across a broad "
"range of areas including cultural heritage, education, research, technology, "
"art, design, literature, entertainment, business, and data.  Human-produced "
"works in all these areas are increasingly digital. The Internet is a kind of "
"global, digital commons. The individuals, organizations, and businesses we "
"profile in our case studies use Creative Commons to share their resources "
"online over the Internet."
msgstr ""
"I «Laget med Creative Commons» fokuserer vi på vår nåværende æra med "
"digitale allmenninger, enn allmenningen med menneskelagede arbeider. Denne "
"allmenningen går på tvers av en rekke områder, inkludert kulturarv, "
"utdanning, forskning, teknologi, kunst, design, litteratur, underholdning, "
"forretning og data.  Menneskelagede arbeider på alle disse områdene er i "
"økende grad digitale. Internett er en slags global, digital allmenning. "
"Personer, organisasjoner og bedrifter i våre referanseløsninger bruker "
"Creative Commons til å dele sine ressurser tilkoblet Internett."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:346
msgid ""
"The commons is not just about shared resources, however. It’s also about the "
"social practices and values that manage them. A resource is a noun, but to "
"common—to put the resource into the commons—is a verb.2 The creators, "
"organizations, and businesses we profile are all engaged with commoning. "
"Their use of Creative Commons involves them in the social practice of "
"commoning, managing resources in a collective manner with a community of "
"users.3 Commoning is guided by a set of values and norms that balance the "
"costs and benefits of the enterprise with those of the community. Special "
"regard is given to equitable access, use, and sustainability."
msgstr ""
"Allmenninger er imidlertid ikke bare om delte ressurser. De handler også om "
"sosial praksis og verdiene som styrer dem. En ressurs er et substantiv, men "
"til allmenngjøring - å legge  ressursen inn i allmenningen - er et verb.2) "
"Produsenter, organisasjoner og bedrifter vi profilerer er alle engasjert i "
"allmenngjøring. Deres bruk av Creative Commons involverer dem i den sosiale "
"gjennomføring av allmenngjøring, administrere ressurser kollektivt i et "
"brukerfellesskap.3) Allmenngjøring styres av et sett med verdier og normer "
"som balanserer kostnadene og fordelene for foretaket med de til "
"fellesskapet. Særlig vekt er lagt på rettferdig tilgang, bruk og bærekraft."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:348
msgid "### The Commons, the Market, and the State"
msgstr "### Almenningen, markedet, og staten"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:353
msgid ""
"Historically, there have been three ways to manage resources and share "
"wealth: the commons (managed collectively), the state (i.e., the "
"government), and the market—with the last two being the dominant forms "
"today.4"
msgstr ""
"Historisk har det vært tre måter å administrere ressurser og fordele rikdom "
"på: Allmenninger (håndtert kollektivt) og staten (dvs. regjeringen) markedet "
"- med de siste to som de  dominerende former i dag.4)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:361
msgid ""
"The organizations and businesses in our case studies are unique in the way "
"they participate in the commons while still engaging with the market and/or "
"state. The extent of engagement with market or state varies. Some operate "
"primarily as a commons with minimal or no reliance on the market or state.5 "
"Others are very much a part of the market or state, depending on them for "
"financial sustainability. All operate as hybrids, blending the norms of the "
"commons with those of the market or state."
msgstr ""
"Organisasjoner og bedrifter i våre referanseløsninger er unike i måten de "
"deltar i allmenningen mens de fortsatt er engasjert i markedet og/eller i "
"offentlig sektor. Omfanget av engasjement i markedet, eller i det offentlige "
"varierer. Noen opererer primært som allmenning hvis virke uten eller i liten "
"grad er avhengig av markedet eller det offentlige.5)  Andre er i høyeste "
"grad en del av markedet eller det offentlige, og avhenger av dem for sin "
"finansielle bærekraft. Alle fungerer som hybrider, som kombinerer "
"allemannseiets normer med dem som gjelder for markeder eller det offentlige."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:364
msgid ""
"Fig. 1. is a depiction of how an enterprise can have varying levels of "
"engagement with commons, state, and market."
msgstr ""
"Fig.1. Skildrer hvordan en bedrift kan ha varierende grad av engasjement med "
"allemannseie, det offentlige og markedet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:373
msgid ""
"Some of our case studies are simply commons and market enterprises with "
"little or no engagement with the state. A depiction of those case studies "
"would show the state sphere as tiny or even absent. Other case studies are "
"primarily market-based with only a small engagement with the commons. A "
"depiction of those case studies would show the market sphere as large and "
"the commons sphere as small. The extent to which an enterprise sees itself "
"as being primarily of one type or another affects the balance of norms by "
"which they operate."
msgstr ""
"Noen av våre referanseløsninger er bare allemannseie, og har liten eller "
"ikke noe engasjement i forhold til offentlig sektor. En beskrivelse av disse "
"løsningene ville vise at tilknytningen til offentlig sektor er liten, eller "
"til og med fraværende. Andre referanser er primært markedsbaserte med bare "
"et lite engasjement i allemannseie. Fremstillingen av disse "
"referansestudiene viser at markedssfæren er stor og fellesskapssfæren liten. "
"I hvilken grad en bedrift ser seg selv som hovedsakelig av én type eller en "
"annen påvirker sammensetningen av de normer de styrer etter."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:381
msgid ""
"All our case studies generate money as a means of livelihood and "
"sustainability. Money is primarily of the market. Finding ways to generate "
"revenue while holding true to the core values of the commons (usually "
"expressed in mission statements) is challenging. To manage interaction and "
"engagement between the commons and the market requires a deft touch, a "
"strong sense of values, and the ability to blend the best of both."
msgstr ""
"Alle våre referanseløsninger genererer penger til livsopphold og bærekraft. "
"Penger kommer hovedsakelig fra markedet. Det er utfordrende å finne måter å "
"generere inntekter på, når man holder seg til kjerneverdiene i allemannseie "
"(vanligvis uttrykt i målformuleringer). Å administrere samhandling og "
"engasjement mellom fellesskapene og markedet krever litt netthendthet, en "
"sterk følelse av verdier, og evnen til å kombinere det beste fra begge."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:387
msgid ""
"The state has an important role to play in fostering the use and adoption of "
"the commons. State programs and funding can deliberately contribute to and "
"build the commons. Beyond money, laws and regulations regarding property, "
"copyright, business, and finance can all be designed to foster the commons."
msgstr ""
"Staten har en viktig rolle å spille i å fremme aksept og bruk av felleseier. "
"Statlige programmer og finansiering kan bevisst bidra til å bygge "
"allemannseier. Utover  bevilgninger, lovgivning og regler om eiendomsrett, "
"kan opphavsrett, forretningsvirksomhet og finansiering, alle være utformet "
"for å fremme allemannseie."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:390
msgid ""
"![](Pictures/10000201000008000000045C30360249076453E6.png){width=\"6.5in\" "
"height=\"3.5417in\"}"
msgstr ""
"![](Pictures/10000201000008000000045C30360249076453E6.png){width=\"6.5in\" "
"height=\"3.5417in\"}"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:398
msgid ""
"It’s helpful to understand how the commons, market, and state manage "
"resources differently, and not just for those who consider themselves "
"primarily as a commons. For businesses or governmental organizations who "
"want to engage in and use the commons, knowing how the commons operates will "
"help them understand how best to do so. Participating in and using the "
"commons the same way you do the market or state is not a strategy for "
"success."
msgstr ""
"Det er nyttig for alle å forstå hvordan allemannseie, markedet og offentlig "
"sektor håndterer ressurser på ulike måter, og ikke bare for dem som anser "
"seg selv som hovedsakelig et felleseie. For bedrifter eller offentlige "
"organisasjoner som ønsker å engasjere seg i, og å bruke allemannseie, vil "
"det å vite hvordan allmenninger fungerer være til hjelp for å forstå den "
"beste måten for å gjøre dette på. For å delta i og bruke felleseie på samme "
"måte som man ellers arbeider i markedet eller i staten, er ikke en strategi "
"for suksess."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:400
msgid "### The Four Aspects of a Resource"
msgstr "### De fire aspektene ved en ressurs"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:408
msgid ""
"As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework "
"for analyzing how natural resources are managed in a commons.6 Her framework "
"considered things like the biophysical characteristics of common resources, "
"the community’s actors and the interactions that take place between them, "
"rules-in-use, and outcomes. That framework has been simplified and "
"generalized to apply to the commons, the market, and the state for this "
"chapter."
msgstr ""
"Som en del av sitt Nobelprisvinnende arbeid, utviklet Elinor Ostrom et "
"rammeverk for å analysere hvordan naturressurser administreres i en "
"allmenning.6) Hennes rammeverk vurderte ting som biofysiske karakteristikker "
"ved felles ressurser, samfunnets aktører og samhandlingene som foregår "
"mellom dem, uformelle regler-i-bruk, og resultater. Dette rammeverket er "
"forenklet og generalisert for å brukes på felleseie, markedet og staten, det "
"offentlige, for dette kapitlet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:414
msgid ""
"To compare and contrast the ways in which the commons, market, and state "
"work, let’s consider four aspects of resource management: resource "
"characteristics, the people involved and the process they use, the norms and "
"rules they develop to govern use, and finally actual resource use along with "
"outcomes of that use (see Fig. 2)."
msgstr ""
"Hvis du vil sammenligne og vise kontraster i måter som allemannseie, "
"markedet, og det offentlige arbeider, la oss vurdere fire sider ved "
"ressursadministrasjon: Ressursens karakteristika, de involverte personene og "
"den prosessen de bruker, normer og regler de utvikler for å styre bruken, og "
"til slutt den faktiske ressursbruken sammen med resultatene av denne bruken "
"(se Fig. 2)."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:417
msgid ""
"![](Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png){width=\"6.5in\" "
"height=\"6.5in\"}"
msgstr ""
"![](Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png){width=\"6.5in\" "
"height=\"6.5in\"}"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:419
msgid "#### Characteristics"
msgstr "#### Karakteristika"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:424
msgid ""
"Resources have particular characteristics or attributes that affect the way "
"they can be used. Some resources are natural; others are human produced. And—"
"significantly for today’s commons—resources can be physical or digital, "
"which affects a resource’s inherent potential."
msgstr ""
"Ressurser har spesielle egenskaper eller attributter som påvirker hvordan de "
"kan brukes. Noen ressurser er naturlige; andre er menneskeskapt. Og - av "
"betydning  for dagens felleseie - ressurser kan være fysiske eller digitale, "
"som påvirker det  iboende ressurspotensialet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:433
msgid ""
"Physical resources exist in limited supply. If I have a physical resource "
"and give it to you, I no longer have it. When a resource is removed and "
"used, the supply becomes scarce or depleted. Scarcity can result in "
"competing rivalry for the resource. Made with Creative Commons enterprises "
"are usually digitally based but some of our case studies also produce "
"resources in physical form. The costs of producing and distributing a "
"physical good usually require them to engage with the market."
msgstr ""
"Fysiske ressurser er begrensede. Hvis jeg har en fysisk ressurs og gir den "
"til deg, har jeg den ikke lenger. Når en ressurs er fjernet og brukt, blir "
"tilbudet knapt eller utarmet. Knapphet kan føre til konkurranse og "
"rivalisering om ressursen. Tiltak laget med Creative Commons er vanligvis "
"digitalt basert, men noen av våre referanseløsninger produserer også "
"ressurser i fysisk form. Kostnadene ved å produsere og distribuere et fysisk "
"gode, krever vanligvis at man benytter  markedet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:441
msgid ""
"Physical resources are depletable, exclusive, and rivalrous. Digital "
"resources, on the other hand, are nondepletable, nonexclusive, and "
"nonrivalrous. If I share a digital resource with you, we both have the "
"resource. Giving it to you does not mean I no longer have it. Digital "
"resources can be infinitely stored, copied, and distributed without becoming "
"depleted, and at close to zero cost. Abundance rather than scarcity is an "
"inherent characteristic of digital resources."
msgstr ""
"Fysiske ressurser blir uttømt, er eksklusive, og de konkurreres om. Digitale "
"ressurser, derimot, er uutømmelige, ikke-eksklusive, og gir ikke "
"rivalisering. Hvis jeg deler en digital ressurs med deg, har vi begge "
"ressursen. Å gi den til deg betyr ikke at jeg ikke lenger har den. Digitale "
"ressurser kan lages i det uendelige, kopieres og distribueres uten å bli "
"uttømt, og til en kostnad på nær null. Overflod i stedet for knapphet er en "
"iboende karakteristikk ved digitale ressurser."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:448
msgid ""
"The nondepletable, nonexclusive, and nonrivalrous nature of digital "
"resources means the rules and norms for managing them can (and ought to)  be "
"different from how physical resources are managed. However, this is not "
"always the case. Digital resources are frequently made artificially scarce. "
"Placing digital resources in the commons makes them free and abundant."
msgstr ""
"At de digitale ressursene er uuttømmelige, ikke-eksklusive og ikke-"
"rivaliserende, betyr at reglene og normene for å håndtere dem  kan (og bør) "
"være forskjellige fra hvordan fysiske ressurser håndteres. Men det er ikke "
"alltid tilfellet. Digitale ressurser gjøres ofte kunstig knappe. Å plassere "
"digitale ressurser i allmenninger gjør dem gratis og rikelige."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:457
msgid ""
"Our case studies frequently manage hybrid resources, which start out as "
"digital with the possibility of being made into a physical resource. The "
"digital file of a book can be printed on paper and made into a physical "
"book. A computer-rendered design for furniture can be physically "
"manufactured in wood. This conversion from digital to physical invariably "
"has costs. Often the digital resources are managed in a free and open way, "
"but money is charged to convert a digital resource into a physical one."
msgstr ""
"Våre referanseprosjekter håndterer ofte hybrid-ressurser, som begynner som "
"digitale med muligheter for å bli omgjort til en fysisk ressurs. Den "
"digitale bokfilen kan trykkes på papir og gjøres til en fysisk bok. Et data-"
"gjengitt design for møbler kan fysisk produseres i tre. Denne konverteringen "
"fra digital til fysisk har alltid kostnader. De digitale ressursene "
"administreres ofte på en fri og åpen måte, men det kreves penger for å "
"konvertere en digital ressurs til en fysisk."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:465
msgid ""
"Beyond this idea of physical versus digital, the commons, market, and state "
"conceive of resources differently (see Fig. 3). The market sees resources as "
"private goods—commodities for sale—from which value is extracted. The state "
"sees resources as public goods that provide value to state citizens. The "
"commons sees resources as common goods, providing a common wealth extending "
"beyond state boundaries, to be passed on in undiminished or enhanced form to "
"future generations."
msgstr ""
"Utover denne ideen med fysisk versus digital, forstår allmenninger, markedet "
"og staten ressurser forskjellig (se Fig. 3). Markedet ser ressurser som "
"private varer, goder for salg - som gir verdi. Staten ser ressurser som "
"offentlige goder som gir verdi til innbyggerne. Allmenninger ser ressurser "
"som felles goder, som gir en felles rikdom som strekker seg utover landets "
"grenser, og videreformidles uforminsket eller forbedret til fremtidige "
"generasjoner."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:467
msgid "#### People and processes"
msgstr "#### Folk og prosesser"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:471
msgid ""
"In the commons, the market, and the state, different people and processes "
"are used to manage resources. The processes used define both who has a say "
"and how a resource is managed."
msgstr ""
"I allemannseie, markedet og staten brukes ulike mennesker og prosesser til å "
"administrere ressurser. De prosesser som brukes definerer både hvem som har "
"innflytelse og hvordan en ressurs skal håndteres."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:479
msgid ""
"In the state, a government of elected officials is responsible for managing "
"resources on behalf of the public. The citizens who produce and use those "
"resources are not directly involved; instead, that responsibility is given "
"over to the government. State ministries and departments staffed with public "
"servants set budgets, implement programs, and manage resources based on "
"government priorities and procedures."
msgstr ""
"I staten utgår en regjering fra folkevalgte som er ansvarlige for "
"ressurshåndteringen på vegne av folk flest. Innbyggerne som produserer og "
"bruker disse ressursene er ikke direkte involvert; i stedet er ansvaret gitt "
"over til regjeringen. Statlige departementer og avdelinger bemannet med "
"offentlige tjenestemenn setter opp budsjetter, gjennomfører programmer og "
"administrerer ressurser basert på regjeringens prioriteringer og prosedyrer."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:486
msgid ""
"In the market, the people involved are producers, buyers, sellers, and "
"consumers. Businesses act as intermediaries between those who produce "
"resources and those who consume or use them. Market processes seek to "
"extract as much monetary value from resources as possible. In the market, "
"resources are managed as commodities, frequently mass-produced, and sold to "
"consumers on the basis of a cash transaction."
msgstr ""
"I markedet er menneskene som er involvert produsenter, kjøpere, selgere og "
"forbrukere. Bedrifter fungerer som mellomledd mellom dem som produserer "
"ressurser og dem som konsumerer eller bruke dem. Markedets prosesser søker å "
"trekke ut så mye verdi fra ressurser som mulig. Ressurser håndteres som en "
"handelsvare i markedet, ofte masseprodusert, og solgt til forbrukere på "
"grunnlag av en betalingstransaksjon."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:500
msgid ""
"In contrast to the state and market, resources in a commons are managed more "
"directly by the people involved.7 Creators of human produced resources can "
"put them in the commons by personal choice. No permission from state or "
"market is required. Anyone can participate in the commons and determine for "
"themselves the extent to which they want to be involved—as a contributor, "
"user, or manager. The people involved include not only those who create and "
"use resources but those affected by outcome of use. Who you are affects your "
"say, actions you can take, and extent of decision making. In the commons, "
"the community as a whole manages the resources. Resources put into the "
"commons using Creative Commons require users to give the original creator "
"credit. Knowing the person behind a resource makes the commons less "
"anonymous and more personal."
msgstr ""
"I motsetning til staten og markedet, håndteres ressurser i en allmenning mer "
"direkte av dem som er involvert.7) De som lager menneskeproduserte ressurser "
"kan legge dem i felleseiet ut fra et personlig valg. Det kreves ingen "
"tillatelse fra staten eller markedet. Alle kan delta i allmenninger og selv "
"bestemme seg for hvor mye de vil være involvert - som en bidragsyter, bruker "
"eller administrator. Involverte inkluderer ikke bare dem som oppretter og "
"bruker ressurser, men også dem som berøres av resultatet av bruk. Hvem du "
"er,  påvirker hva du har å si, hvilke handlinger du kan utføre, og omfanget "
"av beslutningstaking. I allmenninger er det fellesskapet som helhet som "
"administrerer ressursene. Ressurser lagt inn i felleseiet ved å bruke "
"Creative Commons krever at brukerne krediterer den opprinnelige skaperen. Å "
"vite hvem personen bak en ressurs er gjør fellesskapseie mindre anonymt og "
"mer personlig."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:503
msgid ""
"![](Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png){width=\"6.5in\" "
"height=\"4.2362in\"}"
msgstr ""
"![](Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png){width=\"6.5in\" "
"height=\"4.2362in\"}"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:505
msgid "#### Norms and rules"
msgstr "#### Normer og regler"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:510
msgid ""
"The social interactions between people, and the processes used by the state, "
"market, and commons, evolve social norms and rules. These norms and rules "
"define permissions, allocate entitlements, and resolve disputes."
msgstr ""
"De sosiale samhandlingene mellom mennesker, og prosessene i bruk av staten, "
"markedet og samfunnet for øvrig, utvikler sosiale normer og regler.  Disse "
"normene og reglene definerer tillatelser, tildeler rettigheter og løser "
"disputter."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:516
msgid ""
"State authority is governed by national constitutions. Norms related to "
"priorities and decision making are defined by elected officials and "
"parliamentary procedures. State rules are expressed through policies, "
"regulations, and laws. The state influences the norms and rules of the "
"market and commons through the rules it passes."
msgstr ""
"Statlig myndighet er underlagt nasjonale regelverk. Normer knyttet til "
"prioriteringer og beslutningsprosesser defineres av folkevalgte og "
"parlamentariske prosedyrer. Statlige føringer uttrykkes gjennom politiske "
"vedtak, lover og regler. Staten påvirker normer og regler for markedet og "
"allemannseie gjennom de reglene som lages."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:520
msgid ""
"Market norms are influenced by economics and competition for scarce "
"resources. Market rules follow property, business, and financial laws "
"defined by the state."
msgstr ""
"Markedets normer påvirkes av økonomi og konkurranse om knappe ressurser. "
"Markedsreguleringene omfatter eierforhold, virksomheter og økonomiske lover "
"definert av staten."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:527
msgid ""
"As with the market, a commons can be influenced by state policies, "
"regulations, and laws. But the norms and rules of a commons are largely "
"defined by the community. They weigh individual costs and benefits against "
"the costs and benefits to the whole community. Consideration is given not "
"just to economic efficiency but also to equity and sustainability.9"
msgstr ""
"Som med markedet, kan et felleseie påvirkes av offentlig politikk, "
"forskrifter og lover. Men normer og regler for et allemannseie er i det "
"store og hele definert av det selv. De veier individuelle kostnader og "
"fordeler - mot kostnader og fordeler for hele felleseiet. Det tas hensyn "
"ikke bare til økonomisk effektivitet, men også til egenkapital og "
"bærekraftighet.9)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:529
msgid "#### Goals"
msgstr "#### Mål"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:534
msgid ""
"The combination of the aspects we’ve discussed so far—the resource’s "
"inherent characteristics, people and processes, and norms and rules—shape "
"how resources are used. Use is also influenced by the different goals the "
"state, market, and commons have."
msgstr ""
"Kombinasjonen av forhold vi har diskutert så langt - de innebygde "
"egenskapene, folk, prosesser, normer og regler - utformer hvordan ressursene "
"brukes. Bruken påvirkes også av de ulike målene til stat, marked og "
"allmenninger."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:541
msgid ""
"In the market, the focus is on maximizing the utility of a resource.  What "
"we pay for the goods we consume is seen as an objective measure of the "
"utility they provide. The goal then becomes maximizing total monetary value "
"in the economy.10 Units consumed translates to sales, revenue, profit, and "
"growth, and these are all ways to measure goals of the market."
msgstr ""
"I markedet er fokus på å maksimere nytten av en ressurs. Hva vi betaler for "
"varene vi forbruker, sees på som et objektivt mål på den nytten de gir. "
"Målet blir da å maksimere den totale økonomiske pengeverdien.10)  Forbrukte "
"enheter forstås som salg, inntekter, fortjeneste og vekst, og alle disse er "
"måter å måle markedet på."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:548
msgid ""
"The state aims to use and manage resources in a way that balances the "
"economy with the social and cultural needs of its citizens. Health care, "
"education, jobs, the environment, transportation, security, heritage, and "
"justice are all facets of a healthy society, and the state applies its "
"resources toward these aims. State goals are reflected in quality of life "
"measures."
msgstr ""
"Staten skal bruke og administrere ressurser på en måte som balanserer "
"økonomi mot sosiale og kulturelle behov hos sine innbyggere. Helsetjenester, "
"utdanning, jobb, miljø, transport, sikkerhet, arv og rettferdighet er alle "
"fasetter av et sunt samfunn, og staten bruker sine ressurser får å nå disse "
"målene. Statlige mål gjenspeiles i mål på livskvalitet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:555
msgid ""
"In the commons, the goal is maximizing access, equity, distribution, "
"participation, innovation, and sustainability. You can measure success by "
"looking at how many people access and use a resource; how users are "
"distributed across gender, income, and location; if a community to extend "
"and enhance the resources is being formed; and if the resources are being "
"used in innovative ways for personal and social good."
msgstr ""
"I allmenninger er målet å maksimere tilgang, egenkapital, distribusjon, "
"deltakelse, innovasjon og bærekraft. Vi kan måle suksess ved å se på hvor "
"mange personer som har tilgang til, og bruker en ressurs; hvordan brukere er "
"fordelt på kjønn, inntekt og hvor de er; om et fellesskap utvider og "
"forbedrer de ressurser som lages; og om ressursene brukes på innovative "
"måter til fordel for personlige og sosiale goder."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:560
msgid ""
"As hybrid combinations of the commons with the market or state, the success "
"and sustainability of all our case study enterprises depends on their "
"ability to strategically utilize and balance these different aspects of "
"managing resources."
msgstr ""
"Som hybridkombinasjoner av fellesskapseie og marked eller staten, avhenger "
"suksessen og bærekraften i alle våre referansestudier av tiltakenes evne til "
"å strategisk bruke og balansere disse ulike aspektene ved sin "
"ressurshåndtering."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:562
msgid "### A Short History of the Commons"
msgstr "### Commons korte historie"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:569
msgid ""
"Using the commons to manage resources is part of a long historical "
"continuum. However, in contemporary society, the market and the state "
"dominate the discourse on how resources are best managed. Rarely is the "
"commons even considered as an option. The commons has largely disappeared "
"from consciousness and consideration. There are no news reports or speeches "
"about the commons."
msgstr ""
"Å bruke felleseiet for å håndtere ressurser er en del av et langt historisk "
"kontinuum. Men i det moderne samfunn dominerer markedet og staten "
"diskusjonen om hvordan ressurser best håndteres. Sjelden er allmenneie "
"engang vurdert som et alternativ. Allmenneie har i stor grad forsvunnet fra "
"bevissthet og omtanke. Det finnes ingen nyheter eller taler om allemenninger."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:575
msgid ""
"But the more than 1.1 billion resources licensed with Creative Commons "
"around the world are indications of a grassroots move toward the commons. "
"The commons is making a resurgence. To understand the resilience of the "
"commons and its current renewal, it’s helpful to know something of its "
"history."
msgstr ""
"Men mer enn 1,1 milliarder ressurser er lisensiert med Creative Commons "
"verden over, og er indikasjon på en grasrotbevegelse i retning allemannseie. "
"Felleseie blomstrer opp. For å forstå motstandsdyktigheten til slik eie og "
"den pågående fornyelsen er det nyttig å vite noe om historien."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:584
msgid ""
"For centuries, indigenous people and preindustrialized societies managed "
"resources, including water, food, firewood, irrigation, fish, wild game, and "
"many other things collectively as a commons.11 There was no market, no "
"global economy. The state in the form of rulers influenced the commons but "
"by no means controlled it. Direct social participation in a commons was the "
"primary way in which resources were managed and needs met. (Fig. 4 "
"illustrates the commons in relation to the state and the market.)"
msgstr ""
"I århundrer håndterte urfolk og førindustrielle samfunn ressurser, inkludert "
"vann, mat, brensel, vanning, fisk, vilt og mange andre ting, kollektivt som "
"et felleseie.11)  Det var intet marked, ingen verdensøkonomi. Staten, i form "
"av herskere, påvirket allmenningene, men kontrollerte dem ikke. Direkte "
"sosial deltakelse i en allmenning var primært måten ressurser ble styrt på "
"og behov møtt. (Fig. 4 illustrerer allemannseie i forhold til stat og "
"marked.)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:587
msgid ""
"![](Pictures/10000201000009C4000005153EACBD62F00F6BA9.png){width=\"6.5in\" "
"height=\"3.389in\"}"
msgstr ""
"![](Pictures/10000201000009C4000005153EACBD62F00F6BA9.png){width=\"6.5in\" "
"height=\"3.389in\"}"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:595
msgid ""
"This is followed by a long history of the state (a monarchy or ruler)  "
"taking over the commons for their own purposes. This is called enclosure of "
"the commons.12 In olden days, “commoners” were evicted from the land, fences "
"and hedges erected, laws passed, and security set up to forbid access.13 "
"Gradually, resources became the property of the state and the state became "
"the primary means by which resources were managed. (See Fig. 5)."
msgstr ""
"Dette etterfølges av en lang historie der staten (monarkiet eller en "
"makthaver) overtar allmenninger til sine egne formål. Dette kalles "
"innkapsling av allemannseie.12)  I gamle dager ble «commoners» kastet ut fra "
"land, gjerder og hekker reist, lover og sikkerhet satt opp for å forby "
"adgang.13)  Gradvis ble ressursene statens eiendom, og staten ble det "
"primære verktøy for styring av disse ressursene. (Se Fig. 5)."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:607
msgid ""
"Holdings of land, water, and game were distributed to ruling family and "
"political appointees. Commoners displaced from the land migrated to cities. "
"With the emergence of the industrial revolution, land and resources became "
"commodities sold to businesses to support production.  Monarchies evolved "
"into elected parliaments. Commoners became labourers earning money operating "
"the machinery of industry. Financial, business, and property laws were "
"revised by governments to support markets, growth, and productivity. Over "
"time ready access to market produced goods resulted in a rising standard of "
"living, improved health, and education. Fig. 6 shows how today the market is "
"the primary means by which resources are managed."
msgstr ""
"Eierskap til land, vann og vilt ble distribuert til den herskende familien "
"og politisk utvalgte. Vanlige borgere ble fordrevet fra landområdene og "
"flyttet til byer. Med fremveksten av den industrielle revolusjonen ble "
"landområder og ressurser solgt til bedrifter for å støtte produksjon. "
"Folkevalgte forsamlinger overtok etter hvert fra monarkier. Vanlige borgere "
"ble arbeidere som tjente penger ved å betjene maskiner i industrien. Finans, "
"virksomhet (business) og eiendomsrett ble omdannet av regjeringene til å "
"støtte markeder, vekst og produktivitet. Over tid ga tilgang til "
"markedsproduserte varer en økende levestandard, bedre helse og utdanning. "
"Fig. 6 viser hvordan markedet i dag  er hovedmåten for ressurhåndtering."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:610
msgid ""
"![](Pictures/10000201000009C4000005150F069409C1CC12F0.png){width=\"6.5in\" "
"height=\"3.389in\"}"
msgstr ""
"![](Pictures/10000201000009C4000005150F069409C1CC12F0.png){width=\"6.5in\" "
"height=\"3.389in\"}"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:614
msgid ""
"However, the world today is going through turbulent times. The benefits of "
"the market have been offset by unequal distribution and overexploitation."
msgstr ""
"Men i dag går verden gjennom turbulente tider. Fordelene med markedet har "
"blitt motvirket av ulik fordeling og rovdrift."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:623
msgid ""
"Overexploitation was the topic of Garrett Hardin’s influential essay “The "
"Tragedy of the Commons,” published in Science in 1968. Hardin argues that "
"everyone in a commons seeks to maximize personal gain and will continue to "
"do so even when the limits of the commons are reached.  The commons is then "
"tragically depleted to the point where it can no longer support anyone. "
"Hardin’s essay became widely accepted as an economic truism and a "
"justification for private property and free markets."
msgstr ""
"Overutnyttelse var tema for Garrett Hardins innflytelsesrike essay om «The "
"Tragedy of the Commons», publisert i Science i 1968. Hardin hevder at alle i "
"et allmenneie søker å maksimere personlig vinning, og vil fortsette å gjøre "
"det selv når allmenningens grenser er nådd.  Felleseiet blir så, tragisk "
"nok, utarmet til et punkt hvor det ikke lenger understøtter noen. Hardins "
"essay ble allment akseptert som en økonomisk sannhet og en begrunnelse for "
"privat eiendom og frie markeder."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:640
msgid ""
"However, there is one serious flaw with Hardin’s “The Tragedy of the "
"Commons”—it’s fiction. Hardin did not actually study how real commons work. "
"Elinor Ostrom won the 2009 Nobel Prize in economics for her work studying "
"different commons all around the world. Ostrom’s work shows that natural "
"resource commons can be successfully managed by local communities without "
"any regulation by central authorities or without privatization. Government "
"and privatization are not the only two choices. There is a third way: "
"management by the people, where those that are directly impacted are "
"directly involved. With natural resources, there is a regional locality. The "
"people in the region are the most familiar with the natural resource, have "
"the most direct relationship and history with it, and are therefore best "
"situated to manage it. Ostrom’s approach to the governance of natural "
"resources broke with convention; she recognized the importance of the "
"commons as an alternative to the market or state for solving problems of "
"collective action.14"
msgstr ""
"Men det er en alvorlig feil med Hardins «Allmenningens tragedie» - det er "
"fiksjon. Hardin studerer ikke faktisk hvordan virkelige felleseier fungerer. "
"Elinor Ostrom vant Nobelprisen i økonomi i 2009 for sitt arbeid med å med "
"studere allmenneier over hele verden. Ostroms arbeid viser at naturressurs-"
"allmenninger kan behandles med godt resultat av lokalsamfunn uten regulering "
"fra sentrale myndigheter eller uten privatisering. Regjeringen og "
"privatisering er ikke de eneste to valgene. Det er en tredje vei: Styring av "
"mennesker, der de som er direkte påvirket er direkte involvert. "
"Naturressurser er en regional lokalitet. Folk i regionen er mest fortrolig "
"med naturressursene, har den mest direkte relasjonen, og en historie knyttet "
"til dem, og er derfor best plassert til å administrere den. Ostroms "
"tilnærming til styringen av naturressurser brøt med konvensjonen; hun innså "
"betydningen av felleseie som et alternativ til markedet, eller staten for "
"løsning av oppgaver med problemløsning som krever felles innsats.14)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:650
msgid ""
"Hardin failed to consider the actual social dynamic of the commons. His "
"model assumed that people in the commons act autonomously, out of pure self-"
"interest, without interaction or consideration of others. But as Ostrom "
"found, in reality, managing common resources together forms a community and "
"encourages discourse. This naturally generates norms and rules that help "
"people work collectively and ensure a sustainable commons. Paradoxically, "
"while Hardin’s essay is called The Tragedy of the Commons it might more "
"accurately be titled The Tragedy of the Market."
msgstr ""
"Hardin mislyktes i å vurdere den faktiske sosiale dynamikken ved felleseie. "
"Hans modell antok at folk i allmenneier handler uavhengig av hverandre, ut "
"fra ren egeninteresse, uten interaksjon eller hensyn til andre. Men som "
"Ostrom fant, i virkeligheten, å håndtere felles ressurser sammen, danner et "
"fellesskap og oppfordrer til meningsutveksling. Dette generer naturligvis "
"normer og regler som hjelpe folk til å arbeide sammen, og sikre et "
"bærekraftig felleseie. Paradoksalt nok, mens Hardins essay kalles The "
"tragedy of the Commons, burde det kanskje mer nøyaktig hatt tittelen The "
"Tragedy of the Market."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:660
msgid ""
"Hardin’s story is based on the premise of depletable resources.  Economists "
"have focused almost exclusively on scarcity-based markets.  Very little is "
"known about how abundance works.15 The emergence of information technology "
"and the Internet has led to an explosion in digital resources and new means "
"of sharing and distribution. Digital resources can never be depleted. An "
"absence of a theory or model for how abundance works, however, has led the "
"market to make digital resources artificially scarce and makes it possible "
"for the usual market norms and rules to be applied."
msgstr ""
"Hardins historie er basert på forutsetningen om begrensede ressurser.  "
"Økonomer har fokusert nesten utelukkende på knapphetsbaserte markeder.  "
"Svært lite er kjent om virkningene av overflod.15)  Fremveksten av "
"informasjonsteknologi og Internett har ført til en eksplosjon i digitale "
"ressurser og nye måter for deling og distribusjon. Digitale ressursene kan "
"aldri bli uttømt. Fravær av en teori eller modell for hvordan overflod "
"fungerer, har ledet markedet til å gjøre digitale ressurser kunstig knappe, "
"og gjøre det mulig å anvende markedets vanlige normer og regler."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:665
msgid ""
"When it comes to use of state funds to create digital goods, however, there "
"is really no justification for artificial scarcity. The norm for state "
"funded digital works should be that they are freely and openly available to "
"the public that paid for them."
msgstr ""
"Når det kommer til bruk av statlige bevilgninger til å lage digitale "
"produkter, er det egentlig ingen begrunnelse for kunstig knapphet. Normen "
"for statlig finansierte digitale arbeider skal være at de er fritt og åpent "
"tilgjengelige for allmennheten som betalte for dem."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:668
msgid ""
"![](Pictures/10000201000009C400000515F1CAA15B223F6BAF.png){width=\"6.5in\" "
"height=\"3.389in\"}"
msgstr ""
"![](Pictures/10000201000009C400000515F1CAA15B223F6BAF.png){width=\"6.5in\" "
"height=\"3.389in\"}"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:670
msgid "### The Digital Revolution"
msgstr "### Den digitale revolusjonen"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:674
msgid ""
"In the early days of computing, programmers and developers learned from each "
"other by sharing software. In the 1980s, the free-software movement codified "
"this practice of sharing into a set of principles and freedoms:"
msgstr ""
"I databehandlingens tidlige dager lærte programmerere og utviklere fra "
"hverandre ved å dele programvare. På 1980-tallet kodifiserte fri programvare-"
"bevegelsen denne delingspraksisen til et sett med prinsipper og friheter:"

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:682
msgid "The freedom to run a software program as you wish, for any purpose."
msgstr "Frihet til å kjøre et program som du ønsker, for ethvert formål."

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:682
msgid ""
"The freedom to study how a software program works (because access to the "
"source code has been freely given), and change it so it does your computing "
"as you wish."
msgstr ""
"Friheten til å studere hvordan et program fungerer (fordi tilgangen til "
"kildekoden er frigitt), og endre den så den utfører databehandlingen din "
"slik du ønsker."

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:682
msgid "The freedom to redistribute copies."
msgstr "Friheten til å redistribuere kopier."

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:682
msgid "The freedom to distribute copies of your modified versions to others.16"
msgstr ""
"Friheten til å distribuere kopier av dine modifiserte versjoner til andre.16)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:685
msgid ""
"These principles and freedoms constitute a set of norms and rules that "
"typify a digital commons."
msgstr ""
"Disse prinsippene og frihetene utgjør et sett av normer og regler som "
"karakteriserer et digitalt felleseie."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:698
msgid ""
"In the late 1990s, to make the sharing of source code and collaboration more "
"appealing to companies, the open-source-software initiative converted these "
"principles into licenses and standards for managing access to and "
"distribution of software. The benefits of open source—such as reliability, "
"scalability, and quality verified by independent peer review—became widely "
"recognized and accepted. Customers liked the way open source gave them "
"control without being locked into a closed, proprietary technology. Free and "
"open-source software also generated a network effect where the value of a "
"product or service increases with the number of people using it.17 The "
"dramatic growth of the Internet itself owes much to the fact that nobody has "
"a proprietary lock on core Internet protocols."
msgstr ""
"I 1990, for å gjøre deling av kildekode og samarbeid mer tiltrekkende for "
"selskaper, konverterte åpen-kildekodeprogramvare-initiativet prinsippene til "
"lisenser og standarder for å håndtere tilgang til og distribusjon av "
"programvare. Fordelene av åpen kildekode - som pålitelighet, skalerbarhet og "
"kvalitet kontrollert av uavhengige fagfellevurderinger, ble anerkjent og "
"akseptert. Kundene likte måten åpen kildekode ga dem kontroll uten å bli "
"låst inn i en lukket, proprietær teknologi. Gratis og åpen "
"kildekodeprogramvare genereres også en nettverkseffekt der verdien av et "
"produkt eller tjeneste øker med antall personer som bruker det.17)  Den "
"dramatiske veksten i selve Internettet skyldes mye det faktum at ingen har "
"en proprietær lås på kjernens Internett-protokoller."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:707
msgid ""
"While open-source software functions as a commons, many businesses and "
"markets did build up around it. Business models based on the licenses and "
"standards of open-source software evolved alongside organizations that "
"managed software code on principles of abundance rather than scarcity. Eric "
"Raymond’s essay “The Magic Cauldron” does a great job of analyzing the "
"economics and business models associated with open-source software.18 These "
"models can provide examples of sustainable approaches for those Made with "
"Creative Commons."
msgstr ""
"Mens åpen kildekodeprogramvare fungerer som et felleseie, bygget mange "
"bedrifter og markeder seg rundt det. Forretningsmodeller basert på lisenser "
"og standarder for åpen kildekode utviklet seg sammen med organisasjoner som "
"håndterte programvarekode med prinsippene om overflod i stedet for knapphet. "
"Eric Raymonds essay «The Magic Cauldron» gjør en stor jobb med å analysere "
"økonomi- og forretningsmodellene forbundet med åpen kildekode.18)  Disse "
"modellene kan gi eksempler på bærekraftige tilnærminger for de som er laget "
"med Creative Commons."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:718
msgid ""
"It isn’t just about an abundant availability of digital assets but also "
"about abundance of participation. The growth of personal computing, "
"information technology, and the Internet made it possible for mass "
"participation in producing creative works and distributing them. Photos, "
"books, music, and many other forms of digital content could now be readily "
"created and distributed by almost anyone. Despite this potential for "
"abundance, by default these digital works are governed by copyright laws. "
"Under copyright, a digital work is the property of the creator, and by law "
"others are excluded from accessing and using it without the creator’s "
"permission."
msgstr ""
"Det handler  ikke bare om en rikelig tilgjengelighet av digitale ressurser, "
"men også om en overflod av deltakelse. Veksten i personlige datamaskiner, "
"informasjonsteknologi og Internett gjorde det mulig for massedeltakelse i "
"produksjon av kreative arbeider, og distribusjon av dem. Bilder, bøker, "
"musikk og mange andre typer digitalt innhold kan nå lett opprettes og "
"distribueres av nær sagt alle. Til tross for dette overflodspotensialet, er "
"disse digitale arbeidene som standard underlagt lovgivning om opphavsrett. "
"Med opphavsrett, at et digitalt arbeid er eiendommen til den som har laget "
"det, og etter loven, er andre ekskludert fra adgangen til å bruke det uten "
"opphavspersonens tillatelse."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:724
msgid ""
"But people like to share. One of the ways we define ourselves is by sharing "
"valuable and entertaining content. Doing so grows and nourishes "
"relationships, seeks to change opinions, encourages action, and informs "
"others about who we are and what we care about. Sharing lets us feel more "
"involved with the world.19"
msgstr ""
"Men folk liker å dele. En av måtene vi definerer oss selv på er å dele "
"verdifull og underholdende innhold. Dette gir vekst og næring til "
"relasjoner, vi søker å endre meninger, oppmuntrer til handling, og "
"informerer andre om hvem vi er og hva vi bryr oss om. Deling lar oss føle "
"oss mer involvert i verden.19)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:726
msgid "### The Birth of Creative Commons"
msgstr "### Creative Commons blir til"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:733
msgid ""
"In 2001, Creative Commons was created as a nonprofit to support all those "
"who wanted to share digital content. A suite of Creative Commons licenses "
"was modeled on those of open-source software but for use with digital "
"content rather than software code. The licenses give everyone from "
"individual creators to large companies and institutions a simple, "
"standardized way to grant copyright permissions to their creative work."
msgstr ""
"I 2001 ble Creative Commons opprettet som et nonprofit opplegg for å støtte "
"alle de som ønsket å dele digitalt innhold. En pakke med Creative Commons-"
"lisenser var modellert etter de for programvare med åpen kildekode, men for "
"bruk for digitalt innhold i stedet for programvarekode. Lisensene gir alle, "
"fra individuelle skapere til store selskaper og institusjoner, en enkel "
"standardisert måte å gi  opphavsrettstillatelser for sitt skapende arbeid."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:747
msgid ""
"Creative Commons licenses have a three-layer design. The norms and rules of "
"each license are first expressed in full legal language as used by lawyers. "
"This layer is called the legal code. But since most creators and users are "
"not lawyers, the licenses also have a commons deed, expressing the "
"permissions in plain language, which regular people can read and quickly "
"understand. It acts as a user-friendly interface to the legal-code layer "
"beneath. The third layer is the machine-readable one, making it easy for the "
"Web to know a work is Creative Commons–licensed by expressing permissions in "
"a way that software systems, search engines, and other kinds of technology "
"can understand.20 Taken together, these three layers ensure creators, users, "
"and even the Web itself understand the norms and rules associated with "
"digital content in a commons."
msgstr ""
"Creative Commons-lisenser har en tre-lags design. Normer og regler for hver "
"lisens uttrykkes først fullt ut i det juridiske språket som brukes av "
"advokater. Dette kalles den juridiske lisensteksten. Men siden de fleste "
"bidragsytere og brukere ikke er advokater, har lisensene også en commons "
"avtaletekst, som uttrykker tillatelsene i vanlig språk, som folk flest raskt "
"kan lese og forstå. Det fungerer som et brukervennlig grensesnitt til den "
"juridiske koden som ligger under. Det tredje laget er den maskinlesbare, som "
"gjør det enkelt for Internettet å vite om et arbeid har en Creative Commons-"
"lisens ved å uttrykke tillatelser på en måte som programvaresystemer, "
"søkemotorer og andre typer teknologi kan forstå.20)  Sett samlet sikrer "
"disse tre lagene at skaperne, brukere, og nettområdet selv forstår normer og "
"regler for digitalt innhold i et allemannseie."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:754
msgid ""
"In 2015, there were over one billion Creative Commons licensed works in a "
"global commons. These works were viewed online 136 billion times.  People "
"are using Creative Commons licenses all around the world, in thirty-four "
"languages. These resources include photos, artwork, research articles in "
"journals, educational resources, music and other audio tracks, and videos."
msgstr ""
"I 2015 var det over en milliard arbeider med Creative Common-lisens globalt. "
"Disse arbeidene ble vist på nettet 136 milliard ganger.  Folk bruker "
"Creative Commons-lisenser på 34 språk over hele verden. Disse ressursene "
"inkluderer bilder, illustrasjoner, forskningsartikler i tidsskrifter, "
"pedagogiske ressurser, musikk og andre lydspor, og videoer."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:762
msgid ""
"Individual artists, photographers, musicians, and filmmakers use Creative "
"Commons, but so do museums, governments, creative industries, manufacturers, "
"and publishers. Millions of websites use CC licenses, including major "
"platforms like Wikipedia and Flickr and smaller ones like blogs.21 Users of "
"Creative Commons are diverse and cut across many different sectors. (Our "
"case studies were chosen to reflect that diversity.)"
msgstr ""
"Individuelle kunstnere, fotografer, musikere og filmskapere bruker Creative "
"Commons, men det gjør også museer, regjeringer, kreative næringer, "
"produsenter og forleggere. Millioner av nettsteder bruker CC-lisenser, "
"inkludert store plattformer som Wikipedia og Flickr, og mindre slik som "
"blogger.21) Brukere av Creative Commons er mangfoldige, og går på tvers av "
"mange ulike sektorer. (Våre referanseløsninger ble valgt for å reflektere "
"dette mangfoldet.)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:772
msgid ""
"Some see Creative Commons as a way to share a gift with others, a way of "
"getting known, or a way to provide social benefit. Others are simply "
"committed to the norms associated with a commons. And for some, "
"participation has been spurred by the free-culture movement, a social "
"movement that promotes the freedom to distribute and modify creative works. "
"The free-culture movement sees a commons as providing significant benefits "
"compared to restrictive copyright laws. This ethos of free exchange in a "
"commons aligns the free-culture movement with the free and open-source "
"software movement."
msgstr ""
"Noen ser Creative Commons som en måte å dele en gave med andre, en måte for "
"å bli kjent, eller en måte å gi en sosial fordel på. Andre er bare "
"forpliktet i forhold til normene knyttet til et allemannseie. Og for noen er "
"deltakelsen ansporet av fri kultur-bevegelsen, en sosial bevegelse som "
"fremmer friheten til å distribuere og endre kreative arbeider. Fri kultur-"
"bevegelsen ser at allemannseie gir viktige fordeler sammenlignet med "
"restriktive lover om opphavsrett. Denne grunnholdning til fri utveksling i "
"en allmenning samstemmer  fri kultur-bevegelsen med den frie og åpen "
"kildekode-programvare-bevegelsen."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:778
msgid ""
"Over time, Creative Commons has spawned a range of open movements, including "
"open educational resources, open access, open science, and open data. The "
"goal in every case has been to democratize participation and share digital "
"resources at no cost, with legal permissions for anyone to freely access, "
"use, and modify."
msgstr ""
"Over tid, har Creative Commons avfødt en hel rekke med åpne bevegelser, "
"inkludert åpne pedagogiske ressurser, åpen tilgang, åpen vitenskap og åpne "
"data. Målet har i alle tilfeller vært å demokratisere deltakelse, og dele "
"digitale ressurser kostnadsfritt, med juridiske tillatelser for alle for "
"fritt å ha tilgang, bruke, og endre."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:788
msgid ""
"The state is increasingly involved in supporting open movements. The Open "
"Government Partnership was launched in 2011 to provide an international "
"platform for governments to become more open, accountable, and responsive to "
"citizens. Since then, it has grown from eight participating countries to "
"seventy.22 In all these countries, government and civil society are working "
"together to develop and implement ambitious open-government reforms. "
"Governments are increasingly adopting Creative Commons to ensure works "
"funded with taxpayer dollars are open and free to the public that paid for "
"them."
msgstr ""
"Staten er i økende grad involvert i å støtte åpne bevegelser. The Open "
"Government Partnership (åpen regjeringspartnerskap) ble lansert i 2011 for å "
"gi en internasjonal plattform for regjeringer til å bli mer åpne, ansvarlige "
"og mottakelige i forhold til innbyggerne. Siden da har det vokst fra åtte "
"deltakerland til sytti.22)  I alle disse landene arbeider regjeringen og det "
"sivile samfunnet sammen om å utvikle og implementere ambisiøse åpen-"
"regjering-reformer (offentlige reformer). Regjeringer bruker i økende grad "
"Creative Commons for å sikre at arbeid finansiert av skattebetalerne er "
"åpent og gratis for det publikum som betalte for dem."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:790
msgid "### The Changing Market"
msgstr "### Markedet i forandring"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:802
msgid ""
"Today’s market is largely driven by global capitalism. Law and financial "
"systems are structured to support extraction, privatization, and corporate "
"growth. A perception that the market is more efficient than the state has "
"led to continual privatization of many public natural resources, utilities, "
"services, and infrastructures.23 While this system has been highly efficient "
"at generating consumerism and the growth of gross domestic product, the "
"impact on human well-being has been mixed.  Offsetting rising living "
"standards and improvements to health and education are ever-increasing "
"wealth inequality, social inequality, poverty, deterioration of our natural "
"environment, and breakdowns of democracy.24"
msgstr ""
"Dagens marked er i stor grad drevet av global kapitalisme. Lov og økonomiske "
"systemer er strukturert for å støtte inntjening, privatisering og bedriftens "
"vekst. En oppfatning at markedet er mer effektivt enn det offentlige, har "
"ført til en kontinuerlig privatisering av mange offentlige ressurser, "
"hjelpemidler, tjenester og infrastruktur.23)  Mens dette systemet har vært "
"svært effektivt til å generere forbruk og vekst i bruttonasjonalproduktet, "
"har innvirkningen på menneskets trivsel vært blandet.  Motstykket til økende "
"levestandard og forbedringer i helse og utdanning er stadig økende ulikheter "
"i rikdom, sosial ulikhet, fattigdom, forverring av vårt naturlige miljø, og "
"demokratiske sammenbrudd.24)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:808
msgid ""
"In light of these challenges there is a growing recognition that GDP growth "
"should not be an end in itself, that development needs to be socially and "
"economically inclusive, that environmental sustainability is a requirement "
"not an option, and that we need to better balance the market, state and "
"community.25"
msgstr ""
"I lys av disse utfordringene er det en voksende anerkjennelse av at BNP-"
"veksten ikke bør være et mål i seg selv, at utvikling trenger å være sosialt "
"og økonomisk inkluderende, at miljømessig bærekraft er en forutsetning ikke "
"et alternativ, og at vi trenger å balansere markedet, stat og samfunn "
"bedre.25)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:816
msgid ""
"These realizations have led to a resurgence of interest in the commons as a "
"means of enabling that balance. City governments like Bologna, Italy, are "
"collaborating with their citizens to put in place regulations for the care "
"and regeneration of urban commons.26 Seoul and Amsterdam call themselves "
"“sharing cities,” looking to make sustainable and more efficient use of "
"scarce resources. They see sharing as a way to improve the use of public "
"spaces, mobility, social cohesion, and safety.27"
msgstr ""
"Disse erkjennelser har ført til en fornyet interesse i allemannseie som "
"muliggjør en slik balanse. Byregjeringer, som italienske Bologna, "
"samarbeider med sine innbyggere for å få til forskrifter for omsorg for og "
"modernisering av bymessige felleseier.26)  Seoul og Amsterdam kaller seg "
"«delingsbyer», når de søker etter å få til  bærekraftig og mer effektiv bruk "
"av knappe ressurser. De ser deling som en måte å forbedre bruken av "
"offentlige rom, mobilitet, sosialt samhold og sikkerhet.27)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:833
msgid ""
"The market itself has taken an interest in the sharing economy, with "
"businesses like Airbnb providing a peer-to-peer marketplace for short-term "
"lodging and Uber providing a platform for ride sharing.  However, Airbnb and "
"Uber are still largely operating under the usual norms and rules of the "
"market, making them less like a commons and more like a traditional business "
"seeking financial gain. Much of the sharing economy is not about the commons "
"or building an alternative to a corporate-driven market economy; it’s about "
"extending the deregulated free market into new areas of our lives.28 While "
"none of the people we interviewed for our case studies would describe "
"themselves as part of the sharing economy, there are in fact some "
"significant parallels. Both the sharing economy and the commons make better "
"use of asset capacity.  The sharing economy sees personal residents and cars "
"as having latent spare capacity with rental value. The equitable access of "
"the commons broadens and diversifies the number of people who can use and "
"derive value from an asset."
msgstr ""
"Markedet selv har vært interessert i delingsøkonomien, med bedrifter som "
"Airbnb som gir et peer-to-peer marked (P2P: likemannsnettverk) for kortvarig "
"overnatting, og Uber som gir en plattform for deling av bilturer. Airbnb og "
"Uber opererer imidlertid fortsatt i stor grad med vanlige normer og regler i "
"et marked, noe som gjør dem mindre som en felleseier, og mer som en "
"tradisjonell virksomhet som søker finansiell inntjening. Mye av "
"delingsøkonomien er ikke om allmenneier, eller å bygge et alternativ til en "
"bedriftsdrevet markedsøkonomi: Det handler om å utvide det deregulerte frie "
"markedet til nye områder i våre liv.28)  Mens ingen av de vi intervjuet for "
"våre referanseløsninger ville beskrive seg selv som en del av "
"delingsøkonomien, er det faktisk noen viktige paralleller. Både "
"delingsøkonomi og allmenneie gjør bedre bruk av eiendelens kapasitet. "
"Delingsøkonomien ser på personlig beboere og biler å ha en latent ekstra "
"kapasitet med utleieverdi. Rettferdig tilgang på felleseier utvider og "
"diversifiserer (spre, fordele på ) antall personer som kan bruke og få verdi "
"ut av en eiendel."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:843
msgid ""
"One way Made with Creative Commons case studies differ from those of the "
"sharing economy is their focus on digital resources. Digital resources "
"function under different economic rules than physical ones. In a world where "
"prices always seem to go up, information technology is an anomaly.  Computer-"
"processing power, storage, and bandwidth are all rapidly increasing, but "
"rather than costs going up, costs are coming down.  Digital technologies are "
"getting faster, better, and cheaper. The cost of anything built on these "
"technologies will always go down until it is close to zero.29"
msgstr ""
"Enveis «Made with Creative Commons» (Laget med Creative Commons) "
"referansestudier skiller seg fra delingsøkonomien med sine fokus på digitale "
"ressurser. Digitale ressurser virker under ulike økonomiske regler enn de "
"fysiske. I en verden hvor prisene alltid synes å gå opp, er "
"informasjonsteknologi et avvik. Databehandlingsmakt, lagringsplass og "
"båndbredde er alle raskt økende, men heller enn at kostnadene går opp, går "
"kostnadene ned. Digital teknologi blir raskere, bedre og billigere. "
"Kostnaden for noe som bygger på disse teknologiene vil alltid gå ned til nær "
"null.29)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:854
msgid ""
"Those that are Made with Creative Commons are looking to leverage the unique "
"inherent characteristics of digital resources, including lowering costs. The "
"use of digital-rights-management technologies in the form of locks, "
"passwords, and controls to prevent digital goods from being accessed, "
"changed, replicated, and distributed is minimal or nonexistent. Instead, "
"Creative Commons licenses are used to put digital content out in the "
"commons, taking advantage of the unique economics associated with being "
"digital. The aim is to see digital resources used as widely and by as many "
"people as possible. Maximizing access and participation is a common goal. "
"They aim for abundance over scarcity."
msgstr ""
"De som lages med Creative Commons søker å utnytte de unike iboende "
"egenskaper til digitale ressurser, inkludert å senke kostnadene. Bruken av "
"digitale rettighetshåndterte teknologier i form av låser, passord og "
"kontroller for å hindre at digitale produkter blir tilgjengelige,  endret, "
"kopiert og distribuert, er minimal eller ikke-eksisterende. I stedet brukes "
"Creative Commons-lisenser til å legge digitalt innhold i felleseier, og ta "
"fordelen ved den unike økonomi som er knyttet til å være digital. Målet er å "
"oppnå at digitale ressursene brukes så mye og av så mange som mulig. "
"Maksimert tilgang og deltakelse er et felles mål. Deres mål er overflod "
"fremfor knapphet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:861
msgid ""
"The incremental cost of storing, copying, and distributing digital goods is "
"next to zero, making abundance possible. But imagining a market based on "
"abundance rather than scarcity is so alien to the way we conceive of "
"economic theory and practice that we struggle to do so.30 Those that are "
"Made with Creative Commons are each pioneering in this new landscape, "
"devising their own economic models and practice."
msgstr ""
"Den trinnvise kostnaden ved lagring, kopiering og distribusjon av digitale "
"produkter er neste null, og gjør overflod mulig. Men å forestille seg et "
"marked basert mer på overflod  snarere enn knapphet er så fremmed for måten "
"vi tenker oss økonomisk teori og praksis på, at vi strever med å gjøre "
"det.30)  Det som er laget med Creative Commons er banebrytende i dette nye "
"landskapet, og utformer sine egne økonomiske modeller og praksiser."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:867
msgid ""
"Some are looking to minimize their interactions with the market and operate "
"as autonomously as possible. Others are operating largely as a business "
"within the existing rules and norms of the market. And still others are "
"looking to change the norms and rules by which the market operates."
msgstr ""
"Noen ønsker å minimere sin samhandling med markedet og operere så "
"selvstendig som mulig. Andre opererer hovedsakelig som en virksomhet "
"innenfor eksisterende regler og normer for markedet. Og andre igjen, søker "
"etter muligheter til å endre normer og regler som markedet fungerer etter."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:878
msgid ""
"For an ordinary corporation, making social benefit a part of its operations "
"is difficult, as it’s legally required to make decisions that financially "
"benefit stockholders. But new forms of business are emerging. There are "
"benefit corporations and social enterprises, which broaden their business "
"goals from making a profit to making a positive impact on society, workers, "
"the community, and the environment.31 Community-owned businesses, worker-"
"owned businesses, cooperatives, guilds, and other organizational forms offer "
"alternatives to the traditional corporation. Collectively, these alternative "
"market entities are changing the rules and norms of the market.32"
msgstr ""
"For et vanlig aksjeselskap er det vanskelig å få til sosial fordel med som "
"en del av sin virksomhet, så det er lovpålagt å ta avgjørelser til økonomisk "
"fordel for aksjonærene. Men nye former for forretningsvirksomhet vokser "
"frem.  Det er veldedige sammenslutninger og sosiale foretak som utvider sine "
"forretningsmål fra å gjøre  fortjeneste til å gjøre en positiv innvirkning "
"på samfunnet, arbeidere, lokalsamfunnet og miljøet.31)  Fellesskapseide og "
"arbeidstakereide bedrifter, kooperativer, laug og andre organisasjonsformer "
"er alternativer til tradisjonelle bedrifter. Samlet endrer disse alternative "
"markedsaktørene markedets regler og normer.32)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:885
msgid ""
"“A book on open business models” is how we described it in this book’s "
"Kickstarter campaign. We used a handbook called Business Model Generation as "
"our reference for defining just what a business model is.  Developed over "
"nine years using an “open process” involving 470 coauthors from forty-five "
"countries, it is useful as a framework for talking about business models.33"
msgstr ""
"«En bok om åpne forretningsmodeller» er hvordan vi beskrev det i denne "
"bokens Kickstarter-kampanje. Vi brukte en håndbok kalt «Business Model "
"Generation» som vår referanse for å definere hva en forretningsmodell er. "
"Utviklet over ni år med en «åpen prosess» som involverte 470 medforfattere "
"fra 45 land, er den nyttig som et rammeverk for å omtale "
"forretningsmodeller.33)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:894
msgid ""
"It contains a “business model canvas,” which conceives of a business model "
"as having nine building blocks.34 This blank canvas can serve as a tool for "
"anyone to design their own business model. We remixed this business model "
"canvas into an open business model canvas, adding three more building blocks "
"relevant to hybrid market, commons enterprises: social good, Creative "
"Commons license, and “type of open environment that the business fits in.”35 "
"This enhanced canvas proved useful when we analyzed businesses and helped "
"start-ups plan their economic model."
msgstr ""
"Den inneholder et «lerret for forretningsmodeller», som oppfatter at en "
"forretningsmodell har ni byggestener.34)  Dette tomme lerretet kan tjene som "
"et verktøy for alle som vil lage sine egen forretningsmodell. Vi remikset "
"dette lerretet for forretningsmodeller til et lerret for en åpen "
"virksomhetsmodell, og la til tre flere byggeklosser passende for "
"fellesskapsbedrifter i et hybrid marked: Sosial nytte, Creative Commons-"
"lisens, og «type åpent miljø som virksomheten passer i».35)  Dette "
"forbedrede lerretet viste seg nyttig når vi analyserte bedrifter, og hjalp "
"gründere å planlegge sin økonomiske modell."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:905
msgid ""
"In our case study interviews, many expressed discomfort over describing "
"themselves as an open business model—the term business model suggested "
"primarily being situated in the market. Where you sit on the commons-to-"
"market spectrum affects the extent to which you see yourself as a business "
"in the market. The more central to the mission shared resources and commons "
"values are, the less comfort there is in describing yourself, or depicting "
"what you do, as a business. Not all who have endeavors Made with Creative "
"Commons use business speak; for some the process has been experimental, "
"emergent, and organic rather than carefully planned using a predefined model."
msgstr ""
"I intervjuene i vår studie uttrykte mange ubehag over å beskrive seg selv "
"som å ha en åpen forretningsmodell – begrepet forretningsmodell foreslo "
"primært å være plassert i markedet. Hvor du er plassert i spektret, fra "
"felleseie – til marked, påvirker i hvilken grad du ser deg selv som en "
"markedsbedrift. Jo mer sentralt for oppgaven delte ressurs- og "
"allemannseieverdiene er, jo mindre komfortabelt er det å beskrive seg, eller "
"vise til hva du gjør, som en bedrift. Ikke alle som har oppgaver laget med "
"Creative Commons bruker forretningsspråk; for noen har prosessen heller vært "
"eksperimentell, vokst frem og organisk snarere enn nøye planlagt ved hjelp "
"av en forhåndsdefinert modell."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:916
msgid ""
"The creators, businesses, and organizations we profile all engage with the "
"market to generate revenue in some way. The ways in which this is done vary "
"widely. Donations, pay what you can, memberships, “digital for free but "
"physical for a fee,” crowdfunding, matchmaking, value-add services, "
"patrons . . . the list goes on and on. (Initial description of how to earn "
"revenue available through reference note. For latest thinking see How to "
"Bring In Money in the next section.) 36 There is no single magic bullet, and "
"each endeavor has devised ways that work for them. Most make use of more "
"than one way. Diversifying revenue streams lowers risk and provides multiple "
"paths to sustainability."
msgstr ""
"Bidragsyterne, bedrifter og organisasjoner vi profiler er alle engasjerte i "
"markedet for å generere inntekter på ulik måte. Hvordan dette gjøres "
"varierer mye. Donasjoner, betal hva du kan, medlemskap, «Digitalt gratis, "
"men fysisk for betaling», fellesfinansiering, matchmaking, verdiøkende "
"tjenester, beskyttere  ... listen fortsetter og fortsetter. (Første "
"beskrivelse av hvordan skaffe inntekt fremgår av referansenoten. Om seneste "
"tenkning om dette,  se  «Hvordan bringe inn penger» i neste seksjon.)36)  "
"Det er ingen enkel, magisk kule, og hver oppgave har utviklet måter som "
"passer for den. De fleste gjør bruk av mer enn én måte. Å diversifisere "
"inntektsstrømmer reduserer risikoen, og gir flere veier til bærekraft."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:918
msgid "### Benefits of the Digital Commons"
msgstr "### Fordelene med Digital Commons"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:923
msgid ""
"While it may be clear why commons-based organizations want to interact and "
"engage with the market (they need money to survive), it may be less obvious "
"why the market would engage with the commons. The digital commons offers "
"many benefits."
msgstr ""
"Mens det kan være klart hvorfor felleseie-baserte organisasjoner ønsker å "
"samhandle og engasjere seg med markedet (de trenger penger for å overleve), "
"kan det være mindre opplagt hvorfor markedet vil engasjere seg med "
"felleseier. Digitale allmenneier tilbyr mange fordeler."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:930
msgid ""
"The commons speeds dissemination. The free flow of resources in the commons "
"offers tremendous economies of scale. Distribution is decentralized, with "
"all those in the commons empowered to share the resources they have access "
"to. Those that are Made with Creative Commons have a reduced need for sales "
"or marketing. Decentralized distribution amplifies supply and know-how."
msgstr ""
"Felleseiene setter fart på formidlingen. Fri flyt av ressurser i felleseier "
"tilbyr enorme stordriftsfordeler. Distribusjon er desentralisert, når alle "
"de i felleseiet har myndighet til å dele ressursene de har tilgang til. Det "
"som er laget med Creative Commons har et redusert behov for salg eller "
"markedsføring. Desentralisert distribusjon forsterker leveranse og "
"ekspertise."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:941
msgid ""
"The commons ensures access to all. The market has traditionally operated by "
"putting resources behind a paywall requiring payment first before access. "
"The commons puts resources in the open, providing access up front without "
"payment. Those that are Made with Creative Commons make little or no use of "
"digital rights management (DRM) to manage resources.  Not using DRM frees "
"them of the costs of acquiring DRM technology and staff resources to engage "
"in the punitive practices associated with restricting access. The way the "
"commons provides access to everyone levels the playing field and promotes "
"inclusiveness, equity, and fairness."
msgstr ""
"Commons sikrer alle tilgang. Markedets tradisjon har vært å betalingsmure "
"inn ressurser, betaling før tilgang. Felleseie åpner ressurstilgangen, "
"umiddelbar tilgang uten betaling. Laget med Creative Commons gjør lite eller "
"ingen bruk av digital tilgangsnekting (DRM – digital rights management) til "
"ressursbakstreveri.  Ved ikke å bruke DRM frigjøres kostnadene ved å "
"anskaffe DRM-teknologi og arbeidsressurser til  ervervelse av "
"straffepraksisinformasjon knyttet til adgangsbegrensning. Måten fellesskapet "
"gir tilgang til alle, gir alle én spade, fremmer inkludering, rettferdighet "
"og redelighet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:952
msgid ""
"The commons maximizes participation. Resources in the commons can be used "
"and contributed to by everyone. Using the resources of others, contributing "
"your own, and mixing yours with others to create new works are all dynamic "
"forms of participation made possible by the commons.  Being Made with "
"Creative Commons means you’re engaging as many users with your resources as "
"possible. Users are also authoring, editing, remixing, curating, localizing, "
"translating, and distributing. The commons makes it possible for people to "
"directly participate in culture, knowledge building, and even democracy, and "
"many other socially beneficial practices."
msgstr ""
"Allemannseie er deltagelsens seiersgang. Ressurser i felleseie kan brukes, "
"og er åpne for medvirkning av og med alle. Å bruke andres ressurser, bidra "
"med eget, og blande med andres for å skape nye arbeider, er alle dynamiske "
"former for deltakelse muliggjort av allmenningen. Laget med Creative Commons "
"betyr engasjering av så mange brukere av ressursene dine som mulig. Brukerne "
"godkjenner, redigerer, remikser, retter, lokaliserer, oversetter og "
"distribuerer. Felleseie gjør det mulig for folk å delta direkte i kulturer, "
"kunnskapsbygging, til og med demokrati, og mange andre former for "
"samfunnsnyttig praksis."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:964
msgid ""
"The commons spurs innovation. Resources in the hands of more people who can "
"use them leads to new ideas. The way commons resources can be modified, "
"customized, and improved results in derivative works never imagined by the "
"original creator. Some endeavors that are Made with Creative Commons "
"deliberately encourage users to take the resources being shared and innovate "
"them. Doing so moves research and development (R&D) from being solely inside "
"the organization to being in the community.37 Community-based innovation "
"will keep an organization or business on its toes. It must continue to "
"contribute new ideas, absorb and build on top of the innovations of others, "
"and steward the resources and the relationship with the community."
msgstr ""
"Allemannseie leder an til innovasjon. Ressurser flere personer i hende, som "
"evner å nytte dem, fører nye ideer med seg. Måten felleseide ressurser kan "
"endre, tilpasse, og bedrede resultatene i avledninger muliggjør arbeider "
"opphavsmannen aldri hadde forestilt seg. Noen bestrebelser i Creative "
"Commons oppfordrer bevisst brukere fornyelse av delte ressurser. Dermed "
"flyttes forskning og utvikling (R&D – research and development) fra "
"utelukkende innlemmet organisasjonens virke, til fellesskapet.37)  "
"Fellesskapsbasert innovasjon holder en organisasjon eller virksomhet "
"skjerpet. Den må fortsette å bidra med nye idéer, absorbere og bygge videre "
"på andres innovasjoner, forvalte ressursene og forholdet til fellesskapet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:974
msgid ""
"The commons boosts reach and impact. The digital commons is global.  "
"Resources may be created for a local or regional need, but they go far and "
"wide generating a global impact. In the digital world, there are no borders "
"between countries. When you are Made with Creative Commons, you are often "
"local and global at the same time: Digital designs being globally "
"distributed but made and manufactured locally. Digital books or music being "
"globally distributed but readings and concerts performed locally. The "
"digital commons magnifies impact by connecting creators to those who use and "
"build on their work both locally and globally."
msgstr ""
"Allemannseie øker rekkevidden og slagkraften av den. Digitalallmenningen er "
"verdensomspennende.  Ressurser kan opprettes for lokale eller regionale "
"behov, men favne vidt og bredt, og generere en global effekt. I den digitale "
"verden er det ingen grenser landene imellom. Made with Creative Commons, "
"ofte både lokal og global: Digital design distribuert globalt, men laget og "
"produsert lokalt. Digitale bøker eller musikk distribuert globalt, men "
"opplest og fremført lokalt. Digitale felleseier øker virkningen ved å koble "
"bidragsyterne allesteds hen, til dem som bruker og bygger videre på deres "
"arbeide."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:986
#, fuzzy
msgid ""
"The commons is generative. Instead of extracting value, the commons adds "
"value. Digitized resources persist without becoming depleted, and through "
"use are improved, personalized, and localized. Each use adds value. The "
"market focuses on generating value for the business and the customer. The "
"commons generates value for a broader range of beneficiaries including the "
"business, the customer, the creator, the public, and the commons itself. The "
"generative nature of the commons means that it is more cost-effective and "
"produces a greater return on investment. Value is not just measured in "
"financial terms. Each new resource added to the commons provides value to "
"the public and contributes to the overall value of the commons."
msgstr ""
"Allmannseie er generativt. I stedet for å trekke ut verdi, tilfører "
"felleseiet verdi. Digitaliserte ressurser blir ikke oppbrukt, men er der "
"fortsatt – og ved bruk, forbedret, tilpasset og lokalisert. Hvert type bruk "
"tilfører verdi. Markedet fokuserer på å generere verdi for virksomheten og "
"kunden. Felleseier genererer verdi for et bredere spekter av mottakere "
"inkludert virksomheten, forbrukeren, innholdsleverandøren, publikum og "
"allemannseiet selv. Allemannseiets generative natur betyr at det er mer "
"kostnadseffektivt, og gir en høyere avkastning på investeringen. Verdi er "
"ikke bare målt finansielt. Hver ny ressurs som legges til allmenningen gir "
"verdi til publikum, og bidrar til den samlede verdien av felleseiene."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:999
msgid ""
"The commons brings people together for a common cause. The commons vests "
"people directly with the responsibility to manage the resources for the "
"common good. The costs and benefits for the individual are balanced with the "
"costs and benefits for the community and for future generations.  Resources "
"are not anonymous or mass produced. Their provenance is known and "
"acknowledged through attribution and other means. Those that are Made with "
"Creative Commons generate awareness and reputation based on their "
"contributions to the commons. The reach, impact, and sustainability of those "
"contributions rest largely on their ability to forge relationships and "
"connections with those who use and improve them.  By functioning on the "
"basis of social engagement, not monetary exchange, the commons unifies "
"people."
msgstr ""
"Allemannseier fører folk sammen for en felles sak. Allmannseier binder folk "
"sammen om ansvaret for å administrere ressursene som et felles gode. "
"Kostnader og fordeler for den enkelte balanseres med kostnader og fordeler "
"for samfunnet og for fremtidige generasjoner. Ressursene er ikke anonyme "
"eller masseproduserte. Opprinnelse er kjent og anerkjent gjennom "
"henvisninger og andre virkemidler. De som er laget med Creative Commons "
"genererer oppmerksomhet og omdømme basert på deres bidrag til fellesskapet. "
"Innflytelsen og bærekraften til disse bidragene hviler i stor grad på deres "
"evne til å etablere relasjoner og forbindelser med dem som bruker og "
"forbedrer dem. Allemannseie forener folk ved å virke ut fra sitt sosiale "
"engasjement, ikke ved utveksling av penger."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1004
msgid ""
"The benefits of the commons are many. When these benefits align with the "
"goals of individuals, communities, businesses in the market, or state "
"enterprises, choosing to manage resources as a commons ought to be the "
"option of choice."
msgstr ""
"Allmenningsfordelene er mange. Når disse knyttes sammen med enkeltpersoners "
"mål, samfunn, bedrifter i markedet, eller statlige virksomheter, burde det å "
"administrere ressurser som i felleseie være det klare alternativet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1006
msgid "### Our Case Studies"
msgstr "### Våre referansestudier"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1015
msgid ""
"The creators, organizations, and businesses in our case studies operate as "
"nonprofits, for-profits, and social enterprises. Regardless of legal status, "
"they all have a social mission. Their primary reason for being is to make "
"the world a better place, not to profit. Money is a means to a social end, "
"not the end itself. They factor public interest into decisions, behavior, "
"and practices. Transparency and trust are really important. Impact and "
"success are measured against social aims expressed in mission statements, "
"and are not just about the financial bottom line."
msgstr ""
"I våre referanseløsninger opererer innholdsleverandører, organisasjoner og "
"bedrifter både som ideelle eller inntektsgivende organisasjoner, og som "
"sosiale foretak. Uansett rettslig status har de alle sosiale oppdrag. Deres "
"viktigste grunn til å være til, er å gjøre verden til et bedre sted, ikke "
"for fortjenesten. Penger er et middel til å nå sosiale mål, og er ikke selv "
"sluttmålet. De produserer en offentlig interesse for beslutninger, atferd og "
"praksis. Transparens (åpenhet) og tillit er svært viktig. Virkning og "
"suksess måles mot sosiale mål uttrykt i idégrunnlaget, og gjelder ikke bare "
"den finansielle bunnlinjen."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1021
msgid ""
"The case studies are based on the narratives told to us by founders and key "
"staff. Instead of solely using financials as the measure of success and "
"sustainability, they emphasized their mission, practices, and means by which "
"they measure success. Metrics of success are a blend of how social goals are "
"being met and how sustainable the enterprise is."
msgstr ""
"Referansestudiene er basert på fortellingene vi ble fortalt av grunnleggere "
"og nøkkelpersoner. I stedet for utelukkende å ha økonomi som mål på suksess "
"og bærekraft, understreket de sin oppgave, praksis og metodene som de måler "
"suksess etter. Beregninger av suksess er en blanding av hvordan sosiale mål "
"er nådd, og hvor bærekraftig organisasjonen er."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1029
msgid ""
"Our case studies are diverse, ranging from publishing to education and "
"manufacturing. All of the organizations, businesses, and creators in the "
"case studies produce digital resources. Those resources exist in many forms "
"including books, designs, songs, research, data, cultural works, education "
"materials, graphic icons, and video. Some are digital representations of "
"physical resources. Others are born digital but can be made into physical "
"resources."
msgstr ""
"Våre referansestudier er mangfoldige, og spenner fra publisering – til "
"utdanning og produksjon. Alle organisasjoner, bedrifter, og "
"innholdsleverandører i studiene produserer digitale ressurser. Disse "
"ressursene finnes i mange former, inkludert bøker, design, sanger, "
"forskning, data, kulturelle uttrykk, undervisningsmateriell, grafiske ikoner "
"og video. Noen er digitale representasjoner av fysiske ressurser. Andre er "
"opprinnelig digitale, men kan gjøres til fysiske ressurser."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1036
msgid ""
"They are creating new resources, or using the resources of others, or mixing "
"existing resources together to make something new. They, and their audience, "
"all play a direct, participatory role in managing those resources, including "
"their preservation, curation, distribution, and enhancement. Access and "
"participation is open to all regardless of monetary means."
msgstr ""
"De skaper nye ressurser, eller bruker andres ressurser, eller kombinerer "
"eksisterende ressurser for å lage noe nytt. De, og deres publikum, har alle "
"en direkte, deltakende rolle i å håndtere disse ressursene, inkludert å ta "
"vare på, bevare, distribuere og forbedre. Tilgang og deltakelse er åpen for "
"alle uavhengig av økonomiske midler."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1041
msgid ""
"And as users of Creative Commons licenses, they are automatically part of a "
"global community. The new digital commons is global. Those we profiled come "
"from nearly every continent in the world. To build and interact within this "
"global community is conducive to success."
msgstr ""
"Som brukere av Creative Commons-lisenser, er de automatisk en del av et "
"globalt samfunn. De nye digitale allmenneiene er globale. De vi har løftet "
"frem, kommer fra nesten alle verdens kontinenter. Å bygge og samhandle i "
"dette globale samfunnet leder til suksess."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1052
msgid ""
"Creative Commons licenses may express legal rules around the use of "
"resources in a commons, but success in the commons requires more than "
"following the letter of the law and acquiring financial means. Over and over "
"we heard in our interviews how success and sustainability are tied to a set "
"of beliefs, values, and principles that underlie their actions: Give more "
"than you take. Be open and inclusive. Add value. Make visible what you are "
"using from the commons, what you are adding, and what you are monetizing. "
"Maximize abundance. Give attribution. Express gratitude.  Develop trust; "
"don’t exploit. Build relationship and community. Be transparent. Defend the "
"commons."
msgstr ""
"Creative Commons-lisenser kan uttrykke juridiske regler rundt bruken av "
"ressurser i en allmenning, men suksess i felleseier krever mer enn å følge "
"lovens bokstav og skaffe økonomiske midler. Igjen og igjen hørte vi i våre "
"intervjuer hvordan suksess og bærekraft er knyttet til et sett av tro, "
"verdier og prinsipper som ligger til grunn for deres handlinger: Gi mer enn "
"du tar. Være åpen og inkluderende. Legge til verdi. Gjør synlig hva du "
"bruker fra felleseier, og hva du legger til, og hva som er økonomisk. "
"Maksimere overfloden. Henvis. Vis takknemlighet. Utvikle tillit; ikke "
"utnytt. Bygg relasjoner og samfunn. Være transparent (åpen). Forsvar "
"allmenneier."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1059
msgid ""
"The new digital commons is here to stay. Made With Creative Commons case "
"studies show how it’s possible to be part of this commons while still "
"functioning within market and state systems. The commons generates benefits "
"neither the market nor state can achieve on their own. Rather than the "
"market or state dominating as primary means of resource management, a more "
"balanced alternative is possible."
msgstr ""
"Nye digitale felleseier er her for å bli. Referansestudiene om Made with "
"Creative Commons viser hvordan det er mulig å være del av dette felleseiet "
"mens en fortsatt er i markedet og i statlige systemer. Allmenneie genererer "
"fordeler verken markedet eller staten kan oppnå på egen hånd. Heller enn at "
"markedet eller staten dominerer som primærinstans for ressursforvaltning, så "
"er et mer balansert alternativ mulig."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1066
msgid ""
"Enterprise use of Creative Commons has only just begun. The case studies in "
"this book are merely starting points. Each is changing and evolving over "
"time. Many more are joining and inventing new models. This overview aims to "
"provide a framework and language for thinking and talking about the new "
"digital commons. The remaining sections go deeper providing further guidance "
"and insights on how it works."
msgstr ""
"Bedriftenes bruk av Creative Commons har bare såvidt begynt. Case-studiene i "
"denne boken er bare startpunktet. De er i endring, og utvikles over tid. "
"Mange kommer med, og finner nye modeller. Denne oversikten har som mål å gi "
"rammeverk og språk for å tenke og snakke om nye digitale felleseier. De "
"påfølgende kapitlene går dypere inn, og gir ytterligere veiledning og "
"innsikt i hvordan dette virker."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1068
#: MadewithCreativeCommonsmostup-to-dateversion.md:2268
msgid "### Notes"
msgstr "### Merknader"

#. type: Bullet: '1.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:1168
msgid ""
"Jonathan Rowe, Our Common Wealth (San Francisco: Berrett-Koehler, 2013), 14."
msgstr ""
"Jonathan Rowe, Our Common Wealth (San Francisco: Berrett-Köhler, 2013), 14."

#. type: Bullet: '2.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:1168
msgid ""
"David Bollier, Think Like a Commoner: A Short Introduction to the Life of "
"the Commons (Gabriola Island, BC: New Society, 2014), 176."
msgstr ""
"David Bollier, Think Like a Commoner: A Short Introduction to the Life of "
"the Commons (Gabriola Island, BC: New Society, 2014), 176."

#. type: Bullet: '3.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:1168
msgid "Ibid., 15."
msgstr "Ibid., 15."

#. type: Bullet: '4.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:1168
msgid "Ibid., 145."
msgstr "Ibid., 145."

#. type: Bullet: '5.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:1168
msgid "Ibid., 175."
msgstr "Ibid., 175."

#. type: Bullet: '6.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:1168
msgid ""
"Daniel H. Cole, “Learning from Lin: Lessons and Cautions from the Natural "
"Commons for the Knowledge Commons,” in Governing Knowledge Commons, eds. "
"Brett M. Frischmann, Michael J. Madison, and Katherine J. Strandburg (New "
"York: Oxford University Press, 2014), 53."
msgstr ""
"Daniel H. Cole, «Learning from Lin: Lessons and Cautions from the Natural "
"Commons for the Knowledge Commons», i Governing Knowledge Commons, eds. "
"Brett M. Frischmann, Michael J. Madison, and Katherine J. Strandburg (New "
"York: Oxford University Press, 2014), 53."

#. type: Bullet: '7.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:1168
msgid ""
"Max Haiven, Crises of Imagination, Crises of Power: Capitalism, Creativity "
"and the Commons (New York: Zed Books, 2014), 93."
msgstr ""
"Max Haiven, Crises of Imagination, Crises of Power: Capitalism, Creativity "
"and the Commons (New York: Zed bøker, 2014), 93."

#. type: Bullet: '8.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:1168
msgid ""
"Cole, “Learning from Lin,” in Frischmann, Madison, and Strandburg, Governing "
"Knowledge Commons, 59."
msgstr ""
"Cole, «Learning from Lin», i Frischmann, Madison, og Strandburg, Governing "
"Knowledge Commons, 59."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1168
#, no-wrap
msgid ""
"9.  Bollier, Think Like a Commoner, 175.\n"
"10. Joshua Farley and Ida Kubiszewski, “The Economics of Information in\n"
"    a Post-Carbon Economy,” in Free Knowledge: Confronting the\n"
"    Commodification of Human Discovery, eds. Patricia W. Elliott and\n"
"    Daryl H. Hepting (Regina, SK: University of Regina Press, 2015),\n"
"    201–4.\n"
"11. Rowe, Our Common Wealth, 19; and Heather Menzies, Reclaiming the\n"
"    Commons for the Common Good: A Memoir and Manifesto (Gabriola\n"
"    Island, BC: New Society, 2014), 42–43.\n"
"12. Bollier, Think Like a Commoner, 55–78.\n"
"13. Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a Legal\n"
"    System in Tune with Nature and Community (Oakland, CA:\n"
"    Berrett-Koehler, 2015), 46–57; and Bollier, Think Like a\n"
"    Commoner, 88.\n"
"14. Brett M. Frischmann, Michael J. Madison, and Katherine J.\n"
"    Strandburg, “Governing Knowledge Commons,” in Frischmann, Madison,\n"
"    and Strandburg Governing Knowledge Commons, 12.\n"
"15. Farley and Kubiszewski, “Economics of Information,” in Elliott and\n"
"    Hepting, Free Knowledge, 203.\n"
"16. “What Is Free Software?” GNU Operating System, the Free Software\n"
"    Foundation’s Licensing and Compliance Lab, accessed December 30,\n"
"    2016, www.gnu.org/philosophy/free-sw.\n"
"17. Wikipedia, s.v. “Open-source software,” last modified November\n"
"    22, 2016.\n"
"18. Eric S. Raymond, “The Magic Cauldron,” in The Cathedral and the\n"
"    Bazaar: Musings on Linux and Open Source by an Accidental\n"
"    Revolutionary, rev. ed. (Sebastopol, CA: O’Reilly Media, 2001),\n"
"    www.catb.org/esr/writings/cathedral-bazaar/.\n"
"19. New York Times Customer Insight Group, The Psychology of Sharing:\n"
"    Why Do People Share Online? (New York: New York Times Customer\n"
"    Insight Group, 2011), www.iab.net/media/file/POSWhitePaper.pdf.\n"
"20. “Licensing Considerations,” Creative Commons, accessed December 30,\n"
"    2016, creativecommons.org/share-your-work/licensing-considerations/.\n"
"21. Creative Commons, 2015 State of the Commons (Mountain View, CA:\n"
"    Creative Commons, 2015), stateof.creativecommons.org/2015/.\n"
"22. Wikipedia, s.v. “Open Government Partnership,” last modified\n"
"    September 24, 2016,\n"
"    en.wikipedia.org/wiki/Open\\_Government\\_Partnership.\n"
"23. Capra and Mattei, Ecology of Law, 114.\n"
"24. Ibid., 116.\n"
"25. The Swedish International Development Cooperation Agency, “Stockholm\n"
"    Statement” accessed February 15, 2017,\n"
"    sida.se/globalassets/sida/eng/press/stockholm-statement.pdf\n"
"26. City of Bologna, Regulation on Collaboration between Citizens and\n"
"    the City for the Care and Regeneration of Urban Commons, trans.\n"
"    LabGov (LABoratory for the GOVernance of Commons) (Bologna, Italy:\n"
"    City of Bologna, 2014),\n"
"    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.\n"
"27. The Seoul Sharing City website is english.sharehub.kr; for Amsterdam\n"
"    Sharing City, go to www.sharenl.nl/amsterdam-sharing-city/.\n"
"28. Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New\n"
"    York: OR Books, 2015), 42.\n"
"29. Chris Anderson, Free: How Today’s Smartest Businesses Profit by\n"
"    Giving Something for Nothing, Reprint with new preface. (New York:\n"
"    Hyperion, 2010), 78.\n"
"30. Jeremy Rifkin, The Zero Marginal Cost Society: The Internet of\n"
"    Things, the Collaborative Commons, and the Eclipse of Capitalism\n"
"    (New York: Palgrave Macmillan, 2014), 273.\n"
"31. Gar Alperovitz, What Then Must We Do? Straight Talk about the Next\n"
"    American Revolution: Democratizing Wealth and Building a\n"
"    Community-Sustaining Economy from the Ground Up (White River\n"
"    Junction, VT: Chelsea Green, 2013), 39.\n"
"32. Marjorie Kelly, Owning Our Future: The Emerging Ownership\n"
"    Revolution; Journeys to a Generative Economy (San Francisco:\n"
"    Berrett-Koehler, 2012), 8–9.\n"
"33. Alex Osterwalder and Yves Pigneur, Business Model Generation\n"
"    (Hoboken, NJ: John Wiley and Sons, 2010). A preview of the book is\n"
"    available at strategyzer.com/books/business-model-generation.\n"
"34. This business model canvas is available to download at\n"
"    strategyzer.com/canvas/business-model-canvas.\n"
"35. We’ve made the “Open Business Model Canvas,” designed by the\n"
"    coauthor Paul Stacey, available online at\n"
"    docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit.\n"
"    You can also find the accompanying Open Business Model Canvas\n"
"    Questions at\n"
"    docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit.\n"
"36. A more comprehensive list of revenue streams is available in this\n"
"    post I wrote on Medium on March 6, 2016. “What Is an Open Business\n"
"    Model and How Can You Generate Revenue?”, available at\n"
"    medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15.\n"
"37. Henry Chesbrough, Open Innovation: The New Imperative for Creating\n"
"    and Profiting from Technology (Boston: Harvard Business Review\n"
"    Press, 2006), 31–44.\n"
msgstr ""
"9.  Bollier, Think Like a Commoner, 175.\n"
"10. Joshua Farley and Ida Kubiszewski, «The Economics of Information in\n"
"    a Post-Carbonari Economy», i Free Knowledge: Confronting the\n"
"    Commodification of Human Discovery, eds. Patricia W. Elliott and\n"
"    Daryl H. Hepting (Regina, SK: University of Regina Press, 2015),\n"
"    201–4.\n"
"11. Rowe, Our Common Wealth, 19; og Heather Menzies, Reclaiming the\n"
"    Commons for the Common Good: A Memoir and Manifesto (Gabriola\n"
"    Island, BC: New Society, 2014), 42–43.\n"
"12. Bollier, Think Like a Commoner, 55–78.\n"
"13. Fritjof Capra og Ugo Mattei, The Ecology of Law: Toward a Legal\n"
"    System in Tune with Nature and Community (Oakland, CA:\n"
"    Berrett-Koehler, 2015), 46–57; og Bollier, Think Like a\n"
"    Commoner, 88.\n"
"14. Brett M. Frischmann, Michael J. Madison, og Katherine J.\n"
"    Strandburg, «Governing Knowledge Commons», i Frischmann, Madison,\n"
"    and Strandburg Governing Knowledge Commons, 12.\n"
"15. Farley and Kubiszewski, «Economics of Information», i Elliott and\n"
"    Hepting, Free Knowledge, 203.\n"
"16. «What Is Free Software?» GNU Operating System, the Free Software\n"
"    Foundation’s Licensing and Compliance Lab, accessed December 30,\n"
"    2016, www.gnu.org/philosophy/free-sw.\n"
"17. Wikipedia, s.v. «Open-source software», senest endret i november\n"
"    22, 2016.\n"
"18. Eric S. Raymond, «The Magic Cauldron», i The Cathedral and the\n"
"    Bazaar: Musings on Linux and Open Source by an Accidental\n"
"    Revolutionary, rev. ed. (Sebastopol, CA: O’Reilly Media, 2001),\n"
"    www.catb.org/esr/writings/cathedral-bazaar/.\n"
"19. New York Times Customer Insight Group, The Psychology of Sharing:\n"
"    Why Do People Share Online? (New York: New York Times Customer\n"
"    Insight Group, 2011), www.iab.net/media/file/POSWhitePaper.pdf.\n"
"20. «Licensing Considerations», Creative Commons, accessed December 30,\n"
"    2016, creativecommons.org/share-your-work/licensing-considerations/.\n"
"21. Creative Commons, 2015 State of the Commons (Mountain View, CA:\n"
"    Creative Commons, 2015), stateof.creativecommons.org/2015/.\n"
"22. Wikipedia, s.v. «Open Government Partnership,” senest endret September 24, 2016,\n"
"    en.wikipedia.org/wiki/Open\\_Government\\_Partnership.\n"
"23. Capra and Mattei, Ecology of Law, 114.\n"
"24. Ibid., 116.\n"
"25. The Swedish International Development Cooperation Agency, «Stockholm\n"
"    Statement” accessed February 15, 2017,\n"
"    sida.se/globalassets/sida/eng/press/stockholm-statement.pdf\n"
"26. City of Bologna, Regulation on Collaboration between Citizens and\n"
"    the City for the Care and Regeneration of Urban Commons, trans.\n"
"    LabGov (LABoratory for the GOVernance of Commons) (Bologna, Italy:\n"
"    City of Bologna, 2014),\n"
"    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.\n"
"27. The Seoul Sharing City website is english.sharehub.kr; for Amsterdam\n"
"    Sharing City, gå til www.sharenl.nl/amsterdam-sharing-city/.\n"
"28. Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New\n"
"    York: OR Books, 2015), 42.\n"
"29. Chris Anderson, Free: How Today’s Smartest Businesses Profit by\n"
"    Giving Something for Nothing, Reprint med nytt forord. (New York:\n"
"    Hyperion, 2010), 78.\n"
"30. Jeremy Rifkin, The Zero Marginal Cost Society: The Internet of\n"
"    Things, the Collaborative Commons, and the Eclipse of Capitalism\n"
"    (New York: Palgrave Macmillan, 2014), 273.\n"
"31. Gar Alperovitz, What Then Must We Do? Straight Talk about the Next\n"
"    American Revolution: Democratizing Wealth and Building a\n"
"    Community-Sustaining Economy from the Ground Up (White River\n"
"    Junction, VT: Chelsea Green, 2013), 39.\n"
"32. Marjorie Kelly, Owning Our Future: The Emerging Ownership\n"
"    Revolution; Journeys to a Generative Economy (San Francisco:\n"
"    Berrett-Koehler, 2012), 8–9.\n"
"33. Alex Osterwalder and Yves Pigneur, Business Model Generation\n"
"    (Hoboken, NJ: John Wiley and Sons, 2010). Forhåndslesing av boken er mulig hos strategyzer.com/books/business-model-generation.\n"
"34. Dette opplegget for forretningsmodell kan lastes ned hos\n"
"    strategyzer.com/canvas/business-model-canvas.\n"
"35. Vi har åpnet «Open Business Model Canvas», designet av medforfatter Paul Stacey, tilgjengelig på nettet her docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit.\n"
"    Du kan også finne det tilhørende Open Business Model Canvas\n"
"    Questions på\n"
"    docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit.\n"
"36. En mer omfattende liste over inntektsstrømmer er tilgjengelig i denne posten jeg skrev i Medium 6. mars 2016. «What Is an Open Business\n"
"    Model and How Can You Generate Revenue?», tilgjengelig herfra:\n"
"    medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15.\n"
"37. Henry Chesbrough, Open Innovation: The New Imperative for Creating\n"
"    and Profiting from Technology (Boston: Harvard Business Review\n"
"    Press, 2006), 31–44.\n"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1170
msgid "## How to Be Made with Creative Commons"
msgstr "## Hvordan bli laget med Creative Commons"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1172
msgid "Sarah Hinchliff Pearson"
msgstr "Sarah Hinchliff Pearson"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1186
msgid ""
"When we began this project in August 2015, we set out to write a book about "
"business models that involve Creative Commons licenses in some significant "
"way—what we call being Made with Creative Commons. With the help of our "
"Kickstarter backers, we chose twenty-four endeavors from all around the "
"world that are Made with Creative Commons. The mix is diverse, from an "
"individual musician to a university-textbook publisher to an electronics "
"manufacturer. Some make their own content and share under Creative Commons "
"licensing. Others are platforms for CC-licensed creative work made by "
"others. Many sit somewhere in between, both using and contributing creative "
"work that’s shared with the public. Like all who use the licenses, these "
"endeavors share their work—whether it’s open data or furniture designs—in a "
"way that enables the public not only to access it but also to make use of it."
msgstr ""
"Da vi startet dette prosjektet i August 2015, startet vi for å skrive en bok "
"om forretningsmodeller som i noe omfang involverer Creative Commons-lisenser "
"– det vi kaller Made with Creative Commons. Ved hjelp av våre Kickstarter-"
"støttespillere valgte vi tjuefire arbeidsopplegg fra hele verden laget med "
"Creative Commons. Blandingen er variert, fra en enkelt musiker til en "
"utgiver av lærebøker for universitetet, over til en elektronikkprodusent. "
"Noen lager sitt eget innhold og deler under Creative Commons-lisensiering. "
"Andre er plattformer for CC-lisensierte kreative arbeider gjort av andre. "
"Mange sitter et sted imellom både som bruker og som bidragsyter til skapende "
"arbeid som er delt med offentligheten. Som for alle som bruker lisensene, er "
"disse oppleggene for å dele sitt arbeid – enten det er åpne dataprogrammer "
"eller møbeldesign – på en måte som gjør at offentligheten ikke bare å får "
"tilgang til dem, men også å kan bruke dem."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1195
msgid ""
"We analyzed the revenue models, customer segments, and value propositions of "
"each endeavor. We searched for ways that putting their content under "
"Creative Commons licenses helped boost sales or increase reach. Using "
"traditional measures of economic success, we tried to map these business "
"models in a way that meaningfully incorporated the impact of Creative "
"Commons. In our interviews, we dug into the motivations, the role of CC "
"licenses, modes of revenue generation, definitions of success."
msgstr ""
"Vi analyserte inntektsmodeller, kundesegmenter og forslag til verdier for "
"hver oppgave. Vi søkte etter måter som, ved å sette innholdet under Creative "
"Commons-lisenser, hjalp til å øke salget eller øke utbredelsen. Ved å  bruke "
"tradisjonelle tiltak for økonomisk suksess, prøvde vi å kartlegge disse "
"forretningsmodellene på en måte slik at de meningsfullt  inneholdt en "
"hensiktsmessig innvirkning av Creative Commons. I våre intervjuer gikk vi "
"inn i motivasjonen, rollen CC til lisenser, ulike former for inntekter, og "
"definisjoner av suksess."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1199
msgid ""
"In fairly short order, we realized the book we set out to write was quite "
"different from the one that was revealing itself in our interviews and "
"research."
msgstr ""
"På relativt kort tid skjønte vi at boken vi gikk ut for å skrive, var ganske "
"forskjellig fra den som dukket frem i våre intervjuer og forskning."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1207
msgid ""
"It isn’t that we were wrong to think you can make money while using Creative "
"Commons licenses. In many instances, CC can help make you more money. Nor "
"were we wrong that there are business models out there that others who want "
"to use CC licensing as part of their livelihood or business could replicate. "
"What we didn’t realize was just how misguided it would be to write a book "
"about being Made with Creative Commons using only a business lens."
msgstr ""
"Det var  ikke for at vi tok feil i å tro at du kan tjene penger når du "
"bruker Creative Commons-lisenser. I mange tilfeller hjelper CC til å tjene "
"mer penger. Heller ikke tok vi feil i at det er forretningsmodeller der ute "
"som andre, som ønsker å bruke CC-lisenser som en del av sitt levebrød eller "
"sin bedrift, kan benytte. Hva vi skjønte var hvor misforstått det ville være "
"å skrive en bok om Made with Creative Commons, og bare bruke "
"forretningsvirksomhet som fokus."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1215
msgid ""
"According to the seminal handbook Business Model Generation, a business "
"model “describes the rationale of how an organization creates, delivers, and "
"captures value.”1 Thinking about sharing in terms of creating and capturing "
"value always felt inappropriately transactional and out of place, something "
"we heard time and time again in our interviews. And as Cory Doctorow told us "
"in our interview with him, “Business model can mean anything you want it to "
"mean.”"
msgstr ""
"Ifølge den banebrytende håndboken Business Model Generation, en "
"forretningsmodell som «beskriver begrunnelsen for hvordan en organisasjon "
"skaper, leverer og fanger inn verdi.»1) Tenking om deling i betydningen å "
"skape og fange inn verdier, føltes alltid uriktig transaksjonsbasert og "
"malplassert, noe vi hørte gang på gang i våre intervjuer. Og som Cory "
"Doctorow fortalte oss i vårt intervju med ham, «forretningsmodell kan bety "
"alt dere mener det skal bety.»"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1220
msgid ""
"Eventually, we got it. Being Made with Creative Commons is more than a "
"business model. While we will talk about specific revenue models as one "
"piece of our analysis (and in more detail in the case studies), we scrapped "
"that as our guiding rubric for the book."
msgstr ""
"Til slutt fikk vi det inn. Made with Creative Commons er mer enn en "
"forretningsmodell. Mens vi vil snakke om bestemte inntektsmodeller som en "
"del av vår analyse (og mer detaljert i referansestudiene), skrotet vi det "
"som som vår styrende overskrift for boken."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1228
msgid ""
"Admittedly, it took me a long time to get there. When Paul and I divided up "
"our writing after finishing the research, my charge was to distill "
"everything we learned from the case studies and write up the practical "
"lessons and takeaways. I spent months trying to jam what we learned into the "
"business-model box, convinced there must be some formula for the way things "
"interacted. But there is no formula. You’ll probably have to discard that "
"way of thinking before you read any further."
msgstr ""
"Riktignok er tok det lang tid for meg å komme dit. Når Paul og jeg delte opp "
"vår skriving etter avsluttet forskning, var mitt ansvar å løfte frem alt vi "
"lærte fra referansestudiene, og skrive opp praktiske leksjoner og snarveier. "
"Jeg tilbrakte måneder med å prøve å få frem det vi lærte i boksen for "
"forretningsmodell, overbevist om det var en formel for hvordan ting hang "
"sammen. Men det var ingen formel. Du vil sannsynligvis måtte forkaste den "
"måten å tenke på før du leser videre."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1238
msgid ""
"In every interview, we started from the same simple questions. Amid all the "
"diversity among the creators, organizations, and businesses we profiled, "
"there was one constant. Being Made with Creative Commons may be good for "
"business, but that is not why they do it. Sharing work with Creative Commons "
"is, at its core, a moral decision. The commercial and other self-interested "
"benefits are secondary. Most decided to use CC licenses first and found a "
"revenue model later. This was our first hint that writing a book solely "
"about the impact of sharing on business might be a little off track."
msgstr ""
"I hvert intervju startet vi med de samme enkle spørsmålene. Blant alle "
"variasjonene hos bidragsytere, organisasjoner og bedrifter vi gjennomgikk, "
"var det en konstant. Made with Creative Commons kan være bra for "
"forretningen, men det er ikke derfor de gjør det. Å dele arbeidet med "
"Creative Commons, er i bunn og grunn en moralsk beslutning. Kommersielle og "
"andre fordeler i egeninteresse er sekundære. De fleste besluttet å bruke CC-"
"lisenser først, og fant en inntekstsmodell senere. Dette var vårt første "
"hint, at å skrive en bok bare om virkningen av deling i ett "
"forretningspespektiv, kan være litt utenfor sporet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1244
msgid ""
"But we also started to realize something about what it means to be Made with "
"Creative Commons. When people talked to us about how and why they used CC, "
"it was clear that it meant something more than using a copyright license. It "
"also represented a set of values. There is symbolism behind using CC, and "
"that symbolism has many layers."
msgstr ""
"Men vi har også begynt å innse noe om hva det betyr å være Made with "
"Creative Commons. Når folk snakket med oss om hvordan og hvorfor de brukte "
"CC, ble det klart at det betydde noe mer enn å bruke en lisens for "
"opphavsrett. Det representerte også et verdisett. Det er symbolikk bak å "
"bruke CC, og den symbolikken har mange lag."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1255
msgid ""
"At one level, being Made with Creative Commons expresses an affinity for the "
"value of Creative Commons. While there are many different flavors of CC "
"licenses and nearly infinite ways to be Made with Creative Commons, the "
"basic value system is rooted in a fundamental belief that knowledge and "
"creativity are building blocks of our culture rather than just commodities "
"from which to extract market value. These values reflect a belief that the "
"common good should always be part of the equation when we determine how to "
"regulate our cultural outputs. They reflect a belief that everyone has "
"something to contribute, and that no one can own our shared culture. They "
"reflect a belief in the promise of sharing."
msgstr ""
"På ett nivå uttrykker Made with Creative Commons en tilknytning for verdien "
"av Creative Commons. Mens det er mange forskjellige variasjoner av CC-"
"lisenser, og nesten uendelige måter for å være Made with Creative Commons, "
"er det grunnleggende verdisystemet forankret i en grunnleggende tro på at "
"kunnskap og kreativitet er byggesteinene i vår kultur, heller enn bare varer "
"som har en markedsverdi som gir inntekt. Disse verdiene gjenspeiler troen på "
"at fellesgodet alltid bør være en del av sammenhengen når vi bestemmer "
"hvordan vi regulerer vår kulturelle produksjon. De gjenspeiler en tro på at "
"alle har noe å bidra med, og at ingen kan eie vår felles kultur. De "
"gjenspeiler en tro på løftet om å dele."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1265
msgid ""
"Whether the public makes use of the opportunity to copy and adapt your work, "
"sharing with a Creative Commons license is a symbol of how you want to "
"interact with the people who consume your work. Whenever you create "
"something, “all rights reserved” under copyright is automatic, so the "
"copyright symbol (©) on the work does not necessarily come across as a "
"marker of distrust or excessive protectionism. But using a CC license can be "
"a symbol of the opposite—of wanting a real human relationship, rather than "
"an impersonal market transaction. It leaves open the possibility of "
"connection."
msgstr ""
"Om publikum gjør bruk av muligheten til å kopiere og tilpasse sitt arbeid, "
"er å dele med en Creative Commons-lisens et symbol på hvordan du skal "
"kommunisere med personer som bruker ditt arbeidet. Når du oppretter noe, er "
"«alle rettigheter reservert» med opphavsrett automatisk, så "
"opphavsrettsymbolet (©) på arbeidet formidles ikke nødvendigvis som en "
"markør av mistro eller overdreven proteksjonisme. Men å bruke en CC-lisens "
"kan være et symbol på det motsatte – av at en ønsker en ekte menneskelig "
"relasjon, i stedet for en upersonlig markedstransaksjon. Det etterlater en "
"åpen mulighet for forbindelse."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1271
msgid ""
"Being Made with Creative Commons not only demonstrates values connected to "
"CC and sharing. It also demonstrates that something other than profit drives "
"what you do. In our interviews, we always asked what success looked like for "
"them. It was stunning how rarely money was mentioned.  Most have a deeper "
"purpose and a different vision of success."
msgstr ""
"Made with Creative Commons viser ikke bare verdiene med CC og å dele. Det "
"viser også at noe annet enn at profitt driver hva man gjør. I våre "
"intervjuer spurte vi alltid hva suksess var for dem. Det var overraskende "
"hvor sjelden penger ble nevnt. De fleste har en dypere hensikt, og et annet "
"syn på suksess."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1282
msgid ""
"The driving motivation varies depending on the type of endeavor. For "
"individual creators, it is most often about personal inspiration. In some "
"ways, this is nothing new. As Doctorow has written, “Creators usually start "
"doing what they do for love.”2 But when you share your creative work under a "
"CC license, that dynamic is even more pronounced.  Similarly, for "
"technological innovators, it is often less about creating a specific new "
"thing that will make you rich and more about solving a specific problem you "
"have. The creators of Arduino told us that the key question when creating "
"something is “Do you as the creator want to use it? It has to have personal "
"use and meaning.”"
msgstr ""
"Motivasjonen varierer avhengig av hva en skal oppnå. For individuelle "
"innholdsleverandører er det oftest en personlig inspirasjon. På noen måter "
"er dette ikke noe nytt. Som Doctorow har skrevet, «skapere starter vanligvis "
"å gjøre hva de gjør av kjærlighet».2)  Men når du deler ditt skapende arbeid "
"under en CC-lisens, er denne dynamikken enda mer uttalt.  Tilsvarende for "
"teknologiske innovatører gjelder det ofte mindre å skape en bestemt ny ting "
"som vil gjøre deg rik, men mer om å løse et bestemt problem du har. Skaperne "
"av Arduino fortalte oss at de viktigste spørsmålet når du oppretter noe er "
"«vil du som lager det, bruke det? Det må ha en personlig bruk og betydning.»"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1291
msgid ""
"Many that are Made with Creative Commons have an express social mission that "
"underpins everything they do. In many cases, sharing with Creative Commons "
"expressly advances that social mission, and using the licenses can be the "
"difference between legitimacy and hypocrisy. Noun Project co-founder Edward "
"Boatman told us they could not have stated their social mission of sharing "
"with a straight face if they weren’t willing to show the world that it was "
"OK to share their content using a Creative Commons license."
msgstr ""
"Mange som bruker Made with Creative Commons har et uttrykt sosialt formål "
"som underbygger alt de gjør. I mange tilfeller gir å dele med Creative "
"Commons klare fremskritt for dette sosiale formålet, og å bruke lisensene "
"kan være forskjellen mellom legitimitet og hykleri. Medgrunnlegger Edward "
"Boatman i Noun Project fortalte at de ikke kunne ha formulert sitt "
"samfunnsoppdrag med å dele  «with a straight face» («holde masken» )hvis de "
"ikke var villig til å vise verden at det var OK å dele innholdet med en "
"Creative Commons-lisens."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1299
msgid ""
"This dynamic is probably one reason why there are so many nonprofit examples "
"of being Made with Creative Commons. The content is the result of a labor of "
"love or a tool to drive social change, and money is like gas in the car, "
"something that you need to keep going but not an end in itself. Being Made "
"with Creative Commons is a different vision of a business or livelihood, "
"where profit is not paramount, and producing social good and human "
"connection are integral to success."
msgstr ""
"Denne dynamikken er nok en grunn til hvorfor det er så mange nonprofit "
"eksempler på Made with Creative Commons. Innholdet er resultatet av en "
"innsats en føler mye for, eller et verktøy for å oppnå sosial endring, og "
"penger er som gassen i bilen, noe som du må holde i gang, men som ikke er et "
"mål i seg selv. Made with Creative Commons er et annet syn på en bedrift "
"eller et levebrød, der profitt ikke er avgjørende, men å produsere et sosial "
"gode og menneskelig tilknytning er en integrert del for å oppnå suksess."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1303
msgid ""
"Even if profit isn’t the end goal, you have to bring in money to be "
"successfully Made with Creative Commons. At a bare minimum, you have to make "
"enough money to keep the lights on."
msgstr ""
"Selv om profitt ikke er sluttmålet, må det bringes penger inn for å være "
"velykket med Made with Creative Commons. Som et absolutt minimum må du tjene "
"nok til å holde lysene påslått."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1313
msgid ""
"The costs of doing business vary widely for those made with CC, but there is "
"generally a much lower threshold for sustainability than there used to be "
"for any creative endeavor. Digital technology has made it easier than ever "
"to create, and easier than ever to distribute. As Doctorow put it in his "
"book Information Doesn’t Want to Be Free, “If analog dollars have turned "
"into digital dimes (as the critics of ad-supported media have it), there is "
"the fact that it’s possible to run a business that gets the same amount of "
"advertising as its forebears at a fraction of the price.”"
msgstr ""
"Kostnadene for å gjøre forretninger varierer ved bruk av CC, men det er "
"vanligvis en mye lavere terskel for lønnsomhet enn det pleide å være for "
"kreative innsatser. Digital teknologi har gjort det enklere enn noensinne å "
"lage, og enklere enn noensinne å distribuere. Som Doctorow skrev i sin bok "
"«Information Doesn’t Want to Be Free»: «Hvis analoge dollar har snudd til "
"digitale skillemynt (som kritikere av annonsestøttede media vil ha det til), "
"er det det et faktum at det er mulig å drive en forretning som får samme "
"mengde reklame som sine forgjengere til en brøkdel av prisen.»"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1324
msgid ""
"Some creation costs are the same as they always were. It takes the same "
"amount of time and money to write a peer-reviewed journal article or paint a "
"painting. Technology can’t change that. But other costs are dramatically "
"reduced by technology, particularly in production-heavy domains like "
"filmmaking.3 CC-licensed content and content in the public domain, as well "
"as the work of volunteer collaborators, can also dramatically reduce costs "
"if they’re being used as resources to create something new. And, of course, "
"there is the reality that some content would be created whether or not the "
"creator is paid because it is a labor of love."
msgstr ""
"Noen igangsettingskostnader er de samme som de alltid har vært. Det tar like "
"mye tid og penger til å skrive en fagfellevurdert tidsskriftsartikkel ,eller "
"male et maleri. Teknologi endrer ikke på det. Men andre kostnader er "
"dramatisk redusert med teknologi, særlig i produksjonstunge områder som "
"filmproduksjon.3)  CC-lisensiert innhold og innhold i den offentlige sfæren, "
"samt arbeidet til frivillige samarbeidspartnere, kan også redusere kostnader "
"hvis de brukes som ressurser til å lage noe nytt. Og, selvfølgelig, det er "
"realiteten at noe innhold lages enten den som lager det blir betalt eller "
"ikke, fordi det lages ut fra overbevisning."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1334
msgid ""
"Distributing content is almost universally cheaper than ever. Once content "
"is created, the costs to distribute copies digitally are essentially zero.4 "
"The costs to distribute physical copies are still significant, but lower "
"than they have been historically. And it is now much easier to print and "
"distribute physical copies on-demand, which also reduces costs. Depending on "
"the endeavor, there can be a whole host of other possible expenses like "
"marketing and promotion, and even expenses associated with the various ways "
"money is being made, like touring or custom training."
msgstr ""
"Å distribuere innhold er nesten universelt billigere enn noensinne. Når "
"innhold er laget, er kostnadene ved å distribuere kopier digitalt egentlig "
"null.4) Kostnadene til å distribuere fysiske kopier er fortsatt betydelige, "
"men lavere enn de har vært historisk sett. Og det er nå mye enklere å skrive "
"ut og distribuere fysiske kopier på forespørsel, noe som også reduserer "
"kostnadene. Avhengig av oppgaven kan det være en hel rekke andre utgifter "
"som markedsføring og promotering, og selv utgifter forbundet med ulike måter "
"pengene kommer inn på, som reising eller tilpasset opplæring."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1347
msgid ""
"It’s important to recognize that the biggest impact of technology on "
"creative endeavors is that creators can now foot the costs of creation and "
"distribution themselves. People now often have a direct route to their "
"potential public without necessarily needing intermediaries like record "
"labels and book publishers. Doctorow wrote, “If you’re a creator who never "
"got the time of day from one of the great imperial powers, this is your "
"time. Where once you had no means of reaching an audience without the "
"assistance of the industry-dominating megacompanies, now you have hundreds "
"of ways to do it without them.”5 Previously, distribution of creative work "
"involved the costs associated with sustaining a monolithic entity, now "
"creators can do the work themselves. That means the financial needs of "
"creative endeavors can be a lot more modest."
msgstr ""
"Det er viktig å innse at den største effekten av teknologi for kreative "
"oppgaver er at bidragsyterne nå selv kan stå for kostnadene for å utføre "
"oppgaven og distribusjonen. Ofte har folk selv nå en direkte rute til sitt "
"potensielle publikum uten nødvendigvis å trenge mellomledd som "
"plateselskaper og bokutgivere. Doctorow skrev, «Hvis du er en "
"innholdsleverandør som aldri fikk et klokkeslett fra en av de store "
"imperialistiske maktene, er dette din tid. Der du en gang  ikke hadde noen "
"mulighet til å nå ut til et publikum uten hjelp av industri-dominerte "
"megaselskaper, har du nå hundrevis av måter å gjøre det på uten dem».5) "
"Tidligere innebar distribusjon av skapende arbeid kostnadene knyttet til å "
"opprettholde en monolittisk enhet, nå kan skaperne gjøre dette arbeidet "
"selv. Det betyr at de finansielle forutsetningene for kreativt innhold kan "
"være mye mer beskjedne."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1358
msgid ""
"Whether for an individual creator or a larger endeavor, it usually isn’t "
"enough to break even if you want to make what you’re doing a livelihood.  "
"You need to build in some support for the general operation. This extra bit "
"looks different for everyone, but importantly, in nearly all cases for those "
"Made with Creative Commons, the definition of “enough money” looks a lot "
"different than it does in the world of venture capital and stock options. It "
"is more about sustainability and less about unlimited growth and profit. "
"SparkFun founder Nathan Seidle told us, “Business model is a really "
"grandiose word for it. It is really just about keeping the operation going "
"day to day.”"
msgstr ""
"Enten det er for en individuell bidragsyter eller en større oppgave, er det "
"vanligvis ikke nok til å gå i balanse om det en ønsker å gjøre, skal bli et "
"levebrød.  Du må bygge inn noen støtte til generell drift. Denne ekstra "
"delen ser ulikt ut for alle, men viktigere, i nesten alle tilfeller for de "
"som er  «Made with Creative Commons», er definisjonen av «nok penger» mye "
"annerledes enn i verden av risikovillig kapital og aksjeopsjoner. Det "
"handler mer om bærekraft og mindre om ubegrenset vekst og fortjeneste. Som "
"SparkFun grunnlegger Nathan Seidle fortalte oss, «Forretningsmodell er et "
"virkelig stort ord for det. Det gjelder egentlig bare å holde operasjonen "
"gående fra dag til dag»."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1364
msgid ""
"This book is a testament to the notion that it is possible to make money "
"while using CC licenses and CC-licensed content, but we are still very much "
"at an experimental stage. The creators, organizations, and businesses we "
"profile in this book are blazing the trail and adapting in real time as they "
"pursue this new way of operating."
msgstr ""
"Denne boken er et testament til ideen om at det er mulig å tjene penger mens "
"du bruker CC-lisenser og CC-lisensiert innhold, men vi er fortsatt svært mye "
"på eksperimentstadiet. Innholdsleverandører, organisasjoner, og bedrifter "
"som vi profilerer i denne boken, blitser opp veien videre i sanntid når de "
"forfølger denne nye måten å operere på."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1368
msgid ""
"There are, however, plenty of ways in which CC licensing can be good for "
"business in fairly predictable ways. The first is how it helps solve "
"“problem zero.”"
msgstr ""
"Det er imidlertid mange måter der CC-lisenser kan være bra for forretningen "
"på ganske forutsigbare måter. Først, hvordan det hjelper å løse «problem "
"null»."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1370
msgid "### Problem Zero: Getting Discovered"
msgstr "### Problem Null: Å bli oppdaget"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1385
msgid ""
"Once you create or collect your content, the next step is finding users, "
"customers, fans—in other words, your people. As Amanda Palmer wrote, “It has "
"to start with the art. The songs had to touch people initially, and mean "
"something, for anything to work at all.”6 There isn’t any magic to finding "
"your people, and there is certainly no formula. Your work has to connect "
"with people and offer them some artistic and/or utilitarian value. In some "
"ways, this is easier than ever. Online we are not limited by shelf space, so "
"there is room for every obscure interest, taste, and need imaginable. This "
"is what Chris Anderson dubbed the Long Tail, where consumption becomes less "
"about mainstream mass “hits” and more about micromarkets for every "
"particular niche. As Anderson wrote, “We are all different, with different "
"wants and needs, and the Internet now has a place for all of them in the way "
"that physical markets did not.”7 We are no longer limited to what appeals to "
"the masses."
msgstr ""
"Når du oppretter eller samler ditt innhold, er det neste trinnet er å finne "
"brukere, kunder, fans – med andre ord, folk. Som Amanda Palmer skrev, «Det "
"må starte med kunsten. Sangene måtte røre folk først, og bety noe, om noe "
"skal virke i det hele tatt».6)  Det er ikke noe magi å finne dine, og det er "
"absolutt ingen formel. Arbeidet ditt er å få kontakt med folk, og tilby dem "
"noe med kunstnerisk og/eller nytteverdi. På noen måter er det enklere enn "
"noensinne. På nettet er vi ikke begrenset av hylleplass, så det er rom for "
"alle tenkelige særinteresser, smak og behov. Dette er hva Chris Anderson "
"kalte den lange halen, hvor forbruket mindre er om bredspekrede «treff», og "
"mer om mikromarkeder for hver enkelt nisje. Som Anderson skrev, «Vi er alle "
"forskjellige, med forskjellige ønsker og behov, og Internett har nå en plass "
"for dem alle på en måte som fysiske markeder ikke gjorde».7) Vi er ikke "
"lenger begrenset til hva som appellerer til massene."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1398
msgid ""
"While finding “your people” online is theoretically easier than in the "
"analog world, as a practical matter it can still be difficult to actually "
"get noticed. The Internet is a firehose of content, one that only grows "
"larger by the minute. As a content creator, not only are you competing for "
"attention against more content creators than ever before, you are competing "
"against creativity generated outside the market as well.8 Anderson wrote, "
"“The greatest change of the past decade has been the shift in time people "
"spend consuming amateur content instead of professional content.”9 To top it "
"all off, you have to compete against the rest of their lives, too—“friends, "
"family, music playlists, soccer games, and nights on the town.”10 Somehow, "
"some way, you have to get noticed by the right people."
msgstr ""
"Samtidig som å finne «dine folk» på nettet teoretisk er enklere enn i den "
"analoge verden, kan det, som et praktisk spørmål, fortsatt være vanskelig å "
"faktisk bli lagt merke til. Internett er en brannslange med innhold, som "
"bare vokser minutt for minutt. Som innholdsleverandør konkurrerer du også "
"mot kreativitet som er generert utenfor markedet.8) Anderson skrev, «Den "
"største endringen i det siste tiåret har vært skifte i tiden folk bruker på "
"amatørinnhold i stedet for profesjonelt innhold».9) For å toppe det hele du "
"må konkurrere med resten av deres liv, også – «venner, familie, "
"musikkspillelister, fotballkamper, og kveld på byen».10) På en eller annen "
"måte må du bli lagt merke til av de rette folkene."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1411
msgid ""
"When you come to the Internet armed with an all-rights-reserved mentality "
"from the start, you are often restricting access to your work before there "
"is even any demand for it. In many cases, requiring payment for your work is "
"part of the traditional copyright system. Even a tiny cost has a big effect "
"on demand. It’s called the penny gap—the large difference in demand between "
"something that is available at the price of one cent versus the price of "
"zero.11 That doesn’t mean it is wrong to charge money for your content. It "
"simply means you need to recognize the effect that doing so will have on "
"demand. The same principle applies to restricting access to copy the work. "
"If your problem is how to get discovered and find “your people,” prohibiting "
"people from copying your work and sharing it with others is "
"counterproductive."
msgstr ""
"Når du kommer til Internettet med en alle-rettigheter-reservert mentalitet "
"når du starter, begrenser du ofte adgangen til innholdet ditt før det engang "
"er blitt noen etterspørsel etter det. I mange tilfeller er å kreve betaling "
"for innholdet en del av det tradisjonelle opphavsrettssystemet. Selv en "
"liten pris har en stor effekt på etterspørselen. Det kalles «penny gap»: Den "
"store forskjellen i etterspørsel mellom noe som er tilgjengelig til prisen "
"på ett øre mot en pris på null.11) Det betyr ikke at det er galt å ta betalt "
"for innholdet. Det betyr bare du må innse hvilken betydning dette vil ha på "
"etterspørselen. Det samme prinsippet gjelder ved å begrense tilgangen til å "
"kopiere arbeidet. Hvis problemet ditt er å bli oppdaget og finne «dine "
"folk», virker å hindre folk fra å kopiere arbeidet ditt og dele det med "
"andre, mot sin hensikt."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1415
msgid ""
"Of course, it’s not that being discovered by people who like your work will "
"make you rich—far from it. But as Cory Doctorow says, “Recognition is one of "
"many necessary preconditions for artistic success.”12"
msgstr ""
"Selvfølgelig, det er ikke at å bli oppdaget av folk som liker arbeidet ditt "
"vil gjøre deg rik - langt fra det. Men som Cory Doctorow sier, "
"«anerkjennelse er en av mange nødvendige forutsetninger for kunstnerisk "
"suksess».12)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1424
msgid ""
"Choosing not to spend time and energy restricting access to your work and "
"policing infringement also builds goodwill. Lumen Learning, a for-profit "
"company that publishes online educational materials, made an early decision "
"not to prevent students from accessing their content, even in the form of a "
"tiny paywall, because it would negatively impact student success in a way "
"that would undermine the social mission behind what they do. They believe "
"this decision has generated an immense amount of goodwill within the "
"community."
msgstr ""
"Å velge å ikke bruke tid og energi på å begrense tilgangen til ditt arbeid, "
"og forfølge overtredelser, bygger også goodwill. Lumen Learning, et selskap "
"som er for fortjeneste (profitselskap), og som utgir læremidler på nett, tok "
"en tidlig avgjørelse om ikke å forhindre studentenes adgang til innholdet, "
"selv i form av en liten betalingsvegg, fordi det negativt ville påvirke "
"studentens suksess på en måte som ville undergrave samfunnsoppdraget bak det "
"de gjør. De tror denne beslutningen har generert en betydelig mengde "
"goodwill i samfunnet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1431
msgid ""
"It is not just that restricting access to your work may undermine your "
"social mission. It also may alienate the people who most value your creative "
"work. If people like your work, their natural instinct will be to share it "
"with others. But as David Bollier wrote, “Our natural human impulses to "
"imitate and share—the essence of culture—have been criminalized.”13"
msgstr ""
"Det er ikke bare det at begrenset tilgang til innholdet ditt undergraver "
"ditt sosiale oppdrag. Det kan også fremmedgjøre folk som mest verdsetter din "
"kreative innsats. Hvis folk liker ditt arbeid, blir deres naturlige instinkt "
"å dele det med andre. Men som David Bollier skrev, «våre naturlige "
"menneskelige impulser til å imitere og dele – essensen av hva kultur er – "
"har blitt kriminalisert». 13)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1439
msgid ""
"The fact that copying can carry criminal penalties undoubtedly deters "
"copying it, but copying with the click of a button is too easy and "
"convenient to ever fully stop it. Try as the copyright industry might to "
"persuade us otherwise, copying a copyrighted work just doesn’t feel like "
"stealing a loaf of bread. And, of course, that’s because it isn’t.  Sharing "
"a creative work has no impact on anyone else’s ability to make use of it."
msgstr ""
"Det faktum at kopiering kan innebære straffeansvar, forhindrer utvilsomt "
"kopiering, men kopiering ved å klikke på en knapp er for enkelt og praktisk "
"til noensinne å få en fullstendig stopp for det. Opphavsrettsindustrien "
"forsøk på å overbevise oss om det motsatte, å kopierer et åndsprodukt føles "
"ikke som å stjele et brød. Og, selvfølgelig, det er fordi det ikke gjør "
"det.  Å dele skapende arbeid har ingen innvirkning på noen annens mulighet "
"til å gjøre bruk av det."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1453
msgid ""
"If you take some amount of copying and sharing your work as a given, you can "
"invest your time and resources elsewhere, rather than wasting them on "
"playing a cat and mouse game with people who want to copy and share your "
"work. Lizzy Jongma from the Rijksmuseum said, “We could spend a lot of money "
"trying to protect works, but people are going to do it anyway.  And they "
"will use bad-quality versions.” Instead, they started releasing high-"
"resolution digital copies of their collection into the public domain and "
"making them available for free on their website. For them, sharing was a "
"form of quality control over the copies that were inevitably being shared "
"online. Doing this meant forgoing the revenue they previously got from "
"selling digital images. But Lizzy says that was a small price to pay for all "
"of the opportunities that sharing unlocked for them."
msgstr ""
"Tar du for gitt endel kopiering og deling av arbeidet ditt, kan du investere "
"tid og ressurser andre steder enn å kaste dem bort på å leke katt og mus med "
"folk som vil kopiere og dele ditt innhold. Lizzy Jongma fra Rijksmuseum sa, "
"«vi kan bruke mye penger på å prøve å beskytte verkene, men folk kommer til "
"å gjøre det likevel.  Og de vil bruke gjengivelser med dårlig kvalitet». I "
"stedet startet de med å utgi høyoppløselige digitale kopier fra sine "
"samlinger i det offentlige rom, og gjøre dem tilgjengelige gratis fra sin "
"hjemmeside. For dem var deling en form for kvalitetskontroll av kopiene som "
"uunngåelig ville blitt delt på nettet. Å gjør dette betydde å gi avkall på "
"inntektene de tidligere fikk fra salg av digitale bilder. Men Lizzy sier det "
"var en liten pris å betale for alle mulighetene som deling låste opp for dem."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1461
msgid ""
"Being Made with Creative Commons means you stop thinking about ways to "
"artificially make your content scarce, and instead leverage it as the "
"potentially abundant resource it is.14 When you see information abundance as "
"a feature, not a bug, you start thinking about the ways to use the idling "
"capacity of your content to your advantage. As my friend and colleague Eric "
"Steuer once said, “Using CC licenses shows you get the Internet.”"
msgstr ""
"Å ha brukt Made with Creative Commons betyr at du slutter å tenke på måter å "
"kunstig gjøre innholdet til et knapphetsgode, og i stedet utnytte det som "
"den potensielt rikelige ressursen det er.14)  Når du ser "
"informasjonsoverflod som en funksjon, ikke en feil, begynner du å tenke på "
"måter å bruke denne tomgangskapasiteten til din fordel. Som min venn og "
"kollega Eric Steuer engang sa, «å bruke CC-lisenser viser at du har taket på "
"Internettet»."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1470
msgid ""
"Cory Doctorow says it costs him nothing when other people make copies of his "
"work, and it opens the possibility that he might get something in return.15 "
"Similarly, the makers of the Arduino boards knew it was impossible to stop "
"people from copying their hardware, so they decided not to even try and "
"instead look for the benefits of being open. For them, the result is one of "
"the most ubiquitous pieces of hardware in the world, with a thriving online "
"community of tinkerers and innovators that have done things with their work "
"they never could have done otherwise."
msgstr ""
"Cory Doctorow sier det koster ham ingenting når andre mennesker lager kopier "
"av hans arbeid, når det åpner muligheten for at han kan få noe tilbake.15) "
"På samme måte, skaperne av Arduino Boards visste det var umulig å stoppe "
"folk fra å kopiere maskinvaren deres, så de besluttet og selv ikke engang å "
"prøve på det, og i stedet se etter fordelene med å være åpne. For dem er "
"resultatet en av de mest utbredte datakort i verden, med et blomstrende "
"nettverkssamfunn (community) av tenkere og innovatører som har bidratt med "
"ting som de selv aldri kunne ha gjort på noen annen måte."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1473
msgid ""
"There are all kinds of way to leverage the power of sharing and remix to "
"your benefit. Here are a few."
msgstr ""
"Det er alle slags måter å utnytte kraften i å dele og remikse til din "
"fordel. Her er noen."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1475
msgid "#### Use CC to grow a larger audience"
msgstr "#### Bruk CC for å finne et større publikum"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1485
msgid ""
"Putting a Creative Commons license on your content won’t make it "
"automatically go viral, but eliminating legal barriers to copying the work "
"certainly can’t hurt the chances that your work will be shared. The CC "
"license symbolizes that sharing is welcome. It can act as a little tap on "
"the shoulder to those who come across the work—a nudge to copy the work if "
"they have any inkling of doing so. All things being equal, if one piece of "
"content has a sign that says Share and the other says Don’t Share (which is "
"what “©” means), which do you think people are more likely to share?"
msgstr ""
"Å gi innholdet ditt Creative Commons-lisens, vil ikke automatisk gjøre at "
"det går viralt, men å eliminere juridiske hindringer for å kopiering vil "
"absolutt ikke svekke sjansene for at arbeidet deles. CC-lisens symboliserer "
"at deling er velkomment. Den kan fungere som et lite klapp på skulderen til "
"de som kommer over arbeidet – et lite dytt til å kopiere arbeidet om de "
"fornemmer det. Forutsatt at alt annet er likt, hvis ett stykke innhold har "
"et skilt som sier «Del» og det andre sier «Ikke del» (som er det «©» betyr), "
"hvilket tror du det er mer sannsynlig at folk deler?"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1492
msgid ""
"The Conversation is an online news site with in-depth articles written by "
"academics who are experts on particular topics. All of the articles are CC-"
"licensed, and they are copied and reshared on other sites by design. This "
"proliferating effect, which they track, is a central part of the value to "
"their academic authors who want to reach as many readers as possible."
msgstr ""
"The Conversation er et nyhetsnettsted med dyptgående artikler skrevet av "
"akademikere som er eksperter på spesifikke emner. Alle artiklene er CC-"
"lisensierte, og de kopieres og deles videre til andre bestemte områder. "
"Denne voksende effekten, som spores, er en sentral del av verdien for de "
"akademiske forfattere som ønsker å nå så mange lesere som mulig."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1504
msgid ""
"The idea that more eyeballs equates with more success is a form of the max "
"strategy, adopted by Google and other technology companies.  According to "
"Google’s Eric Schmidt, the idea is simple: “Take whatever it is you are "
"doing and do it at the max in terms of distribution. The other way of saying "
"this is that since marginal cost of distribution is free, you might as well "
"put things everywhere.”16 This strategy is what often motivates companies to "
"make their products and services free (i.e., no cost), but the same logic "
"applies to making content freely shareable. Because CC-licensed content is "
"free (as in cost) and can be freely copied, CC licensing makes it even more "
"accessible and likely to spread."
msgstr ""
"Ideen om at jo flere øyne som ser, og gir tilsvarende mer suksess, er en "
"form for maksimumsstrategi, adoptert av Google og andre teknologiselskaper.  "
"Ifølge Eric Schmidt i Google er ideen enkel: «Uansett hva du gjør, gjør det "
"med maksimum distribusjon. Den andre måten å si dette på er at når de "
"marginale distribusjonskostnadene er gratis, kan du også legge ut ting "
"overalt».16)  Denne strategien motiverer ofte selskaper til å gjøre sine "
"produkter og tjenester gratis (dvs. til ingen kostnad), men den samme "
"logikken gjelder for å dele innhold fritt. Fordi CC-lisensiert innhold er "
"gratis (i kostnad) og fritt kan deles, gjør CC-lisensiering innholdet enda "
"mer tilgjengelig, og sannsynligvis til å bli spredt."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1512
msgid ""
"If you are successful in reaching more users, readers, listeners, or other "
"consumers of your work, you can start to benefit from the bandwagon effect. "
"The simple fact that there are other people consuming or following your work "
"spurs others to want to do the same.17 This is, in part, because we simply "
"have a tendency to engage in herd behavior, but it is also because a large "
"following is at least a partial indicator of quality or usefulness.18"
msgstr ""
"Hvis du lykkes i å nå flere brukere, lesere, lyttere eller andre brukere av "
"arbeidet, kan du starte med å benytte deg av bandwagon-effekten. Det enkle "
"faktum er at andre folk som bruker eller følger ditt arbeid ansporer andre "
"til å gjøre samme.17)  Dette er delvis fordi vi ganske enkelt har en tendens "
"til å engasjere oss i flokkatferd, men det er også fordi en stor følgeskare "
"delvis er indikator på kvalitet eller nytteverdi.18)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1514
msgid "#### Use CC to get attribution and name recognition"
msgstr "### Å bruke CC for å få henvisninger og navnegjenkjenning"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1529
msgid ""
"Every Creative Commons license requires that credit be given to the author, "
"and that reusers supply a link back to the original source of the material. "
"CC0, not a license but a tool used to put work in the public domain, does "
"not make attribution a legal requirement, but many communities still give "
"credit as a matter of best practices and social norms. In fact, it is social "
"norms, rather than the threat of legal enforcement, that most often motivate "
"people to provide attribution and otherwise comply with the CC license terms "
"anyway. This is the mark of any well-functioning community, within both the "
"marketplace and the society at large.19 CC licenses reflect a set of wishes "
"on the part of creators, and in the vast majority of circumstances, people "
"are naturally inclined to follow those wishes. This is particularly the case "
"for something as straightforward and consistent with basic notions of "
"fairness as providing credit."
msgstr ""
"Hver Creative Commons-lisens krever at forfatteren gis referanse (kreditt), "
"og at gjenbrukere gir en lenke tilbake til den opprinnelige kilden for "
"materialet. CC0, ikke en lisens, men et verktøy som brukes til å legge "
"arbeider ut i den offentlige sfæren, gjør ikke henvisning juridisk påkrevd, "
"men mange fellesskap gir fortsatt henvisninger i tråd med beste praksis og "
"sosiale normer. Faktisk er det sosiale normer, heller enn trusselen om "
"juridiske håndhevelse, som oftest uansett motiverer folk til å henvise, og "
"ellers overholde lisensvilkårene i CC. Dette er kjennetegnet på et "
"velfungerende fellesskap, både i markedet og samfunnet som  helhet.19)  CC-"
"lisenser gjenspeiler et sett av ønsker fra bidragsyterne, og i de aller "
"fleste tilfeller er folk naturligvis tilbøyelige til å følge disse ønskene. "
"Dette er spesielt tilfellet for noe så rett frem, og i samsvar med "
"grunnleggende forestillinger om rimelighet, slik som å gi henvisning "
"(kreditt)."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1540
msgid ""
"The fact that the name of the creator follows a CC-licensed work makes the "
"licenses an important means to develop a reputation or, in corporate speak, "
"a brand. The drive to associate your name with your work is not just based "
"on commercial motivations, it is fundamental to authorship.  Knowledge "
"Unlatched is a nonprofit that helps to subsidize the print production of CC-"
"licensed academic texts by pooling contributions from libraries around the "
"United States. The CEO, Frances Pinter, says that the Creative Commons "
"license on the works has a huge value to authors because reputation is the "
"most important currency for academics. Sharing with CC is a way of having "
"the most people see and cite your work."
msgstr ""
"Det faktum at navnet på innholdsleverandøren følger med i et CC-lisensiert "
"arbeid, gjør lisensene til et viktig middel for å utvikle et omdømme, eller "
"i bedriftenes språk, en merkevare. Drivkraften bak å knytte ditt navn til "
"ditt arbeid er ikke bare basert på en kommersiell motivasjon, det er "
"grunnleggende i forfatterskapet.  Åpenhet - Knowledge Unlatched (KU) - er en "
"ideell egenskap som bidrar til å subsidiere produksjonen av CC-lisensierte "
"akademiske tekster ved samling og deling av bidrag fra biblioteker rundt i "
"USA. Direktøren, Frances Pinter, sier at Creative Commons-lisensen på verker "
"har en stor verdi for forfattere fordi omdømme er den viktigste valutaen for "
"akademikere. Deling med CC er en måte for å få flest til å se og sitere ditt "
"arbeide."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1552
msgid ""
"Attribution can be about more than just receiving credit. It can also be "
"about establishing provenance. People naturally want to know where content "
"came from—the source of a work is sometimes just as interesting as the work "
"itself. Opendesk is a platform for furniture designers to share their "
"designs. Consumers who like those designs can then get matched with local "
"makers who turn the designs into real-life furniture.  The fact that I, "
"sitting in the middle of the United States, can pick out a design created by "
"a designer in Tokyo and then use a maker within my own community to "
"transform the design into something tangible is part of the power of their "
"platform. The provenance of the design is a special part of the product."
msgstr ""
"Å bli navngitt kan handle om mer enn bare å få æren (bli kreditert). Det kan "
"også handle e om å etablere kilden. Naturligvis ønsker folk å vite hvor "
"innholdet kom fra – kilden til et arbeid er noen ganger like interessant som "
"selve arbeidet. Opendesk er en plattform for møbeldesignere til å dele sine "
"design. Forbrukere som liker disse designene kan deretter bli koblet med "
"lokale produsenter som omsetter tegninger til virkelige møbler. Det faktum "
"at jeg sitter i USA, kan plukke ut et design laget av en designer i Tokyo, "
"og deretter bruke en produsent i mitt eget lokalsamfunn til å forvandle "
"designet til noe håndfast, er en del av kraften til plattformen. Opphavet "
"til designet blir en spesiell del av produktet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1560
msgid ""
"Knowing the source of a work is also critical to ensuring its credibility. "
"Just as a trademark is designed to give consumers a way to identify the "
"source and quality of a particular good and service, knowing the author of a "
"work gives the public a way to assess its credibility. In a time when online "
"discourse is plagued with misinformation, being a trusted information source "
"is more valuable than ever."
msgstr ""
"Å vite hvor arbeidet kommer fra er også avgjørende for å sørge for "
"troverdigheten. Akkurat som et varemerke er utformet for å gi forbrukerne "
"mulighet til å identifisere kilden og kvaliteten til et bestemt gode og en "
"tjeneste, gir det å kjenne til forfatteren av et arbeid publikum en mulighet "
"til å vurdere arbeidets troverdighet. I en tid når nettdiskusjon er plaget "
"med feilinformasjon, er det å være en pålitelig informasjonskilde mer "
"verdifullt enn noensinne."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1562
msgid "#### Use CC-licensed content as a marketing tool"
msgstr "#### Å bruke CC-lisensiert innhold som markedsføringsverktøy"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1569
msgid ""
"As we will cover in more detail later, many endeavors that are Made with "
"Creative Commons make money by providing a product or service other than the "
"CC-licensed work. Sometimes that other product or service is completely "
"unrelated to the CC content. Other times it’s a physical copy or live "
"performance of the CC content. In all cases, the CC content can attract "
"people to your other product or service."
msgstr ""
"Som vi vil dekke mer detaljert senere; mange arbeider som er «Made with "
"Creative Commons» tjener penger ved å tilby et annet produkt eller en "
"tjeneste enn det CC-lisensierte arbeidet. Noen ganger er det andre produktet "
"eller tjenesten ikke relatert til CC-innholdet. Andre ganger er det en "
"fysisk utgave eller liveopptreden med CC-innholdet. I alle tilfeller kan CC-"
"innholdet trekke folk til dine andre produkter eller tjenester."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1582
msgid ""
"Knowledge Unlatched’s Pinter told us she has seen time and again how "
"offering CC-licensed content—that is, digitally for free—actually increases "
"sales of the printed goods because it functions as a marketing tool. We see "
"this phenomenon regularly with famous artwork. The Mona Lisa is likely the "
"most recognizable painting on the planet. Its ubiquity has the effect of "
"catalyzing interest in seeing the painting in person, and in owning physical "
"goods with the image. Abundant copies of the content often entice more "
"demand, not blunt it. Another example came with the advent of the radio. "
"Although the music industry did not see it coming (and fought it!), free "
"music on the radio functioned as advertising for the paid version people "
"bought in music stores.20 Free can be a form of promotion."
msgstr ""
"Knowlegde Unlatcheds Pinter fortalte oss at hun igjen og igjen har sett "
"hvordan det å tilby CC-lisensiert innhold – som er digitalt gratis – faktisk "
"øker salg av de trykte varene fordi det fungerer som et "
"markedsføringsverktøy. Vi ser dette fenomenet regelmessig med kjente "
"kunstverk. Mona Lisa er trolig det mest gjenkjennelige maleriet på planeten. "
"Denne allestedsnærværelsen utløser interessen for å ville se  maleriet selv, "
"og eie fysiske goder med avbildningen. Rikelig med kopier av innholdet "
"lokker ofte til mer etterspørsel, ikke til redusert. Et annet eksempel var "
"da radioen kom. Selv om musikkbransjen ikke så det komme (og kjempet mot "
"den!), fungerte gratis musikk på radio som reklame for den betalte versjonen "
"folk kjøpte i musikkforretninger.20)  Gratis kan være en form for "
"markedsføring."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1596
msgid ""
"In some cases, endeavors that are Made with Creative Commons do not even "
"need dedicated marketing teams or marketing budgets. Cards Against Humanity "
"is a CC-licensed card game available as a free download. And because of this "
"(thanks to the CC license on the game), the creators say it is one of the "
"best-marketed games in the world, and they have never spent a dime on "
"marketing. The textbook publisher OpenStax has also avoided hiring a "
"marketing team. Their products are free, or cheaper to buy in the case of "
"physical copies, which makes them much more attractive to students who then "
"demand them from their universities.  They also partner with service "
"providers who build atop the CC-licensed content and, in turn, spend money "
"and resources marketing those services (and by extension, the OpenStax "
"textbooks)."
msgstr ""
"I noen tilfeller trenger arbeid utført med Creative Commons ikke engang egne "
"markedsføringsteam eller -budsjetter. Cards Against Humanity er et CC-"
"lisensiert kortspill tilgjengelig som en gratis nedlasting. På grunn av "
"dette (takk til CC-lisensen på spillet) sier de som laget det at det en av "
"de best markedsførte spillene i verden, og at de har aldri brukt en krone på "
"markedsføring. Lærebokutgiveren OpenStax har også sluppet å ansette et "
"markedsføringsteam. Deres produkter er gratis, eller billigere å kjøpe som "
"fysiske kopier, noe som gjør dem mye mer attraktive for studenter, som "
"deretter krever dem fra sine universiteter.  De samarbeider også med "
"tjenesteleverandører som bygger videre oppå det CC-lisensierte innholdet og, "
"igjen, bruker penger og ressurser på å markedsføre disse tjenestene (og "
"dermed OpenStax lærebøker)."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1598
msgid "#### Use CC to enable hands-on engagement with your work"
msgstr ""
"### Bruke CC til å aktivere hands-on engasjement (aktiv deltakelse) med "
"arbeidet ditt"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1603
msgid ""
"The great promise of Creative Commons licensing is that it signifies an "
"embrace of remix culture. Indeed, this is the great promise of digital "
"technology. The Internet opened up a whole new world of possibilities for "
"public participation in creative work."
msgstr ""
"Den store lovnaden med Creative Commons-lisensiering er at den omfavner en "
"remiksingskultur. Dette er faktisk det store løftet med digital teknologi. "
"Internettet åpnet opp en helt ny verden av muligheter for offentlig "
"deltakelse i skapende arbeid."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1613
msgid ""
"Four of the six CC licenses enable reusers to take apart, build upon, or "
"otherwise adapt the work. Depending on the context, adaptation can mean "
"wildly different things—translating, updating, localizing, improving, "
"transforming. It enables a work to be customized for particular needs, uses, "
"people, and communities, which is another distinct value to offer the "
"public.21 Adaptation is more game changing in some contexts than others. "
"With educational materials, the ability to customize and update the content "
"is critically important for its usefulness. For photography, the ability to "
"adapt a photo is less important."
msgstr ""
"Fire av de seks CC-lisensene åpner for å bygge på gjenbruk, eller på andre "
"måter tilpasse arbeidet. Avhengig av sammenhengen, kan tilpasning bety vidt "
"forskjellige ting – oversettelse, oppdatering, lokalisering, forbedring, "
"transformering. De gjør det mulig å tilpasse et arbeid for spesielle behov, "
"bruk, mennesker og samfunn, som er en annen distinkt verdi å tilby til "
"offentligheten.21)  Tilpasning er mer en endring av spillereglene i noen "
"sammenhenger enn i andre. Med læremidler er muligheten til å tilpasse og "
"oppdatere innholdet kritisk viktig for nytteverdien. For fotografi er "
"muligheten til å tilpasse et bilde mindre viktig."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1625
msgid ""
"This is a way to counteract a potential downside of the abundance of free "
"and open content described above. As Anderson wrote in Free, “People often "
"don’t care as much about things they don’t pay for, and as a result they "
"don’t think as much about how they consume them.”22 If even the tiny act of "
"volition of paying one penny for something changes our perception of that "
"thing, then surely the act of remixing it enhances our perception "
"exponentially.23 We know that people will pay more for products they had a "
"part in creating.24 And we know that creating something, no matter what "
"quality, brings with it a type of creative satisfaction that can never be "
"replaced by consuming something created by someone else.25"
msgstr ""
"Dette er en måte å motvirke mulige ulemper på i overfloden av gratis og "
"åpent innhold beskrevet ovenfor. Som Anderson skrev i Free, «Folk bryr seg "
"ofte ikke så mye om ting de ikke betaler for, og som et resultat tenker de "
"ikke så mye på hvordan de bruker dem». 22) Hvis selv den lille handlingen "
"som vilje til å betale én penny for noe, endrer vår oppfatning av den "
"tingen, så vil sikkert det å remikse forbedre vår oppfatning "
"eksponensielt.23)  Vi vet at folk vil betale mer for  produkter de hadde en "
"rolle i å lage.24)  Og vi vet at å skape noe, uansett hvilken kvalitet, "
"bringer med seg en slags kreativ tilfredshet som kan bli erstattet av å "
"bruke noe som er laget av noen andre.25)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1633
msgid ""
"Actively engaging with the content helps us avoid the type of aimless "
"consumption that anyone who has absentmindedly scrolled through their social-"
"media feeds for an hour knows all too well. In his book, Cognitive Surplus, "
"Clay Shirky says, “To participate is to act as if your presence matters, as "
"if, when you see something or hear something, your response is part of the "
"event.”26 Opening the door to your content can get people more deeply tied "
"to your work."
msgstr ""
"Å aktivt engasjere seg i innholdet hjelper oss til å unngå et planløst "
"forbruk som alle som åndsfraværende har rullet igjennom det som kommer inn i "
"ens sosiale medier en times tid, vet alt for godt. I sin bok, Cognitive "
"Surplus, sier Clay Shirky, «Å delta er å handle som om din tilstedeværelse "
"betyr noe, som om, når du ser noe eller hører noe, er ditt svar en del av "
"hendelsen». 26)  Å åpne døren til ditt innhold kan få folk dypere knyttet "
"til arbeidet ditt."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1635
msgid "#### Use CC to differentiate yourself"
msgstr "#### Bruke CC for å skille deg ut"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1647
msgid ""
"Operating under a traditional copyright regime usually means operating under "
"the rules of establishment players in the media. Business strategies that "
"are embedded in the traditional copyright system, like using digital rights "
"management (DRM) and signing exclusivity contracts, can tie the hands of "
"creators, often at the expense of the creator’s best interest.27 Being Made "
"with Creative Commons means you can function without those barriers and, in "
"many cases, use the increased openness as a competitive advantage. David "
"Harris from OpenStax said they specifically pursue strategies they know that "
"traditional publishers cannot. “Don’t go into a market and play by the "
"incumbent rules,” David said. “Change the rules of engagement.”"
msgstr ""
"Å operere under et tradisjonelt opphavsrettsregime betyr vanligvis å operere "
"under reglene til etablerte aktører i media. Forretningsstrategier som er "
"innebygd i det tradisjonelle opphavsrettssystemet, som bruker digital "
"rettinghetshåndtering (DRM),  og signering av eksklusivitetskontrakter, kan "
"binde hendene til innholdsleverandører, ofte på bekostning av leverandørens "
"beste interesse.27)  Made with Creative Commons betyr at du kan fungere uten "
"disse barrierene, og i mange tilfeller bruke økt åpenhet som et "
"konkurransefortrinn. David Harris fra OpenStax sa at de spesielt forfulgte "
"strategier de vet at tradisjonelle utgivere ikke kan. «Ikke gå inn i et "
"marked og lek med de etablerte reglene»,  sa David. «Reglene for engasjement "
"må endres»."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1649
msgid "### Making Money"
msgstr "### Å tjene penger"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1664
msgid ""
"Like any moneymaking endeavor, those that are Made with Creative Commons "
"have to generate some type of value for their audience or customers.  "
"Sometimes that value is subsidized by funders who are not actually "
"beneficiaries of that value. Funders, whether philanthropic institutions, "
"governments, or concerned individuals, provide money to the organization out "
"of a sense of pure altruism. This is the way traditional nonprofit funding "
"operates.28 But in many cases, the revenue streams used by endeavors that "
"are Made with Creative Commons are directly tied to the value they generate, "
"where the recipient is paying for the value they receive like any standard "
"market transaction. In still other cases, rather than the quid pro quo "
"exchange of money for value that typically drives market transactions, the "
"recipient gives money out of a sense of reciprocity."
msgstr ""
"Som ethvert foretagende som tjener penger, må det som lages med Creative "
"Commons bidra til en slags nytteverdi for sitt publikum eller forbrukere. "
"Noen ganger blir verdien subsidiert av bidragsytere som ikke direkte nyter "
"godt av den direkte. Bidragsytere, enten veldedige institusjoner, "
"myndigheter, eller folk som bryr seg, gir penger til organisasjonen av egen "
"vilje. Dette er den måten vanlig veldedig finansiering virker på.28)  I "
"mange tilfeller er pengestrømmene som genereres med arbeid laget med "
"Creative Commons (Made with Creative Commons) direkte knyttet til verdien "
"det genererer, der mottakere betaler for verdien de mottar, som i enhver "
"annen standard markedstransaksjon. I mange andre tilfeller, snarere enn i en "
"noe for noe-utveksling  av penger for verdi («en tjeneste er en annen "
"verdt»), som typisk for markedstransaksjoner, gir mottakeren penger i "
"forståelse av en gjensidighet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1672
msgid ""
"Most who are Made with Creative Commons use a variety of methods to bring in "
"revenue, some market-based and some not. One common strategy is using grant "
"funding for content creation when research-and-development costs are "
"particularly high, and then finding a different revenue stream (or streams) "
"for ongoing expenses. As Shirky wrote, “The trick is in knowing when markets "
"are an optimal way of organizing interactions and when they are not.”29"
msgstr ""
"Det meste som er laget med Creative Commons bruker en rekke ulike metoder "
"for å bringe inn omsetning, noen markedsbaserte og andre ikke. En vanlig "
"strategi er å bruke eksterne bevilgninger til innhold når forsknings- og "
"utviklingskostnader er spesielt høye, og deretter finne en annen "
"inntektsstrøm (eller strømmer) til påløpende utgifter. Som Shirky skrev, er "
"«trikset å vite når markedene er en optimal måte å organisere interaksjoner "
"på og når de ikke er det». 29)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1679
msgid ""
"Our case studies explore in more detail the various revenue-generating "
"mechanisms used by the creators, organizations, and businesses we "
"interviewed. There is nuance hidden within the specific ways each of them "
"makes money, so it is a bit dangerous to generalize too much about what we "
"learned. Nonetheless, zooming out and viewing things from a higher level of "
"abstraction can be instructive."
msgstr ""
"Våre referansestudier gjennomgår nærmere de ulike veiene til å skaffe "
"inntekter til innholdsleverandører, organisasjoner og bedrifter vi "
"intervjuet. Det er nyanser skjult i de spesifikke måtene hver og en av dem "
"tjener penger på, så det er litt farlig å generalisere for mye fra hva vi "
"fant. Likevel, å ta et skritt tilbake og vise ting fra et høyere "
"abstraksjonsnivå, kan være lærerikt."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1681
msgid "#### Market-based revenue streams"
msgstr "#### Markedsbaserte inntektsstrømmer"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1688
msgid ""
"In the market, the central question when determining how to bring in revenue "
"is what value people are willing to pay for.30 By definition, if you are "
"Made with Creative Commons, the content you provide is available for free "
"and not a market commodity. Like the ubiquitous freemium business model, any "
"possible market transaction with a consumer of your content has to be based "
"on some added value you provide.31"
msgstr ""
"I markedet er det sentrale spørsmålet når vi bestemmer hvordan vi skal få "
"inntekter, hvor mye folk er villige til å betale.30)  Per definisjon, hvis "
"du bruker Made with Creative Commons, er innholdet du gir tilgjengelig "
"gratis og ikke en markedsvare. I den allestedsnærværende freemium-modellen "
"(som kombinerer «free» og «premium»-utgaver av et produkt eller en tjeneste, "
"der inntjeningen ligger i premium-utgaven), må enhver markedstransaksjon med "
"en forbruker av innholdet være basert på en verdiøkning du tilbyr.31)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1702
msgid ""
"In many ways, this is the way of the future for all content-driven "
"endeavors. In the market, value lives in things that are scarce. Because the "
"Internet makes a universe of content available to all of us for free, it is "
"difficult to get people to pay for content online. The struggling newspaper "
"industry is a testament to this fact. This is compounded by the fact that at "
"least some amount of copying is probably inevitable. That means you may end "
"up competing with free versions of your own content, whether you condone it "
"or not.32 If people can easily find your content for free, getting people to "
"buy it will be difficult, particularly in a context where access to content "
"is more important than owning it. In Free, Anderson wrote, “Copyright "
"protection schemes, whether coded into either law or software, are simply "
"holding up a price against the force of gravity.”"
msgstr ""
"På mange måter er dette veien fremover for alle innholdsdrevne bestrebelser. "
"I markedet ligger verdien i ting som er mangelvare. Med Internetter som et "
"gratis tilgjengelig univers av innhold for oss, er det vanskelig å få folk "
"til å betale for innhold på nettet. Den kjempende avisbransjen er et uttrykk "
"for dette faktum. Dette er forverret av det faktum at i det minste er noe "
"kopiering trolig uunngåelig. Det betyr at du kan ende opp med å  konkurrere "
"med gratis versjoner av ditt eget innhold, enten du ser gjennom fingrene med "
"det eller ikke.32)  Hvis folk lett kan finne innholdet gratis, vil det være "
"vanskelig å få folk til å kjøpe det, spesielt i en kontekst der tilgang til "
"innhold er viktigere enn å eie den. I Free skrev Anderson: "
"«Opphavsrettigheter, enten regelfestet i lov eller i programvaren, er i "
"enkelhet å holde en pris opp imot tyngdekraften»."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1711
msgid ""
"Of course, this doesn’t mean that content-driven endeavors have no future in "
"the traditional marketplace. In Free, Anderson explains how when one product "
"or service becomes free, as information and content largely have in the "
"digital age, other things become more valuable.  “Every abundance creates a "
"new scarcity,” he wrote. You just have to find some way other than the "
"content to provide value to your audience or customers. As Anderson says, "
"“It’s easy to compete with Free: simply offer something better or at least "
"different from the free version.”33"
msgstr ""
"Dette betyr selvfølgelig at innholdsdrevne bestrebelser ikke har noen "
"fremtid på den tradisjonelle markedsplassen. I Free forklarer Anderson at "
"når et produkt eller en tjeneste blir gratis, som informasjon og innhold i "
"stor grad blir i den digitale tidsalderen, blir andre ting mer verdifulle.  "
"«Hver overflod skaper en ny knapphet», skrev han. Du må bare finne en måte "
"annet enn enn innholdet for å gi verdi til brukere eller kunder. Som "
"Anderson sier, «det er lett å konkurrere med Free: Bare tilby noe bedre, "
"eller i det minste ulik gratisversjonen».33)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1718
msgid ""
"In light of this reality, in some ways endeavors that are Made with Creative "
"Commons are at a level playing field with all content-based endeavors in the "
"digital age. In fact, they may even have an advantage because they can use "
"the abundance of content to derive revenue from something scarce. They can "
"also benefit from the goodwill that stems from the values behind being Made "
"with Creative Commons."
msgstr ""
"I lys av denne virkeligheten er det på noen måter slik innhold Made with "
"Creative Commons er på samme bane som alle innholdsbaserte produkter i den "
"digitale tidsalderen. De kan faktisk selv ha en fordel fordi de kan bruke "
"overfloden av innhold til å få inntekter fra noen knappe ressurser. De kan "
"også nyttiggjøre seg velviljen som stammer fra verdiene bak å være Made with "
"Creative Commons."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1724
msgid ""
"For content creators and distributors, there are nearly infinite ways to "
"provide value to the consumers of your work, above and beyond the value that "
"lives within your free digital content. Often, the CC-licensed content "
"functions as a marketing tool for the paid product or service."
msgstr ""
"For innholdskapere og distributører er det nesten uendelige måter å gi verdi "
"til forbrukerne av ditt arbeid, over og utover verdien av det som er "
"innenfor ditt gratis digitale innhold. Ofte fungerer det CC-lisensierte "
"innholdet som et markedsføringsverktøy for de betalte produkter eller "
"tjenester."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1726
msgid "Here are the most common high-level categories."
msgstr "Her er de vanligste høynivå kategoriene."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1728
msgid ""
"#### Providing a custom service to consumers of your work *\\[MARKET-BASED"
"\\]*"
msgstr ""
"#### Å tilby en tilpasset tjeneste til brukere av ditt arbeid  *"
"\\[MARKEDSBASERT\\]*"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1737
msgid ""
"In this age of information abundance, we don’t lack for content. The trick "
"is finding content that matches our needs and wants, so customized services "
"are particularly valuable. As Anderson wrote, “Commodity information "
"(everybody gets the same version) wants to be free.  Customized information "
"(you get something unique and meaningful to you)  wants to be expensive.”34 "
"This can be anything from the artistic and cultural consulting services "
"provided by Ártica to the custom-song business of Jonathan “Song-A-Day” Mann."
msgstr ""
"I denne informasjonsalderens overflod mangler vi ikke innhold. Trikset er å "
"finne innhold som samsvarer med våre behov og ønsker, så tilpassede "
"tjenester er spesielt verdifulle. Som Anderson skrev, «Vareinformasjon (alle "
"får den samme versjonen) ønsker å være fri. Tilpasset informasjon (du får "
"noe unikt og meningsfullt for deg) ønsker å være dyr».34) Dette kan være alt "
"fra kunstneriske og kulturelle rådgivingstjenester som tilbys av Ártica til "
"det skreddersydde sangtilbudet fra Jonathan «Song-A-Day» Mann."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1739
msgid "#### Charging for the physical copy *\\[MARKET-BASED\\]*"
msgstr "#### Å belaste for den fysiske kopien *\\[MARKEDSBASERT\\]*"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1760
msgid ""
"In his book about maker culture, Anderson characterizes this model as giving "
"away the bits and selling the atoms (where bits refers to digital content "
"and atoms refer to a physical object).35 This is particularly successful in "
"domains where the digital version of the content isn’t as valuable as the "
"analog version, like book publishing where a significant subset of people "
"still prefer reading something they can hold in their hands. Or in domains "
"where the content isn’t useful until it is in physical form, like furniture "
"designs. In those situations, a significant portion of consumers will pay "
"for the convenience of having someone else put the physical version together "
"for them. Some endeavors squeeze even more out of this revenue stream by "
"using a Creative Commons license that only allows noncommercial uses, which "
"means no one else can sell physical copies of their work in competition with "
"them. This strategy of reserving commercial rights can be particularly "
"important for items like books, where every printed copy of the same work is "
"likely to be the same quality, so it is harder to differentiate one "
"publishing service from another. On the other hand, for items like furniture "
"or electronics, the provider of the physical goods can compete with other "
"providers of the same works based on quality, service, or other traditional "
"business principles."
msgstr ""
"I sin bok om «maker culture» (produsentkultur) karakteriserer Anderson denne "
"modellen ved at den gir bort biter og selger atomene (der biter refererer "
"til digitalt innhold og atomer refererer til et fysisk objekt).35)  Dette er "
"særlig vellykket i domener der den digitale versjonen av innholdet ikke er "
"så verdifull som den analoge versjonen, som i bokpublisering der en stor "
"undergruppe fortsatt foretrekker å lese noe de kan holde i hendene, eller i "
"domener der innholdet ikke er nyttig før det er i fysisk form, som "
"møbeldesign. I slike situasjoner vil en betydelig del av forbrukerne betale "
"for nytten av å ha noen andre til å sette sammen den fysiske versjonen for "
"dem. Noen bidragsytere klemmer enda mer ut av denne inntektsstrømmen ved "
"hjelp av en Creative Commons-lisens som bare tillater ikke-kommersiell bruk, "
"noe som betyr at ingen andre kan selge fysiske kopier av arbeidet i "
"konkurranse med dem. Denne strategien for å reservere kommersielle "
"rettigheter kan være spesielt viktig for varer som bøker, der hver utskrift "
"av det samme arbeidet sannsynligvis har samme kvalitet, så det er "
"vanskeligere å skille en publiseringstjeneste fra en annen. På den annen "
"side, for varer som møbler eller elektronikk, kan leverandøren av de fysiske "
"varene konkurrere med andre leverandører av de samme varene basert på "
"kvalitet, tjeneste eller andre tradisjonelle forretningsprinsipper."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1762
msgid "#### Charging for the in-person version *\\[MARKET-BASED\\]*"
msgstr "#### Å ta betalt for en personlig versjon *\\[MARKEDSBASERT\\]*"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1770
msgid ""
"As anyone who has ever gone to a concert will tell you, experiencing "
"creativity in person is a completely different experience from consuming a "
"digital copy on your own. Far from acting as a substitute for face-to-face "
"interaction, CC-licensed content can actually create demand for the in-"
"person version of experience. You can see this effect when people go view "
"original art in person or pay to attend a talk or training course."
msgstr ""
"Som alle som noensinne har gått på en konsert vil fortelle deg, å oppleve "
"kreativitet personlig er en helt annen opplevelse i forhold til å oppleve en "
"digital kopi på egenhånd. Langt fra å være en erstatning for å samhandle "
"ansikt til ansikt, kan CC-lisensiert innhold faktisk skape etterspørsel "
"etter å oppleve dette som en personlig erfaring. Du kan se denne effekten "
"når folk går for å se original kunst personlig, eller betaler for å delta på "
"et tale- eller opplæringskurs."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1772
msgid "#### Selling merchandise *\\[MARKET-BASED\\]*"
msgstr "#### Å selge handelsvarer *\\[MARKEDSBASERT\\]*"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1777
msgid ""
"In many cases, people who like your work will pay for products demonstrating "
"a connection to your work. As a child of the 1980s, I can personally attest "
"to the power of a good concert T-shirt. This can also be an important "
"revenue stream for museums and galleries."
msgstr ""
"I mange tilfeller vil folk som liker ditt arbeid betale for produkter som "
"viser en forbindelse til ditt arbeid. Som barn i 1980, kan jeg personlig "
"bekrefte kraften i en T-skjorte fra en god konsert. Dette kan også være en "
"viktig inntektskilde for museer og gallerier."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1788
msgid ""
"Sometimes the way to find a market-based revenue stream is by providing "
"value to people other than those who consume your CC-licensed content.  In "
"these revenue streams, the free content is being subsidized by an entirely "
"different category of people or businesses. Often, those people or "
"businesses are paying to access your main audience. The fact that the "
"content is free increases the size of the audience, which in turn makes the "
"offer more valuable to the paying customers. This is a variation of a "
"traditional business model built on free called multi-sided platforms.36 "
"Access to your audience isn’t the only thing people are willing to pay for—"
"there are other services you can provide as well."
msgstr ""
"Noen ganger kan en finne en markedsbasert inntektsstrøm ved å gi verdi til "
"andre enn dem som bruker ditt CC-lisensierte innhold. I disse "
"inntektstrømmene blir gratis innhold subsidiert av en helt annen kategori "
"personer eller bedrifter. Ofte betaler disse personene eller bedriftene for "
"tilgang til din viktigste målgruppe. Det faktum at innholdet er gratis, øker "
"størrelsen på publikumet, som igjen gjør tilbudet mer verdifullt for de "
"betalende kundene. Dette er en variant av en tradisjonell forretningsmodell "
"bygget på frie såkalte flersidige-plattformer.36)  Tilgang til ditt publikum "
"er ikke det eneste folk er villige til å betale for, du kan også levere "
"andre tjenester."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1790
msgid "#### Charging advertisers or sponsors *\\[MARKET-BASED\\]*"
msgstr "#### Å belaste annonsører og sponsorer *\\[MARKEDSBASERT\\]*"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1801
msgid ""
"The traditional model of subsidizing free content is advertising. In this "
"version of multi-sided platforms, advertisers pay for the opportunity to "
"reach the set of eyeballs the content creators provide in the form of their "
"audience.37 The Internet has made this model more difficult because the "
"number of potential channels available to reach those eyeballs has become "
"essentially infinite.38 Nonetheless, it remains a viable revenue stream for "
"many content creators, including those who are Made with Creative Commons. "
"Often, instead of paying to display advertising, the advertiser pays to be "
"an official sponsor of particular content or projects, or of the overall "
"endeavor."
msgstr ""
"Den tradisjonelle modellen for å subsidiere gratis innhold er reklame. I "
"denne versjonen av flersidige plattformer, betaler annonsørene for "
"muligheten til kontakt til rekken av «antall øyne som ser» i "
"innholdleverandørenes publikum.37) Internett har gjort denne modellen "
"vanskeligere fordi antallet tilgjengelige, mulige kanaler for å nå det "
"aktuelle antallet er i bunn og grunn blitt uendelig.38) Likevel, det er "
"fortsatt en livskraftig inntektskilde for mange innholdsskapere, inkludert "
"dem som bruker Made with Creative Commons. Ofte, i stedet for betaling for å "
"vise reklame, betaler annonsøren for å være en offisiell sponsor av et "
"bestemt innhold,  prosjekter eller oppgaven som sådan."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1803
msgid "#### Charging your content creators *\\[MARKET-BASED\\]*"
msgstr "#### Betaling fra dine innholdsleverandører * \\[MARKEDSBASERT\\]*"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1813
msgid ""
"Another type of multisided platform is where the content creators themselves "
"pay to be featured on the platform. Obviously, this revenue stream is only "
"available to those who rely on work created, at least in part, by others. "
"The most well-known version of this model is the “author-processing charge” "
"of open-access journals like those published by the Public Library of "
"Science, but there are other variations. The Conversation is primarily "
"funded by a university-membership model, where universities pay to have "
"their faculties participate as writers of the content on the Conversation "
"website."
msgstr ""
"En annen type flersidig plattform er der de som lager innholdet selv betaler "
"for å bli omtalt på plattformen. Selvfølgelig er denne inntektsstrømmen bare "
"tilgjengelig for dem som stoler på det arbeidet som er laget, i all fall "
"delvis, av andre. Den mest kjente versjonen av denne modellen er "
"«forfatteravgift» i tidsskrifter med åpen tilgang som de som er publisert av "
"Public Library of Science, men det finnes også andre varianter. The "
"Conversation er primært finansiert med en universitetetsmedlemskapsmodell, "
"der universiteter betaler for at  fakultetene kan ha forfattere som leverer "
"innhold til Conversations nettside."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1815
msgid "#### Charging a transaction fee *\\[MARKET-BASED\\]*"
msgstr "#### Transaksjonsgebyr * \\[MARKEDSBASERT\\]*"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1825
msgid ""
"This is a version of a traditional business model based on brokering "
"transactions between parties.39 Curation is an important element of this "
"model. Platforms like the Noun Project add value by wading through CC-"
"licensed content to curate a high-quality set and then derive revenue when "
"creators of that content make transactions with customers. Other platforms "
"make money when service providers transact with their customers; for "
"example, Opendesk makes money every time someone on their site pays a maker "
"to make furniture based on one of the designs on the platform."
msgstr ""
"Dette er en versjon av en tradisjonell modell basert på "
"meglingstransaksjoner mellom deltakere.39)  Utvalg og organisering er et "
"viktig element i denne modellen. Plattformer som Noun Project tilfører verdi "
"ved å vade gjennom CC-lisensiert innhold for å velge ut et høykvalitets "
"utvalg, og så utlede inntekt når innholdsleverandørene gjør transaksjoner "
"med kunder. Andre plattformer tjener penger når tjenesteleverandører gjør "
"transaksjoner med kundene deres; for eksempel tjener Opendesk penger hver "
"gang noen på deres nettsted betaler en håndverker for å lage møbler basert "
"på ett av designene på plattformen."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1827
msgid "#### Providing a service to your creators *\\[MARKET-BASED\\]*"
msgstr ""
"#### Å levere en tjeneste til dine innholdsleverandører * \\[MARKEDSBASERT"
"\\]*"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1834
msgid ""
"As mentioned above, endeavors can make money by providing customized "
"services to their users. Platforms can undertake a variation of this service "
"model directed at the creators that provide the content they feature. The "
"data platforms Figure.NZ and Figshare both capitalize on this model by "
"providing paid tools to help their users make the data they contribute to "
"the platform more discoverable and reusable."
msgstr ""
"Som nevnt ovenfor, kan et innhold gi fortjeneste ved at det leveres "
"tilpassede tjenester til brukerne. Plattformer kan gi en variant av denne "
"tjenestemodellen rettet mot innholdsleverandører som legger inn et innhold "
"de får omtalt. Dataplattformene Figure.NZ og Figshare utnytter denne "
"modellen ved å tilby betalte verktøy for å hjelpe sine brukere å gjøre "
"dataene de bidrar med til plattformen mer synlige og gjenbrukbare."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1836
msgid "#### Licensing a trademark *\\[MARKET-BASED\\]*"
msgstr "#### Lisensiere et varemerke *\\[MARKEDSBASERT\\]*"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1845
msgid ""
"Finally, some that are Made with Creative Commons make money by selling use "
"of their trademarks. Well known brands that consumers associate with "
"quality, credibility, or even an ethos can license that trademark to "
"companies that want to take advantage of that goodwill. By definition, "
"trademarks are scarce because they represent a particular source of a good "
"or service. Charging for the ability to use that trademark is a way of "
"deriving revenue from something scarce while taking advantage of the "
"abundance of CC content."
msgstr ""
"Endelig tjener noen som er laget med Creative Commons penger på å selge bruk "
"av varemerker. Kjente merker som forbrukerne forbinder med kvalitet, "
"troverdighet, eller selv en holdning (etos) kan lisensiere varemerket til "
"selskaper som ønsker å dra nytte av dets goodwill. Per definisjon er "
"varemerker knappe fordi de representerer et bestemt opphav for et gode eller "
"en tjeneste. Å ta betalt for muligheten til å bruke det varemerket er en "
"måte å skaffe inntekt fra noe det er knapphet på, og samtidig utnytte "
"fordelen av overfloden av CC-innhold."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1847
msgid "#### Reciprocity-based revenue streams"
msgstr "#### Gjensidighetsbaserte inntektsstrømmer"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1852
msgid ""
"Even if we set aside grant funding, we found that the traditional economic "
"framework of understanding the market failed to fully capture the ways the "
"endeavors we analyzed were making money. It was not simply about monetizing "
"scarcity."
msgstr ""
"Selv om vi setter til side velgjørenhetsfinansiering, fant vi at "
"tradisjonelle økonomiske rammen for å forstå  markedet ikke fullt ut fanger "
"måtene den innsatsen vi analyserte for å tjene penger. Det handlet ikke bare "
"om å tjene penger på knapphet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1862
msgid ""
"Rather than devising a scheme to get people to pay money in exchange for "
"some direct value provided to them, many of the revenue streams were more "
"about providing value, building a relationship, and then eventually finding "
"some money that flows back out of a sense of reciprocity. While some look "
"like traditional nonprofit funding models, they aren’t charity. The endeavor "
"exchange value with people, just not necessarily synchronously or in a way "
"that requires that those values be equal. As David Bollier wrote in Think "
"Like a Commoner, “There is no self-serving calculation of whether the value "
"given and received is strictly equal.”"
msgstr ""
"I stedet for å utarbeide en plan for å få folk til å betale penger for noe "
"som har en direkte verdi levert til dem, handlet mange av inntektsstrømmene "
"mer om å gi verdi, bygge forhold, og så eventuelt finne noen penger som "
"strømmer tilbake fra en forståelse av gjensidighet. Mens noe ser ut som "
"tradisjonelle veldedige finansieringsmodeller, er de ikke det. Innsatsen "
"utveksler verdier mellom mennesker, ikke nødvendigvis synkront eller på en "
"måte som krever at disse verdiene er like. Som David Bollier skrev i Think "
"Like a Commoner, «Det er ingen iboende kalkyle i om verdien som er gitt og "
"mottatt er helt lik»."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1868
msgid ""
"This should be a familiar dynamic—it is the way you deal with your friends "
"and family. We give without regard for what and when we will get back. David "
"Bollier wrote, “Reciprocal social exchange lies at the heart of human "
"identity, community and culture. It is a vital brain function that helps the "
"human species survive and evolve.”"
msgstr ""
"Dette skulle være en kjent dynamikk – det er måten du behandler dine venner "
"og familie. Vi gir uten hensyn til hva vi får, og når vi får tilbake. David "
"Bollier skrev, «Gjensidig sosial utveksling ligger i hjertet av menneskets "
"identitet, samfunn og kultur. Det er en viktig hjernefunksjon som hjelper "
"menneskeheten i sin overlevelse og utvikling»."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1873
msgid ""
"What is rare is to incorporate this sort of relationship into an endeavor "
"that also engages with the market.40 We almost can’t help but think of "
"relationships in the market as being centered on an even-steven exchange of "
"value.41"
msgstr ""
"Det er sjeldent å innlemme slike forhold i en innsats som også favner "
"markedet.40)  Vi kan nesten ikke unngå å tenke på markedsrelasjoner som "
"sentrert, uten gjensidig utveksling av verdi.41)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1875
msgid "#### Memberships and individual donations *\\[RECIPROCITY-BASED\\]*"
msgstr ""
"#### Medlemskap og individuelle donasjoner * \\[GJENSIDIGHETSBASERT\\]*"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1887
msgid ""
"While memberships and donations are traditional nonprofit funding models, in "
"the Made with Creative Commons context, they are directly tied to the "
"reciprocal relationship that is cultivated with the beneficiaries of their "
"work. The bigger the pool of those receiving value from the content, the "
"more likely this strategy will work, given that only a small percentage of "
"people are likely to contribute. Since using CC licenses can grease the "
"wheels for content to reach more people, this strategy can be more effective "
"for endeavors that are Made with Creative Commons. The greater the argument "
"that the content is a public good or that the entire endeavor is furthering "
"a social mission, the more likely this strategy is to succeed."
msgstr ""
"Mens medlemskap og donasjoner er tradisjonelle veldedige "
"finansieringsmodeller, i Made with Creative Commons-sammenheng, er de "
"direkte knyttet til det gjensidige forholdet dyrket med de som nyter godt av "
"arbeidet. Jo større mengde som mottar verdi fra innholdet, jo mer sannsynlig "
"er det at denne strategien vil fungere, gitt at bare en liten prosentandel "
"av brukerne sannsynligvis vil bidra. Siden det å bruke CC-lisenser kan smøre "
"hjulene for at innhold skal nå flere mennesker, kan denne strategien være "
"mer effektiv for innsatser utført med laget med Creative Commons. Jo "
"viktigere argumentet er for at innholdet er et kollektivt gode, eller at "
"hele innsatsen skal fremme en sosial oppgave, jo mer sannsynlig er det at "
"denne strategien lykkes."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1889
msgid "#### The pay-what-you-want model *\\[RECIPROCITY-BASED\\]*"
msgstr "#### Betal-hva-du-vil-modellen * \\[GJENSIDIGHETSBASERT\\]*"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1899
msgid ""
"In the pay-what-you-want model, the beneficiary of Creative Commons content "
"is invited to give—at any amount they can and feel is appropriate, based on "
"the public and personal value they feel is generated by the open content. "
"Critically, these models are not touted as “buying” something free. They are "
"similar to a tip jar. People make financial contributions as an act of "
"gratitude. These models capitalize on the fact that we are naturally "
"inclined to give money for things we value in the marketplace, even in "
"situations where we could find a way to get it for free."
msgstr ""
"I betal-hva-du-vil-modellen blir mottakere av Creative Commons-innhold "
"invitert til å gi et beløp de synes de kan gi og føler er nødvendig, basert "
"på den offentlige og personlige verdi de føler er frembrakt av det åpne "
"innholdet. Kritisk sett er ikke disse modellene myntet på å «kjøpe» noe "
"gratis. De likner en skål til drikkepenger. Folk gir et økonomiske bidrag "
"som en takk. Disse modellene kapitaliserer det faktum at vi er naturlig "
"tilbøyelige til å gi penger for tingene vi setter pris på i markedet, selv i "
"situasjoner der vi ellers kan finne en måte å få det gratis på ."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1901
msgid "#### Crowdfunding *\\[RECIPROCITY-BASED\\]*"
msgstr "#### Folkefinansiering * \\[GJENSIDIGHETSBASERT\\]*"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1916
msgid ""
"Crowdfunding models are based on recouping the costs of creating and "
"distributing content before the content is created. If the endeavor is Made "
"with Creative Commons, anyone who wants the work in question could simply "
"wait until it’s created and then access it for free. That means, for this "
"model to work, people have to care about more than just receiving the work. "
"They have to want you to succeed. Amanda Palmer credits the success of her "
"crowdfunding on Kickstarter and Patreon to the years she spent building her "
"community and creating a connection with her fans. She wrote in The Art of "
"Asking, “Good art is made, good art is shared, help is offered, ears are "
"bent, emotions are exchanged, the compost of real, deep connection is "
"sprayed all over the fields.  Then one day, the artist steps up and asks for "
"something. And if the ground has been fertilized enough, the audience says, "
"without hesitation: of course.”"
msgstr ""
"Folkefinansiering er modeller basert på å tjene inn igjen kostnadene til å "
"lage og distribuere innhold når innholdet er opprettet. Hvis arbeidet er "
"laget med Creative Commons, kunne de som ønsker det aktuelle arbeidet bare "
"vente til det er opprettet, og deretter få tilgang til det gratis. Det "
"betyr, for å få denne modellen til å virke, at folk må bry seg mer enn å "
"bare motta arbeidet. De må ønske at du lykkes. Amanda Palmer tillegger "
"suksessen med folkefinansiering av Kickstarter og Patreon til årene hun "
"brukte til bygge opp sitt fellesskap, og utvikle koblingen med tilhengerne "
"sine. Hun skrev i The Art og Asking, «God kunst er laget, god kunst deles, "
"hjelp tilbys, ører spisset, følelser utveksles, kompost av ekte og dyp "
"forbindelse er spredt over åkrene.  Så en dag, trapper kunstneren opp og ber "
"om noe. Og hvis bakken er gjødslet nok, sier publikum, uten å nøle: "
"Selvfølgelig»."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1923
msgid ""
"Other types of crowdfunding rely on a sense of responsibility that a "
"particular community may feel. Knowledge Unlatched pools funds from major U."
"S. libraries to subsidize CC-licensed academic work that will be, by "
"definition, available to everyone for free. Libraries with bigger budgets "
"tend to give more out of a sense of commitment to the library community and "
"to the idea of open access generally."
msgstr ""
"Andre typer folkefinansiering bygger på en ansvarsfølelse som et bestemt "
"fellesskap kan ha. Knowledge Unlatched samler opp midler fra store "
"amerikanske biblioteker for å støtte CC-lisensiert akademisk arbeid som vil "
"bli, per definisjon, tilgjengelig gratis for alle. Biblioteker med større "
"budsjetter tenderer til å gi mer av en følelse av forpliktelse til "
"biblioteksamfunnet, og ideen om åpen tilgang generelt."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1925
msgid "### Making Human Connections"
msgstr "### Å bygge menneskelige forbindelser"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1938
msgid ""
"Regardless of how they made money, in our interviews, we repeatedly heard "
"language like “persuading people to buy” and “inviting people to pay.” We "
"heard it even in connection with revenue streams that sit squarely within "
"the market. Cory Doctorow told us, “I have to convince my readers that the "
"right thing to do is to pay me.” The founders of the for-profit company "
"Lumen Learning showed us the letter they send to those who opt not to pay "
"for the services they provide in connection with their CC-licensed "
"educational content. It isn’t a cease-and-desist letter; it’s an invitation "
"to pay because it’s the right thing to do.  This sort of behavior toward "
"what could be considered nonpaying customers is largely unheard of in the "
"traditional marketplace. But it seems to be part of the fabric of being Made "
"with Creative Commons."
msgstr ""
"Uansett hvordan de tjente penger, i våre intervjuer hørte vi gjentatte "
"ganger ord som «å overtale folk til å kjøpe» og «invitere folk til å "
"betale». Vi hørte det selv i forbindelse med inntektsstrømmer som er helt og "
"holdent i markedet. Cory Doctorow fortalte oss, «Jeg må overbevise mine "
"lesere om at det riktige å gjøre er å betale meg». Grunnleggerne av for-"
"profitt-selskapet Lumen Learning, viste oss brevet de sender til dem som "
"velger å ikke betale for tjenestene de leverer med sitt CC-lisensierte "
"utdanningsinnhold. Det er ikke et stanse- og avslå-brev; det er en "
"invitasjon til å betale fordi det er den riktige tingen å gjøre. Denne typen "
"atferd overfor hva som kan anses som ikke betalende kunder, er hovedsakelig "
"uhørt på den tradisjonelle markedsplassen. Men det synes å være en del av "
"oppbyggingen av å være Made with Creative Commons."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1945
msgid ""
"Nearly every endeavor we profiled relied, at least in part, on people being "
"invested in what they do. The closer the Creative Commons content is to "
"being “the product,” the more pronounced this dynamic has to be.  Rather "
"than simply selling a product or service, they are making ideological, "
"personal, and creative connections with the people who value what they do."
msgstr ""
"Nesten alle forsøk vi undersøkte støtte seg, minst delvis, på at folk "
"investerer i hva de gjør. Jo nærmere Creative Commons-innhold er i å være "
"«produktet», jo mer uttalt må denne dynamikken være.  I stedet for bare å "
"selge et produkt eller en service, knytter de ideologiske, personlige og "
"kreative forbindelser med folk som verdsetter det de gjør."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1949
msgid ""
"It took me a very long time to see how this avoidance of thinking about what "
"they do in pure market terms was deeply tied to being Made with Creative "
"Commons."
msgstr ""
"Det tok meg lang tid å se hvordan dette å unngå å tenke på hva de gjør i "
"rene markedstermer, var sterkt knyttet til Made with Creative Commons."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1953
msgid ""
"I came to the research with preconceived notions about what Creative Commons "
"is and what it means to be Made with Creative Commons. It turned out I was "
"wrong on so many counts."
msgstr ""
"Jeg kom til prosjektet med forhåndsoppfatningen om hva Creative Commons er, "
"og hva det betyr å være laget med Creative Commons. Det viste seg at jeg tok "
"feil på så mange punkter."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1962
msgid ""
"Obviously, being Made with Creative Commons means using Creative Commons "
"licenses. That much I knew. But in our interviews, people spoke of so much "
"more than copyright permissions when they explained how sharing fit into "
"what they do. I was thinking about sharing too narrowly, and as a result, I "
"was missing vast swaths of the meaning packed within Creative Commons. "
"Rather than parsing the specific and narrow role of the copyright license in "
"the equation, it is important not to disaggregate the rest of what comes "
"with sharing. You have to widen the lens."
msgstr ""
"Selvfølgelig er Made with Creative Commons å bruke Creative Commons-"
"lisenser. Så mye visste jeg. Men i våre intervjuer snakket folk om så mye "
"mer enn opphavsrettigheter når de forklarte hvordan deling passer inn i hva "
"de gjør. Jeg tenkte for smalt på deling, og resultatet var jeg hadde store "
"sprekker i meningen som er pakket inn i Creative Commons. Snarere enn å "
"analysere den spesifikke og smale rollen til opphavsretten i sammenhengen, "
"er det viktig å ikke skille ut resten av det som følger med deling. Du må "
"utvide synsfeltet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1974
msgid ""
"Being Made with Creative Commons is not just about the simple act of "
"licensing a copyrighted work under a set of standardized terms, but also "
"about community, social good, contributing ideas, expressing a value system, "
"working together. These components of sharing are hard to cultivate if you "
"think about what you do in purely market terms. Decent social behavior isn’t "
"as intuitive when we are doing something that involves monetary exchange. It "
"takes a conscious effort to foster the context for real sharing, based not "
"strictly on impersonal market exchange, but on connections with the people "
"with whom you share—connections with you, with your work, with your values, "
"with each other."
msgstr ""
"Made with Creative Commons dreier seg  ikke bare om den enkle handlingen å "
"lisensiere et åndsprodukt med et sett standardiserte vilkår, men også om "
"fellesskap, sosial nytte, å bidra med ideer, uttrykke et verdisystem, "
"samarbeide. Det er vanskelig å kultivere delingskomponentene hvis du tenker "
"på hva du gjør med ren markedstenkning. Anstendig sosial atferd er ikke like "
"intuitivt når vi gjør noe med en monetær utveksling. Det kreves en bevisst "
"innsats for å fremme en kontekst med ekte deling, ikke bare basert på "
"upersonlig utveksling i markedet, men på forbindelsene med folk som du "
"deler med  – forbindelsene til deg, med arbeidet ditt, med dine verdier, med "
"hverandre."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1979
msgid ""
"The rest of this section will explore some of the common strategies that "
"creators, companies, and organizations use to remind us that there are "
"humans behind every creative endeavor. To remind us we have obligations to "
"each other. To remind us what sharing really looks like."
msgstr ""
"I resten av denne seksjonen vil vi gjennomgå noen av de vanlige strategiene "
"som innholdsleverandører, selskaper og organisasjoner bruker for å minne oss "
"på at det finnes mennesker bak ethvert kreativt arbeid. For å minne oss om "
"at vi  har forpliktelser overfor hverandre. For å minne oss om hvordan "
"deling virkelig ser ut."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1981
msgid "#### Be human"
msgstr "#### Vær menneskelig"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:1988
msgid ""
"Humans are social animals, which means we are naturally inclined to treat "
"each other well.42 But the further removed we are from the person with whom "
"we are interacting, the less caring our behavior will be.  While the "
"Internet has democratized cultural production, increased access to "
"knowledge, and connected us in extraordinary ways, it can also make it easy "
"forget we are dealing with another human."
msgstr ""
"Mennesker er sosiale dyr, noe som betyr at vi er naturlig tilbøyelig til å "
"behandle hverandre godt.42)  Men jo fjernere vi er fra personen som vi "
"samhandler med, jo mindre omsorgsfull vil vår atferd være. Mens Internett "
"har demokratisert kulturell produksjon, har økt tilgangen til kunnskap, og "
"koblet oss sammen på ekstraordinære måter, kan det også gjøre det lett å "
"glemme at vi arbeider med et annet menneske."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2000
msgid ""
"To counteract the anonymous and impersonal tendencies of how we operate "
"online, individual creators and corporations who use Creative Commons "
"licenses work to demonstrate their humanity. For some, this means pouring "
"their lives out on the page. For others, it means showing their creative "
"process, giving a glimpse into how they do what they do. As writer Austin "
"Kleon wrote, “Our work doesn’t speak for itself. Human beings want to know "
"where things came from, how they were made, and who made them. The stories "
"you tell about the work you do have a huge effect on how people feel and "
"what they understand about your work, and how people feel and what they "
"understand about your work affects how they value it.”43"
msgstr ""
"For å motvirke anonyme og upersonlige tendenser i hvordan vi opererer på "
"nettet, arbeider individuelle leverandører og selskaper, som bruker Creative "
"Commons-lisenser, med å demonstrere sin menneskelighet. For noen betyr dette "
"å legge ut sine liv på nettsiden. For andre betyr dette å vise sin kreative "
"prosess, gi et innblikk i hvordan de gjør det de gjør. Som forfatter skrev "
"Austin Kleon, «Vårt arbeid snakker ikke for seg selv. Mennesker ønsker å "
"vite hvor ting kom fra, hvordan de ble laget, og hvem som laget dem. "
"Historiene du fortelle om arbeidet du gjør, har stor innvirkning på hvordan "
"folk føler, hva de forstår om arbeidet ditt, hvordan folk føler, og hva de "
"forstår om hvordan arbeidet ditt påvirker hvordan de verdsetter det».43)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2010
msgid ""
"A critical component to doing this effectively is not worrying about being a "
"“brand.” That means not being afraid to be vulnerable. Amanda Palmer says, "
"“When you’re afraid of someone’s judgment, you can’t connect with them. "
"You’re too preoccupied with the task of impressing them.” Not everyone is "
"suited to live life as an open book like Palmer, and that’s OK. There are a "
"lot of ways to be human. The trick is just avoiding pretense and the "
"temptation to artificially craft an image.  People don’t just want the "
"glossy version of you. They can’t relate to it, at least not in a meaningful "
"way."
msgstr ""
"En kritisk komponent for å gjøre dette effektivt er å ikke bekymre seg om å "
"være en «merkevare». Det betyr å ikke å være redd for å være sårbar. Amanda "
"Palmer sier, «når du er redd for noens dom, må du ikke koble deg sammen med "
"dem. Du blir for opptatt med oppgaven å imponere dem». Det passer ikke for "
"alle å leve livet som en åpen bok, som Palmer, og det er OK. Det er mange "
"måter å være menneske på. Trikset er bare unngå å late som, og fristelsen "
"til å lage et kunstig bilde.  Folk ønsker ikke bare den skinnende versjonen "
"av deg. De kan ikke forholder seg til det, i hvert fall ikke på en "
"meningsfull måte."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2019
msgid ""
"This advice is probably even more important for businesses and organizations "
"because we instinctively conceive of them as nonhuman (though in the United "
"States, corporations are people!). When corporations and organizations make "
"the people behind them more apparent, it reminds people that they are "
"dealing with something other than an anonymous corporate entity. In business-"
"speak, this is about “humanizing your interactions” with the public.44 But "
"it can’t be a gimmick. You can’t fake being human."
msgstr ""
"Dette rådet er sannsynligvis enda viktigere for bedrifter og organisasjoner "
"fordi vi instinktivt tenker på dem som ikke menneskelige (men i USA, er "
"selskaper mennesker!). Når bedrifter og organisasjoner gjør menneskene bak "
"dem mer tydelige, minner det folk om at de har å gjøre med noe annet enn en "
"anonym enhet i en bedrift. I forretningsspråket handler dette om å "
"«menneskeliggjøre sine samhandlinger» med offentligheten.44) Men det kan "
"ikke være en gimmick. Du kan ikke forfalske det å være menneske."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2021
msgid "#### Be open and accountable"
msgstr "#### Vær åpen og ansvarlig"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2031
msgid ""
"Transparency helps people understand who you are and why you do what you do, "
"but it also inspires trust. Max Temkin of Cards Against Humanity told us, "
"“One of the most surprising things you can do in capitalism is just be "
"honest with people.” That means sharing the good and the bad. As Amanda "
"Palmer wrote, “You can fix almost anything by authentically "
"communicating.”45 It isn’t about trying to satisfy everyone or trying to "
"sugarcoat mistakes or bad news, but instead about explaining your rationale "
"and then being prepared to defend it when people are critical.46"
msgstr ""
"Åpenhet hjelper folk å forstå hvem du er og hvorfor du gjør det du gjør, men "
"det inspirerer også til tillit. Som Max Temkin i Cards Against Humanity "
"fortalte oss, «En av de mest overraskende tingene du kan gjøre i "
"kapitalismen, er bare å være ærlig med folk». Det betyr at du deler det gode "
"og dårlige. Som Amanda Palmer skrev, «Du kan fikse nesten alt med ekte og "
"pålitelig kommunikasjon».45) Det handler ikke om å prøve å tilfredsstille "
"alle, eller prøver å glatte over feil eller dårlige nyheter, men i stedet "
"forklare om din begrunnelse, og så være forberedt på å forsvare den når folk "
"er kritiske.46)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2044
msgid ""
"Being accountable does not mean operating on consensus. According to James "
"Surowiecki, consensus-driven groups tend to resort to lowest-common-"
"denominator solutions and avoid the sort of candid exchange of ideas that "
"cultivates healthy collaboration.47 Instead, it can be as simple as asking "
"for input and then giving context and explanation about decisions you make, "
"even if soliciting feedback and inviting discourse is time-consuming. If you "
"don’t go through the effort to actually respond to the input you receive, it "
"can be worse than not inviting input in the first place.48 But when you get "
"it right, it can guarantee the type of diversity of thought that helps "
"endeavors excel. And it is another way to get people involved and invested "
"in what you do."
msgstr ""
"Å være ansvarlig betyr ikke å operere med konsensus. Ifølge James "
"Surowiecki, tenderer konsensusdrevne grupper til å ty til løsninger basert "
"på laveste fellesnevner, og unngår oppriktig utveksling av ideer i "
"fremmingen av sunt samarbeid.47)  Isteden kan det være så enkelt som å be om "
"innspill, og deretter tilby bindeleddsinformasjon og forklaringer på "
"beslutninger du tar, selv om det å be om tilbakemeldinger og innby til "
"meningsutveksling er tidkrevende. Hvis du ikke tar deg bryderiet med å svare "
"på innspillene du får, kan det være verre enn å ikke invitere dem i første "
"omgang.4)  Når du dog får det godt til, kan det garantere den typen mangfold "
"i tenkingen som hjelper til å utmerke innsatsen. Samtidig er det en annen "
"måte å få folk involvert og investert i det du gjør."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2046
msgid "#### Design for the good actors"
msgstr "#### Design for de gode aktører"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2059
msgid ""
"Traditional economics assumes people make decisions based solely on their "
"own economic self-interest.49 Any relatively introspective human knows this "
"is a fiction—we are much more complicated beings with a whole range of "
"needs, emotions, and motivations. In fact, we are hardwired to work together "
"and ensure fairness.50 Being Made with Creative Commons requires an "
"assumption that people will largely act on those social motivations, "
"motivations that would be considered “irrational” in an economic sense. As "
"Knowledge Unlatched’s Pinter told us, “It is best to ignore people who try "
"to scare you about free riding. That fear is based on a very shallow view of "
"what motivates human behavior.” There will always be people who will act in "
"purely selfish ways, but endeavors that are Made with Creative Commons "
"design for the good actors."
msgstr ""
"Tradisjonell økonomi forutsetter at folk tar avgjørelser basert utelukkende "
"ut fra sin økonomiske egeninteresse.49)  Ethvert relativt selvanalyserende "
"menneske vet at dette er en fiksjon – vi er mye mer kompliserte vesener med "
"en hel rekke behov, følelser og motivasjoner. Faktisk er vi bundet til å "
"samarbeide og sikre rettferdighet.50)  Made with Creative Commons "
"forutsetter en oppfatning om at folk i stor grad vil handle ut fra disse "
"sosiale motivasjonene, motivasjoner som ville bli betraktet som "
"«irrasjonelle» i økonomisk forstand. Som Pinter i Knowlegde Unlatched "
"fortalte oss, er «det best å ignorere mennesker som prøver å skremme deg med "
"gratisturer. Den frykten er basert på et svært grunt syn på hva som "
"motiverer menneskelig atferd». Det vil alltid være folk som vil handle på "
"rent egoistiske måter, men oppgaver som er laget med Creative Commons-design "
"er for de gode aktørene."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2068
msgid ""
"The assumption that people will largely do the right thing can be a self-"
"fulfilling prophecy. Shirky wrote in Cognitive Surplus, “Systems that assume "
"people will act in ways that create public goods, and that give them "
"opportunities and rewards for doing so, often let them work together better "
"than neoclassical economics would predict.”51 When we acknowledge that "
"people are often motivated by something other than financial self-interest, "
"we design our endeavors in ways that encourage and accentuate our social "
"instincts."
msgstr ""
"Antagelsen om at folk i stor grad vil gjøre det rette, kan være en "
"selvoppfyllende profeti. Shirky skrev i Cognitive Surplus: «Systemer som "
"antar at folk vil opptre på måter som skaper offentlige goder, og som gir "
"dem muligheter og belønninger for å gjøre det, lar dem ofte arbeide sammen "
"bedre enn neoklassisk økonomi ville forutse». 51)  Når vi erkjenner at folk "
"ofte er motivert av noe annet enn finansiell egeninteresse, designer vi våre "
"bestrebelser på måter som stimulerer og fremhever våre sosiale instinkter."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2078
msgid ""
"Rather than trying to exert control over people’s behavior, this mode of "
"operating requires a certain level of trust. We might not realize it, but "
"our daily lives are already built on trust. As Surowiecki wrote in The "
"Wisdom of Crowds, “It’s impossible for a society to rely on law alone to "
"make sure citizens act honestly and responsibly. And it’s impossible for any "
"organization to rely on contracts alone to make sure that its managers and "
"workers live up to their obligation.” Instead, we largely trust that people—"
"mostly strangers—will do what they are supposed to do.52 And most often, "
"they do."
msgstr ""
"Snarere enn å prøve å utøve kontroll over menneskers atferd, krever denne "
"arbeidsmåten en viss grad av tillit. Vi innser det kanskje, men våre daglige "
"liv er allerede bygget på tillit. Som Surowiecki skrev i The visdom of "
"Crowds; «Det er umulig for et samfunn å stole på loven alene for å sikre at "
"borgere opptrer ærlig og ansvarlig. Det er også umulig for noen organisasjon "
"å stole på kontrakter alene for å sørge for at dens ledere og arbeidere "
"lever opp til sine forpliktelser». I stedet stoler vi i stor grad på at folk "
"– for det meste fremmede – vil gjøre hva som forventes av dem.52)  Som "
"oftest gjør de det."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2080
msgid "#### Treat humans like, well, humans"
msgstr "#### Å behandle mennesker som, vel, mennesker"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2089
msgid ""
"For creators, treating people as humans means not treating them like fans. "
"As Kleon says, “If you want fans, you have to be a fan first.”53 Even if you "
"happen to be one of the few to reach celebrity levels of fame, you are "
"better off remembering that the people who follow your work are human, too. "
"Cory Doctorow makes a point to answer every single email someone sends him. "
"Amanda Palmer spends vast quantities of time going online to communicate "
"with her public, making a point to listen just as much as she talks.54"
msgstr ""
"For innholdsleverandører betyr å behandle folk som mennesker ikke å behandle "
"dem som fans. Som Kleon sier, «Hvis du vil ha fans, må du først være en "
"fan«.53) Selv om du tilfeldigvis blir en av de få som når en "
"kjendisberømmelse, er det bedre om du husker at folk som følger arbeidet "
"ditt, også er menneskelige. Cory Doctorow gjør et poeng av å svare på hver "
"enkelt e-post noen sender ham. Amanda Palmer bruker store deler av tiden på "
"nettet til å kommunisere med sitt publikum, og gjør et poeng av å lytte like "
"mye som hun snakker.54)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2094
msgid ""
"The same idea goes for businesses and organizations. Rather than automating "
"its customer service, the music platform Tribe of Noise makes a point to "
"ensure its employees have personal, one-on-one interaction with users."
msgstr ""
"Den samme ideen gjelder for bedrifter og organisasjoner. I stedet for å "
"automatisere sin kundeservice, gjør musikkplattformen Tribe of Noise et "
"poeng av å sikre at deres ansatte har en personlig, en-til-en-interaksjon "
"med brukere."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2106
msgid ""
"When we treat people like humans, they typically return the gift in kind. "
"It’s called karma. But social relationships are fragile. It is all too easy "
"to destroy them if you make the mistake of treating people as anonymous "
"customers or free labor.55 Platforms that rely on content from contributors "
"are especially at risk of creating an exploitative dynamic.  It is important "
"to find ways to acknowledge and pay back the value that contributors "
"generate. That does not mean you can solve this problem by simply paying "
"contributors for their time or contributions. As soon as we introduce money "
"into a relationship—at least when it takes a form of paying monetary value "
"in exchange for other value—it can dramatically change the dynamic.56"
msgstr ""
"Når vi behandler folk som mennesker, vil de vanligvis behandle oss på samme "
"måte. Det kalles karma. Men sosiale relasjoner er skjøre. Det er altfor lett "
"å ødelegge dem hvis du gjør den feilen å behandle folk som anonyme kunder "
"eller gratisarbeidere.55)  Plattformer som bruker innhold fra bidragsytere "
"er spesielt i fare for å skape en dynamikk som utnytter.  Det er viktig å "
"finne måter å anerkjenne og betale tilbake verdien bidragsytere genererer. "
"Det betyr ikke at du kan løse dette problemet bare ved å, i enkelhet, betale "
"bidragsytere for deres tid eller bidrag. Så snart vi introduserer penger inn "
"i et forhold – i det minste når det tar form av å betale en pengeverdi i "
"bytte for en annen verdi - kan det dramatisk endre dynamikken.56)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2108
msgid "#### State your principles and stick to them"
msgstr "#### Legg frem dine prinsipper og hold deg til dem"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2118
msgid ""
"Being Made with Creative Commons makes a statement about who you are and "
"what you do. The symbolism is powerful. Using Creative Commons licenses "
"demonstrates adherence to a particular belief system, which generates "
"goodwill and connects like-minded people to your work. Sometimes people will "
"be drawn to endeavors that are Made with Creative Commons as a way of "
"demonstrating their own commitment to the Creative Commons value system, "
"akin to a political statement. Other times people will identify and feel "
"connected with an endeavor’s separate social mission. Often both."
msgstr ""
"Når du bruker Made with Creative Commons, fastslår du hvem du er og hva du "
"gjør. Symbolikken er kraftig. Med Creative Commons-lisenser demonstrerer du "
"tilslutning til en bestemt trossystem, som genererer goodwill og knytter "
"likesinnede til arbeidet ditt. Noen ganger trekkes folk til innhold som er "
"Made with Creative Commons som en måte å demonstrere sin egen forpliktelse "
"overfor verdisystemet til Creative Commons, som en politisk erklæring. Andre "
"ganger vil folk vil identifisere seg med, og føle seg knyttet til innholdets "
"separate sosiale oppgave. Ofte begge."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2127
msgid ""
"The expression of your values doesn’t have to be implicit. In fact, many of "
"the people we interviewed talked about how important it is to state your "
"guiding principles up front. Lumen Learning attributes a lot of their "
"success to having been outspoken about the fundamental values that guide "
"what they do. As a for-profit company, they think their expressed commitment "
"to low-income students and open licensing has been critical to their "
"credibility in the OER (open educational resources) community in which they "
"operate."
msgstr ""
"Uttrykket for dine verdier trenger ikke å være implisitt. Faktisk snakket "
"mange av menneskene vi intervjuet om hvor viktig det er å angi dine førende "
"prinsipper på forhånd. Lumen Learning tillegger mye av sin suksess på at de "
"har vært frittalende om de grunnleggende verdiene som styrer hva de gjør. "
"Som et for-fortjeneste-selskap, mener de at deres uttrykte forpliktelse "
"overfor lavinntekt-studenter og åpen lisensiering har vært avgjørende for "
"deres troverdighet i OER-samfunnet (åpne pedagogiske ressurser) der de "
"arbeider."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2133
msgid ""
"When your end goal is not about making a profit, people trust that you "
"aren’t just trying to extract value for your own gain. People notice when "
"you have a sense of purpose that transcends your own self-interest.57 It "
"attracts committed employees, motivates contributors, and builds trust."
msgstr ""
"Når målet ditt ikke handler om å gjøre fortjeneste , stoler folk på at du "
"ikke bare prøver å bruke verdien til din egen vinning. Folk merker når du "
"har en hensikt som overskrider din egeninteresse.57)  Det tiltrekker "
"engasjerte ansatte, motiverte bidragsytere, og bygger tillit."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2135
msgid "#### Build a community"
msgstr "#### Å bygge et fellesskap"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2145
msgid ""
"Endeavors that are Made with Creative Commons thrive when community is built "
"around what they do. This may mean a community collaborating together to "
"create something new, or it may simply be a collection of like-minded people "
"who get to know each other and rally around common interests or beliefs.58 "
"To a certain extent, simply being Made with Creative Commons automatically "
"brings with it some element of community, by helping connect you to like-"
"minded others who recognize and are drawn to the values symbolized by using "
"CC."
msgstr ""
"Innhold laget med Made with Creative Commons blomstrer når allmenneier er "
"bygget rundt det de gjør. Dette kan bety at et fellesskap samarbeider om å "
"skape noe nytt, eller det kan være en samling av likesinnede som blir kjent "
"med hverandre, og samles rundt felles interesser eller oppfatninger.58)  Til "
"en viss grad bringer Made with Creative Commons automatisk med seg elementer "
"av fellesskap, med hjelp til å koble deg til likesinnede som gjenkjenner og "
"trekkes til verdiene som symboliseres ved å bruke CC."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2157
msgid ""
"To be sustainable, though, you have to work to nurture community. People "
"have to care—about you and each other. One critical piece to this is "
"fostering a sense of belonging. As Jono Bacon writes in The Art of "
"Community, “If there is no belonging, there is no community.” For Amanda "
"Palmer and her band, that meant creating an accepting and inclusive "
"environment where people felt a part of their “weird little family.”59 For "
"organizations like Red Hat, that means connecting around common beliefs or "
"goals. As the CEO Jim Whitehurst wrote in The Open Organization, “Tapping "
"into passion is especially important in building the kinds of participative "
"communities that drive open organizations.”60"
msgstr ""
"For å være bærekraftig må du jobbe hardt for å livnære allmenneiet. Folk må "
"bry seg – om deg og hverandre. Én kritisk brikke i dette er å få frem "
"følelsen av tilhørighet. Som Jono Bacon skriver i The Art of Community: "
"«Hvis det ikke er  tilhørighet, er det ikke noe fellesskap». For Amanda "
"Palmer og hennes band betydde dette å lage og godta et inkluderende miljø "
"der folk følte seg som del av deres «lille rare familie.»59)  For "
"organisasjoner som Red Hat, betyr det å samle seg rundt felles oppfatninger "
"eller mål. Som administrerende direktør Jim Whitehurst skrev i The Open "
"Organization: «Å etablere følelsesmessig tilknytning er spesielt viktig for "
"bygging av de typer deltakende fellesskap som driver åpne organisasjoner».60)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2169
msgid ""
"Communities that collaborate together take deliberate planning.  Surowiecki "
"wrote, “It takes a lot of work to put the group together.  It’s difficult to "
"ensure that people are working in the group’s interest and not in their own. "
"And when there’s a lack of trust between the members of the group (which "
"isn’t surprising given that they don’t really know each other), considerable "
"energy is wasted trying to determine each other’s bona fides.”61 Building "
"true community requires giving people within the community the power to "
"create or influence the rules that govern the community.62 If the rules are "
"created and imposed in a top-down manner, people feel like they don’t have a "
"voice, which in turn leads to disengagement."
msgstr ""
"Allmenneier som samarbeider planlegger bevisst. Surowiecki skrev: «Det "
"krever mye arbeid å få satt sammen gruppen. Det er vanskelig å sikre at folk "
"jobber i gruppens interesse, og ikke i sin egen. Og når det er mangel på "
"tillit mellom medlemmer av gruppen (som ikke overraskende gitt at de ikke "
"egentlig kjenner hverandre), er en betraktelig del av energien bortkastet "
"ved å prøve å avklare hverandres ærlige interesser». 61) Å bygge ekte "
"fellesskap forutsetter å gi  folk i fellesskapet makt til å lage eller "
"påvirke reglene som styrer fellesskapet.62)  Hvis reglene lages og innføres "
"ovenfra og ned, føler folk at de ikke har noe å si, som igjen fører til "
"tilbaketrekning."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2173
msgid ""
"Community takes work, but working together, or even simply being connected "
"around common interests or values, is in many ways what sharing is about."
msgstr ""
"Fellesskap krever arbeid, men å arbeide sammen, eller ganske enkelt å være "
"knyttet sammen rundt felles interesser eller verdier, er på mange måter hva "
"deling betyr."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2175
msgid "#### Give more to the commons than you take"
msgstr "#### Gi mer til fellesskapet enn du tar"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2186
msgid ""
"Conventional wisdom in the marketplace dictates that people should try to "
"extract as much money as possible from resources. This is essentially what "
"defines so much of the so-called sharing economy. In an article on the "
"Harvard Business Review website called “The Sharing Economy Isn’t about "
"Sharing at All,” authors Giana Eckhardt and Fleura Bardhi explained how the "
"anonymous market-driven trans-actions in most sharing-economy businesses are "
"purely about monetizing access.63 As Lisa Gansky put it in her book The "
"Mesh, the primary strategy of the sharing economy is to sell the same "
"product multiple times, by selling access rather than ownership.64 That is "
"not sharing."
msgstr ""
"Tradisjonell markedsvisdom tilsier at folk bør prøve å trekke ut så mye "
"penger som mulig fra ressursene. Dette er egentlig hva som definerer mye av "
"den såkalte delingsøkonomien. I en artikkel på nettsiden til Harvard "
"Business Review, kalt «The Sharing Economy Isn’t about Sharing at All», "
"forklarte forfatterne Giana Eckhardt og Fleura Bardhi hvordan anonyme "
"markedsdrevne transaksjoner i de fleste delingsøkonomibedrifter bare er "
"myntet på å tjene penger.63) Som Lisa Gansky førte det i pennen i sin bok "
"The Mesh, er delingsøkonomiens primære strategi å selge det samme produktet "
"flere ganger ved å selge adgang i stedet for eie.64)  Det er ikke deling."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2198
msgid ""
"Sharing requires adding as much or more value to the ecosystem than you "
"take. You can’t simply treat open content as a free pool of resources from "
"which to extract value. Part of giving back to the ecosystem is contributing "
"content back to the public under CC licenses. But it doesn’t have to just be "
"about creating content; it can be about adding value in other ways. The "
"social blogging platform Medium provides value to its community by "
"incentivizing good behavior, and the result is an online space with "
"remarkably high-quality user-generated content and limited trolling.65 "
"Opendesk contributes to its community by committing to help its designers "
"make money, in part by actively curating and displaying their work on its "
"platform effectively."
msgstr ""
"Deling krever å legge til lik mengde verdi eller mer i økosystemet enn du "
"tar ut. Du kan ikke bare behandle åpent innhold som en gratis ansamling "
"ressurser å nyttegjøre deg av verdien av. En del av det å gi tilbake til "
"økosystemet er å bidra med innhold tilbake til offentligheten med CC-"
"lisenser. Det trenger ikke å være skaping av innhold; det kan være å øke "
"verdien på andre måter. Den sosiale bloggingsplattformen Medium utgjør verdi "
"for sitt fellesskap ved å fremme god oppførsel, resultatet er et nettsted "
"med bemerkelsesverdig brukergenerert innhold av høy kvalitet, og begrenset "
"forsøpling.65)  Opendesk bidrar til sine fellesskap ved å hjelpe sine "
"designere å tjene penger, delvis ved å organisere og effektivt vise arbeidet "
"deres på sin plattform."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2206
msgid ""
"In all cases, it is important to openly acknowledge the amount of value you "
"add versus that which you draw on that was created by others. Being "
"transparent about this builds credibility and shows you are a contributing "
"player in the commons. When your endeavor is making money, that also means "
"apportioning financial compensation in a way that reflects the value "
"contributed by others, providing more to contributors when the value they "
"add outweighs the value provided by you."
msgstr ""
"I alle tilfeller er det viktig å åpent erkjenne hvor stor verdi du legger "
"til, sett opp mot det du trekker veksel på som er laget av andre. Å være "
"åpen om dette bygger troverdighet og viser du er en medvirkende deltaker i "
"allmennseiet. Når din oppgave er å tjene penger, som også betyr å fordele "
"økonomisk kompensasjon på en måte som gjenspeiler verdien andre har bidratt "
"med, og gir mer til bidragsytere når verdien de bidrar med er større verdien "
"du leverer."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2208
msgid "#### Involve people in what you do"
msgstr "#### Involver folk i det du gjør"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2220
msgid ""
"Thanks to the Internet, we can tap into the talents and expertise of people "
"around the globe. Chris Anderson calls it the Long Tail of talent.66 But to "
"make collaboration work, the group has to be effective at what it is doing, "
"and the people within the group have to find satisfaction from being "
"involved.67 This is easier to facilitate for some types of creative work "
"than it is for others. Groups tied together online collaborate best when "
"people can work independently and asynchronously, and particularly for "
"larger groups with loose ties, when contributors can make simple "
"improvements without a particularly heavy time commitment.68"
msgstr ""
"Takket være Internett, kan vi utnytte talentene og ekspertisen til folk over "
"hele verden. Chris Anderson kaller det «en lang hale» av talent.66)  Men for "
"å få samarbeid til å virke, må gruppen være effektiv i hva den gjør, og folk "
"i gruppen må finne tilfredshet i å være involvert.67)  Dette er enklere å få "
"til for noen typer kreative oppgaver enn andre. Grupper som er knyttet "
"sammen på nettet samarbeider best når folk kan arbeide uavhengig og "
"asynkront, og særlig i større grupper med løselig knyttede bånd, der "
"bidragsytere kan gjøre enkle forbedringer uten å beslaglegge mye tid.68)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2229
msgid ""
"As the success of Wikipedia demonstrates, editing an online encyclopedia is "
"exactly the sort of activity that is perfect for massive co-creation because "
"small, incremental edits made by a diverse range of people acting on their "
"own are immensely valuable in the aggregate. Those same sorts of small "
"contributions would be less useful for many other types of creative work, "
"and people are inherently less motivated to contribute when it doesn’t "
"appear that their efforts will make much of a difference.69"
msgstr ""
"Suksessen til Wikipedia viser, å redigere et leksikon på nettet er akkurat "
"typen aktivitet som er perfekt for massivt samarbeid fordi små, trinnvise "
"redigeringer laget av en broket forsamling av folk som handler på egen hånd, "
"er svært verdifullt i sum. Samme slags små bidrag vil være mindre nyttig for "
"mange andre typer skapende arbeid, og folk iboende er mindre motivert til å "
"bidra, når det ikke vises at deres innsats utgjør noen særlig forskjell.69)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2246
msgid ""
"It is easy to romanticize the opportunities for global cocreation made "
"possible by the Internet, and, indeed, the successful examples of it are "
"truly incredible and inspiring. But in a wide range of circumstances—perhaps "
"more often than not—community cocreation is not part of the equation, even "
"within endeavors built on CC content. Shirky wrote, “Sometimes the value of "
"professional work trumps the value of amateur sharing or a feeling of "
"belonging.70 The textbook publisher OpenStax, which distributes all of its "
"material for free under CC licensing, is an example of this dynamic. Rather "
"than tapping the community to help cocreate their college textbooks, they "
"invest a significant amount of time and money to develop professional "
"content.  For individual creators, where the creative work is the basis for "
"what they do, community cocreation is only rarely a part of the picture. "
"Even musician Amanda Palmer, who is famous for her openness and involvement "
"with her fans, said, “The only department where I wasn’t open to input was "
"the writing, the music itself.”71"
msgstr ""
"Det er lett å romantisere mulighetene for en global samlet innsats gjort "
"mulig gjennom Internett, og faktisk, de vellykkede eksemplene på det er "
"virkelig utrolige og inspirerende. Men i en rekke tilfeller, kanskje oftere "
"enn ikke – allmenneier basert på samlet innsats inngår ikke i ligningen, "
"selv med innsats bygget på CC-innhold. Shirky skrev, «Noen ganger trumfer "
"verdien av profesjonelt arbeid amatørdeling eller en følelse av "
"tilhørighet.70)  Lærebokutgiveren OpenStax, som distribuerer alt sitt "
"materiale gratis med CC-lisensiering, er et eksempel på denne dynamikken. I "
"stedet for å tappe fellesskapet for samlede bidrag til sine college-"
"lærebøker, investerer de en betydelig mengde tid og penger på å utvikle "
"faglig innhold.  For individuelle innholdsleverandører, der det kreative "
"arbeidet er grunnlaget for hva de gjør, er samlede innsatser kun sjeldent "
"sett en del av bildet. Selv musikeren Amanda Palmer, kjent for sin åpenhet "
"og gode forhold til fansen, sa, «Det eneste området der jeg  ikke var åpen "
"for innspill var i skrivingen, musikken i seg selv». 71)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2257
msgid ""
"While we tend to immediately think of cocreation and remixing when we hear "
"the word collaboration, you can also involve others in your creative process "
"in more informal ways, by sharing half-baked ideas and early drafts, and "
"interacting with the public to incubate ideas and get feedback. So-called "
"“making in public” opens the door to letting people feel more invested in "
"your creative work.72 And it shows a nonterritorial approach to ideas and "
"information. Stephen Covey (of The 7 Habits of Highly Effective People fame) "
"calls this the abundance mentality—treating ideas like something plentiful—"
"and it can create an environment where collaboration flourishes.73"
msgstr ""
"Mens tankene umiddelbart rettes mot samlet innsats og remiksing når vi hører "
"ordet samarbeid, kan du også involvere andre i kreative prosesser på mer "
"uformelle måter, ved å dele halvferdige ideer og tidlige utkast, og "
"samhandling med publikum i det å ruge ut ideer og få tilbakemeldinger. "
"Såkalt «offentlighetslaging» åpner døren for å la folk føle seg mer "
"involvert i ditt kreative arbeid.72) Og det viser en ikke-territoriell "
"tilnærming til ideer og informasjon. Stephen Covey (i The 7 Habits of Highly "
"Effective People fame) kaller dette overflodsmentalitet – å behandle ideer "
"som noe rikelig, og det kan skape et miljø der samarbeid blomstrer.73)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2266
msgid ""
"There is no one way to involve people in what you do. They key is finding a "
"way for people to contribute on their terms, compelled by their own "
"motivations.74 What that looks like varies wildly depending on the project. "
"Not every endeavor that is Made with Creative Commons can be Wikipedia, but "
"every endeavor can find ways to invite the public into what they do. The "
"goal for any form of collaboration is to move away from thinking of "
"consumers as passive recipients of your content and transition them into "
"active participants.75"
msgstr ""
"Det er ikke bare en måte å involvere folk i hva du gjør. Det sentrale er å "
"finne en måte for folk å bidra på deres betingelser, nødet av sin egen "
"motivasjon.74) Hvordan det arter seg, varierer vidt, avhengig av prosjektet. "
"Ikke alle tiltak laget med Creative Commons kan være Wikipedia, men enhver "
"oppgave kan finne måter å invitere publikum med på hva som gjøres. Målet for "
"alle former for samarbeid er å bevege seg bort fra å tenke på forbrukere som "
"passive mottakere av innholdet ditt, og ta imot deres aktive deltagelse.75)"

#. type: Bullet: '1.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:2369
msgid ""
"Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ: "
"John Wiley and Sons, 2010), 14. A preview of the book is available at "
"strategyzer.com/books/business-model-generation."
msgstr ""
"Alex Osterwalder og Yves Pigneur, Business Model Generation (Hoboken, NJ: "
"John Wiley and Sons, 2010), 14. En forhåndsvisning av boken er tilgjengelig "
"på strategyzer.com/books/business-model-generation."

#. type: Bullet: '2.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:2369
msgid ""
"Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet "
"Age (San Francisco, CA: McSweeney’s, 2014) 68."
msgstr ""
"Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet "
"Age (San Francisco, CA: McSweeney’s, 2014) 68."

#. type: Bullet: '3.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:2369
msgid "Ibid., 55."
msgstr "Ibid., 55."

#. type: Bullet: '4.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:2369
msgid ""
"Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving "
"Something for Nothing, reprint with new preface (New York: Hyperion, 2010), "
"224."
msgstr ""
"Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving "
"Something for Nothing, reprint with new preface (New York: Hyperion, 2010), "
"224."

#. type: Bullet: '5.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:2369
msgid "Doctorow, Information Doesn’t Want to Be Free, 44."
msgstr "Doctorow, Information Doesn’t Want to Be Free, 44."

#. type: Bullet: '6.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:2369
#, fuzzy
msgid ""
"Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let "
"People Help (New York: Grand Central, 2014), 121."
msgstr ""
"Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let "
"People Help (New York: Grand Central, 2014), 121."

#. type: Bullet: '7.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:2369
msgid ""
"Chris Anderson, Makers: The New Industrial Revolution (New York: Signal, "
"2012), 64."
msgstr ""
"Chris Anderson, Makers: The New Industrial Revolution (New York: Signal, "
"2012), 64."

#. type: Bullet: '8.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:2369
msgid ""
"David Bollier, Think Like a Commoner: A Short Introduction to the Life of "
"the Commons (Gabriola Island, BC: New Society, 2014), 70."
msgstr ""
"David Bollier, Think Like a Commoner: A Short Introduction to the Life of "
"the Commons (Gabriola Island, BC: New Society, 2014), 70."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2369
#, no-wrap
msgid ""
"9.  Anderson, Makers, 66.\n"
"10. Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy\n"
"    (New York: Morgan James, 2016), 10.\n"
"11. Anderson, Free, 62.\n"
"12. Doctorow, Information Doesn’t Want to Be Free, 38.\n"
"13. Bollier, Think Like a Commoner, 68.\n"
"14. Anderson, Free, 86.\n"
"15. Doctorow, Information Doesn’t Want to Be Free, 144.\n"
"16. Anderson, Free, 123.\n"
"17. Ibid., 132.\n"
"18. Ibid., 70.\n"
"19. James Surowiecki, The Wisdom of Crowds (New York: Anchor Books,\n"
"    2005), 124. Surowiecki says, “The measure of success of laws and\n"
"    contracts is how rarely they are invoked.”\n"
"20. Anderson, Free, 44.\n"
"21. Osterwalder and Pigneur, Business Model Generation, 23.\n"
"22. Anderson, Free, 67.\n"
"23. Ibid., 58.\n"
"24. Anderson, Makers, 71.\n"
"25. Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into\n"
"    Collaborators (London: Penguin Books, 2010), 78.\n"
"26. Ibid., 21.\n"
"27. Doctorow, Information Doesn’t Want to Be Free, 43.\n"
"28. William Landes Foster, Peter Kim, and Barbara Christiansen, “Ten\n"
"    Nonprofit Funding Models,” Stanford Social Innovation Review, Spring\n"
"    2009, ssir.org/articles/entry/ten\\_nonprofit\\_funding\\_models.\n"
"29. Shirky, Cognitive Surplus, 111.\n"
"30. Osterwalder and Pigneur, Business Model Generation, 30.\n"
"31. Jim Whitehurst, The Open Organization: Igniting Passion and\n"
"    Performance (Boston: Harvard Business Review Press, 2015), 202.\n"
"32. Anderson, Free, 71.\n"
"33. Ibid., 231.\n"
"34. Ibid., 97.\n"
"35. Anderson, Makers, 107.\n"
"36. Osterwalder and Pigneur, Business Model Generation, 89.\n"
"37. Ibid., 92.\n"
"38. Anderson, Free, 142.\n"
"39. Osterwalder and Pigneur, Business Model Generation, 32.\n"
"40. Bollier, Think Like a Commoner, 150.\n"
"41. Ibid., 134.\n"
"42. Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our\n"
"    Decisions, rev. ed. (New York: Harper Perennial, 2010), 109.\n"
"43. Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and\n"
"    Get Discovered (New York: Workman, 2014), 93.\n"
"44. Kramer, Shareology, 76.\n"
"45. Palmer, Art of Asking, 252.\n"
"46. Whitehurst, Open Organization, 145.\n"
"47. Surowiecki, Wisdom of Crowds, 203.\n"
"48. Whitehurst, Open Organization, 80.\n"
"49. Bollier, Think Like a Commoner, 25.\n"
"50. Ibid., 31.\n"
"51. Shirky, Cognitive Surplus, 112.\n"
"52. Surowiecki, Wisdom of Crowds, 124.\n"
"53. Kleon, Show Your Work, 127.\n"
"54. Palmer, Art of Asking, 121.\n"
"55. Ariely, Predictably Irrational, 87.\n"
"56. Ibid., 105.\n"
"57. Ibid., 36.\n"
"58. Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly\n"
"    Media, 2012), 36.\n"
"59. Palmer, Art of Asking, 98.\n"
"60. Whitehurst, Open Organization, 34.\n"
"61. Surowiecki, Wisdom of Crowds, 200.\n"
"62. Bollier, Think Like a Commoner, 29.\n"
"63. Giana Eckhardt and Fleura Bardhi, “The Sharing Economy Isn’t about\n"
"    Sharing at All,” Harvard Business Review (website), January 28,\n"
"    2015, hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all.\n"
"64. Lisa Gansky, The Mesh: Why the Future of Business Is Sharing,\n"
"    reprint with new epilogue (New York: Portfolio, 2012).\n"
"65. David Lee, “Inside Medium: An Attempt to Bring Civility to the\n"
"    Internet,” BBC News, March 3, 2016,\n"
"    www.bbc.com/news/technology-35709680.\n"
"66. Anderson, Makers, 148.\n"
"67. Shirky, Cognitive Surplus, 164.\n"
"68. Whitehurst, foreword to Open Organization.\n"
"69. Shirky, Cognitive Surplus, 144.\n"
"70. Ibid., 154.\n"
"71. Palmer, Art of Asking, 163.\n"
"72. Anderson, Makers, 173.\n"
"73. Tom Kelley and David Kelley, Creative Confidence: Unleashing the\n"
"    Potential within Us All (New York: Crown, 2013), 82.\n"
"74. Whitehurst, foreword to Open Organization.\n"
"75. Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of\n"
"    Collaborative Consumption (New York: Harper Business, 2010), 188.\n"
msgstr ""
"9.  Anderson, Makers, 66.\n"
"10. Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy\n"
"    (New York: Morgan James, 2016), 10.\n"
"11. Anderson, Free, 62.\n"
"12. Doctorow, Information Doesn’t Want to Be Free, 38.\n"
"13. Bollier, Think Like a Commoner, 68.\n"
"14. Anderson, Free, 86.\n"
"15. Doctorow, Information Doesn’t Want to Be Free, 144.\n"
"16. Anderson, Free, 123.\n"
"17. Ibid., 132.\n"
"18. Ibid., 70.\n"
"19. James Surowiecki, The Wisdom of Crowds (New York: Anchor Books,\n"
"    2005), 124. Surowiecki says, “The measure of success of laws and\n"
"    contracts is how rarely they are invoked.”\n"
"20. Anderson, Free, 44.\n"
"21. Osterwalder and Pigneur, Business Model Generation, 23.\n"
"22. Anderson, Free, 67.\n"
"23. Ibid., 58.\n"
"24. Anderson, Makers, 71.\n"
"25. Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into\n"
"    Collaborators (London: Penguin Books, 2010), 78.\n"
"26. Ibid., 21.\n"
"27. Doctorow, Information Doesn’t Want to Be Free, 43.\n"
"28. William Landes Foster, Peter Kim, and Barbara Christiansen, “Ten\n"
"    Nonprofit Funding Models,” Stanford Social Innovation Review, Spring\n"
"    2009, ssir.org/articles/entry/ten\\_nonprofit\\_funding\\_models.\n"
"29. Shirky, Cognitive Surplus, 111.\n"
"30. Osterwalder and Pigneur, Business Model Generation, 30.\n"
"31. Jim Whitehurst, The Open Organization: Igniting Passion and\n"
"    Performance (Boston: Harvard Business Review Press, 2015), 202.\n"
"32. Anderson, Free, 71.\n"
"33. Ibid., 231.\n"
"34. Ibid., 97.\n"
"35. Anderson, Makers, 107.\n"
"36. Osterwalder and Pigneur, Business Model Generation, 89.\n"
"37. Ibid., 92.\n"
"38. Anderson, Free, 142.\n"
"39. Osterwalder and Pigneur, Business Model Generation, 32.\n"
"40. Bollier, Think Like a Commoner, 150.\n"
"41. Ibid., 134.\n"
"42. Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our\n"
"    Decisions, rev. ed. (New York: Harper Perennial, 2010), 109.\n"
"43. Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and\n"
"    Get Discovered (New York: Workman, 2014), 93.\n"
"44. Kramer, Shareology, 76.\n"
"45. Palmer, Art of Asking, 252.\n"
"46. Whitehurst, Open Organization, 145.\n"
"47. Surowiecki, Wisdom of Crowds, 203.\n"
"48. Whitehurst, Open Organization, 80.\n"
"49. Bollier, Think Like a Commoner, 25.\n"
"50. Ibid., 31.\n"
"51. Shirky, Cognitive Surplus, 112.\n"
"52. Surowiecki, Wisdom of Crowds, 124.\n"
"53. Kleon, Show Your Work, 127.\n"
"54. Palmer, Art of Asking, 121.\n"
"55. Ariely, Predictably Irrational, 87.\n"
"56. Ibid., 105.\n"
"57. Ibid., 36.\n"
"58. Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly\n"
"    Media, 2012), 36.\n"
"59. Palmer, Art of Asking, 98.\n"
"60. Whitehurst, Open Organization, 34.\n"
"61. Surowiecki, Wisdom of Crowds, 200.\n"
"62. Bollier, Think Like a Commoner, 29.\n"
"63. Giana Eckhardt and Fleura Bardhi, “The Sharing Economy Isn’t about\n"
"    Sharing at All,” Harvard Business Review (website), January 28,\n"
"    2015, hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all.\n"
"64. Lisa Gansky, The Mesh: Why the Future of Business Is Sharing,\n"
"    reprint with new epilogue (New York: Portfolio, 2012).\n"
"65. David Lee, “Inside Medium: An Attempt to Bring Civility to the\n"
"    Internet,” BBC News, March 3, 2016,\n"
"    www.bbc.com/news/technology-35709680.\n"
"66. Anderson, Makers, 148.\n"
"67. Shirky, Cognitive Surplus, 164.\n"
"68. Whitehurst, foreword to Open Organization.\n"
"69. Shirky, Cognitive Surplus, 144.\n"
"70. Ibid., 154.\n"
"71. Palmer, Art of Asking, 163.\n"
"72. Anderson, Makers, 173.\n"
"73. Tom Kelley and David Kelley, Creative Confidence: Unleashing the\n"
"    Potential within Us All (New York: Crown, 20131), 82.\n"
"74. Whitehurst, foreword to Open Organization.\n"
"75. Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of\n"
"    Collaborative Consumption (New York: Harper Business, 2010), 188.\n"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2371
msgid "## The Creative Commons Licenses"
msgstr "## Creative Commons-lisensene"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2384
msgid ""
"All of the Creative Commons licenses grant a basic set of permissions.  At a "
"minimum, a CC- licensed work can be copied and shared in its original form "
"for noncommercial purposes so long as attribution is given to the creator.  "
"There are six licenses in the CC license suite that build on that basic set "
"of permissions, ranging from the most restrictive (allowing only those basic "
"permissions to share unmodified copies for noncommercial purposes) to the "
"most permissive (reusers can do anything they want with the work, even for "
"commercial purposes, as long as they give the creator credit). The licenses "
"are built on copyright and do not cover other types of rights that creators "
"might have in their works, like patents or trademarks."
msgstr ""
"Alle Creative Commons-lisenser gir et grunnleggende sett tillatelser. Som "
"minstemål kan et CC-lisensiert arbeid kopieres og deles i opprinnelig form "
"for ikke-kommersielle formål, så lenge henvisning er gitt til den som har "
"levert innholdet. Det er seks lisenser i CC sine lisenspakker som bygger på "
"det grunnleggende settet med tillatelser, alt fra de mest restriktive "
"(tillatelse av kun grunnleggende tilgang til å dele uforandrede kopier for "
"ikke-kommersielle formål) til den mest romslige (gjenbrukere kan gjøre hva "
"de vil med arbeidet, til og med for kommersielle formål, så lenge de "
"krediterer opphavspersonen). Lisensene er bygget på opphavsrett, og dekker "
"ikke andre typer rettigheter bidragsytere kan ha til sine arbeider, som "
"patenter eller varemerker."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2386
msgid "Here are the six licenses:"
msgstr "Her er de seks lisensene:"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2389
msgid ""
"![](Pictures/10000201000001930000008D83BF99FC0821C489.png){width=\"4.198in\" "
"height=\"1.4689in\"}"
msgstr ""
"![](Pictures/10000201000001930000008D83BF99FC0821C489.png){width=\"4.198in\" "
"height=\"1.4689in\"}"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2395
msgid ""
"The Attribution license (CC BY) lets others distribute, remix, tweak, and "
"build upon your work, even commercially, as long as they credit you for the "
"original creation. This is the most accommodating of licenses offered. "
"Recommended for maximum dissemination and use of licensed materials."
msgstr ""
"Attribusjonslisensen (CC BY) lar andre distribuere, remikse, justere og "
"bygge videre på ditt arbeid, også kommersielt, så lenge de krediterer deg "
"for det opprinnelige arbeidet. Dette er den mest imøtekommende lisensen som "
"tilbys. Anbefalt for maksimal spredning og bruk av lisensiert materiale."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2398
msgid ""
"![](Pictures/10000201000001930000008DFD3592CB17C4EC38.png){width=\"4.198in\" "
"height=\"1.4689in\"}"
msgstr ""
"![](Pictures/10000201000001930000008DFD3592CB17C4EC38.png){width=\"4.198in\" "
"height=\"1.4689in\"}"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2405
msgid ""
"The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak, and "
"build upon your work, even for commercial purposes, as long as they credit "
"you and license their new creations under identical terms. This license is "
"often compared to “copyleft” free and open source software licenses. All new "
"works based on yours will carry the same license, so any derivatives will "
"also allow commercial use."
msgstr ""
"Med Attribution-Share-Alike-lisensen (CC BY-SA) kan andre remikse, "
"finjustere og bygge videre på ditt arbeid, selv til kommersielle formål, så "
"lenge de krediterer deg og lisensierer sine nye bidrag på samme vilkår. "
"Denne lisensen er ofte sammenlignet med «copyleft»-programvarelisenser med "
"gratis og åpen kildekode GNU(GPL). Alle nye arbeider basert på ditt vil ha "
"den samme lisensen, så alle derivater kan også tillate kommersielt bruk."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2408
msgid ""
"![](Pictures/10000201000001930000008D254882DE24793FEA.png){width=\"4.198in\" "
"height=\"1.4689in\"}"
msgstr ""
"![](Pictures/10000201000001930000008D254882DE24793FEA.png){width=\"4.198in\" "
"height=\"1.4689in\"}"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2412
msgid ""
"The Attribution-NoDerivs license (CC BY-ND) allows for redistribution, "
"commercial and noncommercial, as long as it is passed along unchanged with "
"credit to you."
msgstr ""
"Attribution-NoDerivs-lisensen (CC BY-ND) tillater videre distribusjon, "
"kommersielt og ikke-kommersielt, så lenge arbeidet leveres videre uendret og "
"kreditert deg."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2415
msgid ""
"![](Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png){width=\"4.198in\" "
"height=\"1.4689in\"}"
msgstr ""
"![](Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png){width=\"4.198in\" "
"height=\"1.4689in\"}"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2420
msgid ""
"The Attribution-NonCommercial license (CC BY-NC) lets others remix, tweak, "
"and build upon your work noncommercially. Although their new works must also "
"acknowledge you, they don’t have to license their derivative works on the "
"same terms."
msgstr ""
"Attribution-NonCommercial-lisensen (CC BY-NC) lar andre remikse, finjustere, "
"og ikke-kommersielt bygge videre på arbeidet. Selv om deres nye arbeider "
"også må anerkjenne deg, trenger de ikke å lisensiere sine avledede arbeider "
"på samme vilkår."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2423
msgid ""
"![](Pictures/10000201000001930000008D16DA603376395620.png){width=\"4.198in\" "
"height=\"1.4689in\"}"
msgstr ""
"![](Pictures/10000201000001930000008D16DA603376395620.png){width=\"4.198in\" "
"height=\"1.4689in\"}"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2427
msgid ""
"The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA) lets others "
"remix, tweak, and build upon your work noncommercially, as long as they "
"credit you and license their new creations under the same terms."
msgstr ""
"Attribution-NonCommercial-ShareAlike-lisensen (CC BY-NC-SA) lar andre "
"remikse, finjustere og bygge på arbeidet ditt ikke-kommersielt, så lenge de "
"krediterer deg, og lisensierer sine nye arbeider på samme vilkår."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2430
msgid ""
"![](Pictures/10000201000001930000008DC3FEF92B21310965.png){width=\"4.198in\" "
"height=\"1.4689in\"}"
msgstr ""
"![](Pictures/10000201000001930000008DC3FEF92B21310965.png){width=\"4.198in\" "
"height=\"1.4689in\"}"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2435
msgid ""
"The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most "
"restrictive of our six main licenses, only allowing others to download your "
"works and share them with others as long as they credit you, but they can’t "
"change them or use them commercially."
msgstr ""
"Attribution-NonCommercial-NoDerivs-lisensen (CC BY-NC-ND) er den mest "
"restriktive av våre seks viktigste lisenser, og tillater bare andre å laste "
"ned dine verk, og dele dem med andre så lenge de krediterer deg, men de kan "
"ikke endre dem eller bruke dem kommersielt."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2440
msgid ""
"In addition to these six licenses, Creative Commons has two public-domain "
"tools—one for creators and the other for those who manage collections of "
"existing works by authors whose terms of copyright have expired:"
msgstr ""
"I tillegg til disse seks lisenser, har Creative Commons to offentlige "
"verktøy – en for innholdsleverandører og den andre for dem som håndterer "
"samlinger av eksisterende arbeider der opphavsrettighetene til bidragsyterne "
"har utløpt:"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2443
msgid ""
"![](Pictures/10000201000001900000008DBE3414994CD27786.png){width=\"4.1665in"
"\" height=\"1.4689in\"}"
msgstr ""
"![](Pictures/10000201000001900000008DBE3414994CD27786.png){width=\"4.1665in"
"\" height=\"1.4689in\"}"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2446
msgid ""
"CC0 enables authors and copyright owners to dedicate their works to the "
"worldwide public domain (“no rights reserved”)."
msgstr ""
"CC0 gjør det mulig for innholdsleverandører og rettighetshavere å tilegne "
"sine arbeider til det verdensomspennende offentlige domenet («ingen "
"rettigheter reservert»)."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2449
msgid ""
"![](Pictures/10000201000001900000008D36DCD649C5B1411F.png){width=\"4.1665in"
"\" height=\"1.4689in\"}"
msgstr ""
"![](Pictures/10000201000001900000008D36DCD649C5B1411F.png){width=\"4.1665in"
"\" height=\"1.4689in\"}"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2453
msgid ""
"The Creative Commons Public Domain Mark facilitates the labeling and "
"discovery of works that are already free of known copyright restrictions."
msgstr ""
"Creative Commons Public Domain Mark muliggjør merkingen, og å oppdage verk "
"som allerede er fri for kjente opphavsrettsrestriksjoner."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2462
msgid ""
"In our case studies, some use just one Creative Commons license, others use "
"several. Attribution (found in thirteen case studies) and Attribution-"
"ShareAlike (found in eight studies) were the most common, with the other "
"licenses coming up in four or so case studies, including the public-domain "
"tool CC0. Some of the organizations we profiled offer both digital content "
"and software: by using open-source-software licenses for the software code "
"and Creative Commons licenses for digital content, they amplify their "
"involvement with and commitment to sharing."
msgstr ""
"I våre referansestudier bruker noen bare én Creative Commons-lisens, andre "
"bruker flere. Attribution (funnet i tretten referansestudier) og Attribution-"
"ShareAlike (funnet i åtte studier) var de vanligste. De andre lisenser "
"forekom i rundt fire referansestudier, inkludert det offentlig-domene-"
"verktøyet CC0. Noen organisasjoner vi undersøkte tilbyr både digitalt "
"innhold og programvare. Ved å bruke åpen-kildekode-lisenser for "
"programvarekoden og Creative Commons-lisenser for digitalt innhold, "
"forsterker de sitt engasjement og forpliktelse til å dele."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2474
#, fuzzy
msgid ""
"There is a popular misconception that the three NonCommercial licenses "
"offered by CC are the only options for those who want to make money off "
"their work. As we hope this book makes clear, there are many ways to make "
"endeavors that are Made with Creative Commons sustainable.  Reserving "
"commercial rights is only one of those ways. It is certainly true that a "
"license that allows others to make commercial use of your work (CC BY, CC BY-"
"SA, and CC BY-ND) forecloses some traditional revenue streams. If you apply "
"an Attribution (CC BY) license to your book, you can’t force a film company "
"to pay you royalties if they turn your book into a feature-length film, or "
"prevent another company from selling physical copies of your work."
msgstr ""
"Det er en vidtfavnende misforståelse at de tre ikke-kommersielle lisensene "
"tilbudt av CC er de eneste alternativene for dem som ønsker å tjene penger "
"på arbeidet sitt. Vi håper denne boka bringer på det rene at det er mange "
"måter å fremme bærekraftigheten i tiltak som er laget med Creative Commons. "
"Å reservere seg kommersielle rettigheter er bare én av de måtene. Det er "
"sannelig sant at en lisens som tillater andre kommersiell bruk av ditt verk "
"(CC BY, CC BY-SA, og CC BY-ND) forkaster noen tradisjonelle inntektsårer. "
"Hvis du legger til en nevnelse (CC BY) -lisens til din bok, kan du ikke "
"tvinge et filmselskap til å betale deg bruksgebyr hvis de gjør din bok til "
"en helaftens film, eller forhindre et annet selskap å selge fysiske kopier "
"av ditt verk."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2486
msgid ""
"The decision to choose a NonCommercial and/or NoDerivs license comes down to "
"how much you need to retain control over the creative work. The "
"NonCommercial and NoDerivs licenses are ways of reserving some significant "
"portion of the exclusive bundle of rights that copyright grants to creators. "
"In some cases, reserving those rights is important to how you bring in "
"revenue. In other cases, creators use a NonCommercial or NoDerivs license "
"because they can’t give up on the dream of hitting the creative jackpot. The "
"music platform Tribe of Noise told us the NonCommercial licenses were "
"popular among their users because people still held out the dream of having "
"a major record label discover their work."
msgstr ""
"Beslutningen om å velge en NonCommercial- (ikke-kommersiell) og/eller "
"NoDerivs-lisens (ikke-derivate lisenser) resulterer i en vurdering av hvor "
"mye du trenger å beholde kontrollen over det kreative arbeidet.  "
"NonCommercial- and NoDerivs-lisensene er måter å reservere en vesentlig del "
"av det eksklusive knippet av rettigheter som opphavsrett sikrer "
"innholdsleverandører. I noen tilfeller er å reservere disse rettighetene "
"viktig for hvordan du bringer inn inntekter. I andre tilfeller bruker "
"innholdsleverandørene NonCommercial- og NoDerivs-lisensene fordi de ikke kan "
"gi opp drømmen om å treffe den kreative storgevinsten. Musikkplattformen "
"Tribe of Noise fortalte oss at NonCommercial-lisensene var populære blant "
"brukerne deres fordi de fortsatt holdt på drømmen om at et større "
"plateselskap ville oppdage arbeidet deres."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2491
msgid ""
"Other times the decision to use a more restrictive license is due to a "
"concern about the integrity of the work. For example, the nonprofit "
"TeachAIDS uses a NoDerivs license for its educational materials because the "
"medical subject matter is particularly important to get right."
msgstr ""
"Andre ganger er beslutningen om å bruke en mer restriktiv lisens på grunn av "
"bekymring for arbeidets integritet. For eksempel bruker det ikke-"
"kommersielle TeachAIDS en NoDerivs-lisens for sine læremidler fordi dette "
"medisinske emnet er særlig viktig å få riktig."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2501
msgid ""
"There is no one right way. The NonCommercial and NoDerivs restrictions "
"reflect the values and preferences of creators about how their creative work "
"should be reused, just as the ShareAlike license reflects a different set of "
"values, one that is less about controlling access to their own work and more "
"about ensuring that whatever gets created with their work is available to "
"all on the same terms. Since the beginning of the commons, people have been "
"setting up structures that helped regulate the way in which shared resources "
"were used. The CC licenses are an attempt to standardize norms across all "
"domains."
msgstr ""
"Det er ikke bare én riktig måte. NonCommercial- og NoDerivs-begrensningene "
"gjenspeiler verdiene og preferansene til innholdsleverandørene om hvordan "
"deres kreative arbeid skal gjenbrukes, akkurat som ShareAlike-lisensen "
"gjenspeiler et annet sett med verdier, som er mindre om å kontrollere "
"tilgangen til sitt eget arbeid og mer om å sikre at det som blir laget med "
"deres arbeid, er tilgjengelig for alle på samme vilkår. Siden starten av "
"allmenneier, har folk laget strukturer som hjalp til å regulere måten delte "
"ressurser ble brukt på. CC-lisensene er et forsøk på å standardisere normer "
"på tvers av alle domener."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2503
msgid "Note"
msgstr "Merk"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2507
msgid ""
"For more about the licenses including examples and tips on sharing your work "
"in the digital commons, start with the Creative Commons page called “Share "
"Your Work” at"
msgstr ""
"For mer om lisenser, inkludert eksempler og tips om deling av verkene dine i "
"den digitale allmenningen, start med Creative Commons-siden med tittelen "
"«Del ditt verk» på"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2509
msgid "creativecommons.org/share-your-work/."
msgstr "creativecommons.org/share-your-work/."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2512
msgid "# The Case Studies"
msgstr "# Referansestudiene"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2520
msgid ""
"The twenty-four case studies in this section were chosen from hundreds of "
"nominations received from Kickstarter backers, Creative Commons staff, and "
"the global Creative Commons community. We selected eighty potential "
"candidates that represented a mix of industries, content types, revenue "
"streams, and parts of the world. Twelve of the case studies were selected "
"from that group based on votes cast by Kickstarter backers, and the other "
"twelve were selected by us."
msgstr ""
"De tjuefire referansestudiene i denne seksjonen ble valgt ut blant hundrevis "
"av forslag fra hjelpere i Kickstarter, medarbeidere i Creative Commons og "
"det globale Creative Commons-felleskapet. Vi valgte åtti potensielle "
"kandidater som representerte en blanding av bransjer, innholdstyper, "
"inntektsstrømmer, og deler av verden. Tolv referansestudier ble valgt ut fra "
"den gruppen etter avstemning blant Kickstarters hjelpere, og de andre tolv "
"ble valgt av oss."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2526
msgid ""
"We did background research and conducted interviews for each case study, "
"based on the same set of basic questions about the endeavor. The idea for "
"each case study is to tell the story about the endeavor and the role sharing "
"plays within it, largely the way in which it was told to us by those we "
"interviewed."
msgstr ""
"Vi gjorde bakgrunnsundersøkelser, og gjennomførte intervjuer for hver "
"referansestudie, basert på det samme settet med grunnleggende spørsmål om "
"innsatsen. Fokus for hver referansestudie er å fortelle historien om hvordan "
"oppgaven løses, og hvilken rolle deling spiller i den, i hovedsak som måten "
"det ble fortalt oss på av dem vi intervjuet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2528
msgid "## Arduino"
msgstr "## Arduino"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2531
msgid ""
"Arduino is a for-profit open-source electronics platform and computer "
"hardware and software company. Founded in 2005 in Italy."
msgstr ""
"Arduino er en inntektsgivende åpen kildekodeplattform, og et selskap for "
"datautstyr og programvare. Grunnlagt i 2005 i Italia."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2533
msgid "www.arduino.cc"
msgstr "www.arduino.cc"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2537
msgid ""
"Revenue model: charging for physical copies (sales of boards, modules, "
"shields, and kits), licensing a trademark (fees paid by those who want to "
"sell Arduino products using their name)"
msgstr ""
"Inntektsmodell: Betaling for fysiske kopier (salg av brett, moduler, "
"skjermer og byggesett), lisensiering av et varemerke (avgifter betalt av dem "
"som ønsker å selge Arduino-produkter med deres navn)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2539
#: MadewithCreativeCommonsmostup-to-dateversion.md:3222
msgid "Interview date: February 4, 2016"
msgstr "Dato for intervju: 4. februar 2016"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2541
msgid "Interviewees: David Cuartielles and Tom Igoe, cofounders"
msgstr "Intervjuobjekter: David Cuartielles og Tom Igoe, medgrunnleggere"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2543
#: MadewithCreativeCommonsmostup-to-dateversion.md:3226
#: MadewithCreativeCommonsmostup-to-dateversion.md:3581
#: MadewithCreativeCommonsmostup-to-dateversion.md:3786
#: MadewithCreativeCommonsmostup-to-dateversion.md:4026
#: MadewithCreativeCommonsmostup-to-dateversion.md:4263
#: MadewithCreativeCommonsmostup-to-dateversion.md:4671
#: MadewithCreativeCommonsmostup-to-dateversion.md:4883
#: MadewithCreativeCommonsmostup-to-dateversion.md:5110
#: MadewithCreativeCommonsmostup-to-dateversion.md:5348
#: MadewithCreativeCommonsmostup-to-dateversion.md:5783
#: MadewithCreativeCommonsmostup-to-dateversion.md:6027
#: MadewithCreativeCommonsmostup-to-dateversion.md:6416
#: MadewithCreativeCommonsmostup-to-dateversion.md:7060
msgid "Profile written by Paul Stacey"
msgstr "Profilen skrevet av Paul Stacey"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2555
msgid ""
"In 2005, at the Interaction Design Institute Ivrea in northern Italy, "
"teachers and students needed an easy way to use electronics and programming "
"to quickly prototype design ideas. As musicians, artists, and designers, "
"they needed a platform that didn’t require engineering expertise. A group of "
"teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe, "
"Gianluca Martino, and David Mellis, built a platform that combined different "
"open technologies. They called it Arduino. The platform integrated software, "
"hardware, microcontrollers, and electronics. All aspects of the platform "
"were openly licensed: hardware designs and documentation with the "
"Attribution-Share-Alike license (CC BY-SA), and software with the GNU "
"General Public License."
msgstr ""
"I 2005, hos Interaction Design Institute Ivrea i Nord-Italia, trengte lærere "
"og elever en enkel måte å bruke elektronikk og programmering på for raskt å "
"lage prototyper for designideer. Musikere, kunstnere og designere trengte en "
"plattform som ikke krevde ingeniørekspertise. En gruppe lærere og studenter, "
"inkludert Massimo Banzi, David Cuartielles, Tom Igoe, Gianluca Martino og "
"David Mellis, bygget en plattform som kombinerte ulike åpne kildekode-"
"teknologier. De kalte det Arduino. Plattformen integrerte programvare, "
"maskinvare, mikrokontroller og elektronikk. Alle aspekter av plattformen ble "
"åpent lisensiert: Maskinvare og dokumentasjon med Attribution-Share-Alike-"
"lisens (CC BY-SA), og programvare med GNU General Public License."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2563
msgid ""
"Arduino boards are able to read inputs—light on a sensor, a finger on a "
"button, or a Twitter message—and turn it into outputs—activating a motor, "
"turning on an LED, publishing something online. You send a set of "
"instructions to the microcontroller on the board by using the Arduino "
"programming language and Arduino software (based on a piece of open-source "
"software called Processing, a programming tool used to make visual art)."
msgstr ""
"Kretskort fra Arduino kan lese inndata: Lys på en sensor, en finger på en "
"knapp, eller en Twitter-melding, og snu den til utganger, aktivere en motor, "
"slå på en LED, og publisere noe på nettet. Du sender et sett med "
"instruksjoner til mikrokontrollen på kortet ved hjelp av Arduino "
"programmeringsspråk og Arduino programvare (basert på åpen "
"kildekodeprogramvare kalt Prosessing, et programmeringsverktøy som brukes "
"til å lage kunst)."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2570
msgid ""
"“The reasons for making Arduino open source are complicated,” Tom says.  "
"Partly it was about supporting flexibility. The open-source nature of "
"Arduino empowers users to modify it and create a lot of different "
"variations, adding on top of what the founders build. David says this “ended "
"up strengthening the platform far beyond what we had even thought of "
"building.”"
msgstr ""
"«Grunnene for å lage Arduino som åpen kildekode er kompliserte», sier Tom. "
"Delvis handlet det om å støtte fleksibilitet. Opplegget med åpen kildekode "
"hos Arduino gir brukere rett til å endre og lage mange forskjellige "
"varianter, lagt på toppen av det grunnleggende bygget. David sier dette  "
"«endte opp med å styrke plattformen langt utover det vi til og med hadde "
"tenkt å bygge»."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2579
msgid ""
"For Tom another factor was the impending closure of the Ivrea design school. "
"He’d seen other organizations close their doors and all their work and "
"research just disappear. Open-sourcing ensured that Arduino would outlive "
"the Ivrea closure. Persistence is one thing Tom really likes about open "
"source. If key people leave, or a company shuts down, an open-source product "
"lives on. In Tom’s view, “Open sourcing makes it easier to trust a product.”"
msgstr ""
"En annen faktor for Tom var den forestående nedleggelsen av Ivrea "
"designskole. Han hadde sett andre organisasjoner lukke dørene, og at alt "
"arbeid og forskning bare forsvant. Åpen kildekode sikret at Arduino ville "
"overleve nedleggelsen av Ivrea. Utholdenhet er den tingen Tom virkelig liker "
"ved åpen kildekode. Hvis nøkkelpersoner drar, eller selskapet avsluttes, "
"lever et åpent kildekode-produkt videre. Etter Toms syn, «Bruk av åpen "
"kildekode gjør det enklere å stole på et produkt»."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2586
msgid ""
"With the school closing, David and some of the other Arduino founders "
"started a consulting firm and multidisciplinary design studio they called "
"Tinker, in London. Tinker designed products and services that bridged the "
"digital and the physical, and they taught people how to use new technologies "
"in creative ways. Revenue from Tinker was invested in sustaining and "
"enhancing Arduino."
msgstr ""
"Da skolen lukket, startet David og noen av de andre Arduino-grunnleggerne et "
"konsulentfirma og et tverrfaglig designstudio de kalte Tinker, i London. "
"Tinker utviklet produkter og tjenester som bygde bro mellom det digitale og "
"fysiske, og de lærte folk hvordan de skulle bruke ny teknologi på kreative "
"måter. Inntekter fra Tinker ble investert i å opprettholde og styrke Arduino."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2593
msgid ""
"For Tom, part of Arduino’s success is because the founders made themselves "
"the first customer of their product. They made products they themselves "
"personally wanted. It was a matter of “I need this thing,” not “If we make "
"this, we’ll make a lot of money.” Tom notes that being your own first "
"customer makes you more confident and convincing at selling your product."
msgstr ""
"For Tom er del av Arduinos suksess at grunnleggerne gjorde seg selv til den "
"første kunden til produktet deres. De laget de produktene de selv personlig "
"ønsket. Det var et spørsmål om «Jeg trenger denne tingen», ikke «Hvis vi "
"lager denne, vil vi tjene mye penger». Tom bemerker at å være din egen "
"første kunde, gjør deg mer trygg og overbevisende når produktet ditt skal "
"selges."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2605
msgid ""
"Arduino’s business model has evolved over time—and Tom says model is a "
"grandiose term for it. Originally, they just wanted to make a few boards and "
"get them out into the world. They started out with two hundred boards, sold "
"them, and made a little profit. They used that to make another thousand, "
"which generated enough revenue to make five thousand.  In the early days, "
"they simply tried to generate enough funding to keep the venture going day "
"to day. When they hit the ten thousand mark, they started to think about "
"Arduino as a company. By then it was clear you can open-source the design "
"but still manufacture the physical product.  As long as it’s a quality "
"product and sold at a reasonable price, people will buy it."
msgstr ""
"Arduinos forretningsmodell har utviklet seg over tid – og Tom sier at modell "
"er et stort ord for den. Opprinnelig ville de bare lage noen få kretskort, "
"og få dem ut i verden. De startet med to hundre kort, solgte dem, og fikk et "
"lite overskudd. De brukte det til å lage tusen til, som genererte nok "
"inntekter til å lage fem tusen.  I begynnelsen prøvde de bare å generere nok "
"midler for å holde virksomheten gående fra dag til dag. Da de traff titusen-"
"merket, begynte de å tenke på Arduino som selskap. Da var det klart at du "
"kan ha åpen kildekode for designet, men fortsatt produsere det fysiske "
"produktet.  Så lenge det er et kvalitetsprodukt, og selges til en rimelig "
"pris, vil folk kjøpe det."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2618
msgid ""
"Arduino now has a worldwide community of makers—students, hobbyists, "
"artists, programmers, and professionals. Arduino provides a wiki called "
"Playground (a wiki is where all users can edit and add pages, contributing "
"to and benefiting from collective research). People share code, circuit "
"diagrams, tutorials, DIY instructions, and tips and tricks, and show off "
"their projects. In addition, there’s a multilanguage discussion forum where "
"users can get help using Arduino, discuss topics like robotics, and make "
"suggestions for new Arduino product designs. As of January 2017, 324,928 "
"members had made 2,989,489 posts on 379,044 topics. The worldwide community "
"of makers has contributed an incredible amount of accessible knowledge "
"helpful to novices and experts alike."
msgstr ""
"Arduino har nå et verdensomspennende fellesskap av produsenter, studenter og "
"amatører, kunstnere, programmerere og fagfolk. Arduino tilbyr en wiki kalt "
"Playground (en wiki er der alle brukere kan redigere og legge til sider, "
"bidra til, og ha nytte av kollektive undersøkelser). Folk deler koden, "
"kretsdiagrammer, veiledninger, gjør det selv-instruksjoner (DIY "
"instructions: Do it yourself instructions) og tips og triks, og viser frem "
"sine prosjekter. I tillegg er det et flerspråklig diskusjonsforum der "
"brukere kan få hjelp til å bruke Arduino, diskutere temaer som robotikk, og "
"komme med forslag til nye Arduino produktdesigner. I januar 2017 hadde 324 "
"928 medlemmer laget 2 989 489 innlegg om 379 044 emner. Det "
"verdensomspennende fellesskapet av bidragsytere har gitt en utrolig mengde "
"tilgjengelig kunnskap til hjelp både for nybegynnere og eksperter."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2625
msgid ""
"Transitioning Arduino from a project to a company was a big step. Other "
"businesses who made boards were charging a lot of money for them.  Arduino "
"wanted to make theirs available at a low price to people across a wide range "
"of industries. As with any business, pricing was key. They wanted prices "
"that would get lots of customers but were also high enough to sustain the "
"business."
msgstr ""
"Arduinos overgang fra et prosjekt til et selskap var et stort skritt. Andre "
"bedrifter som lagde kretskort tok mye penger for dem.  Arduino ville gjøre "
"sine tilgjengelig til en lav pris for et bredt spekter av bransjer. Som med "
"all forretning var priser nøkkelen. De ønsket priser som vil gi mange "
"kunder, men som også var høy nok til å opprettholde virksomheten."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2631
msgid ""
"For a business, getting to the end of the year and not being in the red is a "
"success. Arduino may have an open-licensing strategy, but they are still a "
"business, and all the things needed to successfully run one still apply. "
"David says, “If you do those other things well, sharing things in an open-"
"source way can only help you.”"
msgstr ""
"For en bedrift er å ikke være i rødt ved slutten av året en suksess. Arduino "
"kan ha en åpen lisensstrategi, men de er fortsatt en bedrift, og alt som er "
"nødvendig for å kunne drive den vellykket, gjelder fortsatt. David sier, "
"«Hvis du gjør disse andre tingene bra, kan å dele ting med åpen kildekode "
"bare hjelpe deg»."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2641
msgid ""
"While openly licensing the designs, documentation, and software ensures "
"longevity, it does have risks. There’s a possibility that others will create "
"knockoffs, clones, and copies. The CC BY-SA license means anyone can produce "
"copies of their boards, redesign them, and even sell boards that copy the "
"design. They don’t have to pay a license fee to Arduino or even ask "
"permission. However, if they republish the design of the board, they have to "
"give attribution to Arduino. If they change the design, they must release "
"the new design using the same Creative Commons license to ensure that the "
"new version is equally free and open."
msgstr ""
"Mens åpen lisensiering  av design, dokumentasjon og programvare sikrer lang "
"levetid, innebærer den også risiko. Det er en mulighet for at andre vil lage "
"rimeligere utgaver, kloner og kopier. CC BY-SA lisensen betyr at hvem som "
"helst kan lage kopier av deres kretskort, omforme dem, og til og med selge "
"kretskort som kopierer designet. De trenger ikke å betale en lisensavgift "
"til Arduino, eller be om tillatelse. Men hvis de gir ut kortet igjen med "
"samme design, må de henvise til Arduino. Hvis de endrer utformingen, må de "
"utgi den nye utformingen med samme Creative Commons-lisens for å sikre at "
"den nye versjonen er like fri og åpen."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2651
msgid ""
"Tom and David say that a lot of people have built companies off of Arduino, "
"with dozens of Arduino derivatives out there. But in contrast to closed "
"business models that can wring money out of the system over many years "
"because there is no competition, Arduino founders saw competition as keeping "
"them honest, and aimed for an environment of collaboration. A benefit of "
"open over closed is the many new ideas and designs others have contributed "
"back to the Arduino ecosystem, ideas and designs that Arduino and the "
"Arduino community use and incorporate into new products."
msgstr ""
"Tom og David sier at mange mennesker har bygget selskaper ut fra Arduino, "
"med dusinvis av Arduino-derivater der ute. Men i motsetning til lukkede "
"forretningsmodeller som kan vri penger ut av systemet over mange år fordi "
"det ikke er konkurranse, så Arduinos grunnleggere konkurransen som et middel "
"til å holder seg ærlige, og rettet mot et samarbeidsmiljø. En fordel med "
"åpen fremfor lukket, er de mange nye ideer og design andre har bidratt med "
"til Arduinos økosystem, ideer og design som Arduino og Arduinos allmenneie "
"bruker og innlemmer i nye produkter."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2660
msgid ""
"Over time, the range of Arduino products has diversified, changing and "
"adapting to new needs and challenges. In addition to simple entry level "
"boards, new products have been added ranging from enhanced boards that "
"provide advanced functionality and faster performance, to boards for "
"creating Internet of Things applications, wearables, and 3-D printing.  The "
"full range of official Arduino products includes boards, modules (a smaller "
"form-factor of classic boards), shields (elements that can be plugged onto a "
"board to give it extra features), and kits.1"
msgstr ""
"Over tid har Arduino-produkter spredt seg, endret og tilpasset seg nye behov "
"og utfordringer. I tillegg til enkle kretskort på inngangsnivå, er nye "
"produkter lagt til – fra forbedrede kort med avansert funksjonalitet og "
"raskere ytelse, til kort for å lage programmer til Internett av ting, "
"iklebare ting og 3D-printing (3D-utskrift).  Hele spekteret av offisielle "
"Arduino-produkter inkluderer kort, moduler (en mindre formfaktor av "
"klassiske kort), skjold (shield) (elementer som kan kobles til et kort for å "
"gi den ekstra funksjoner) og byggesett.1)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2671
msgid ""
"Arduino’s focus is on high-quality boards, well-designed support materials, "
"and the building of community; this focus is one of the keys to their "
"success. And being open lets you build a real community. David says "
"Arduino’s community is a big strength and something that really does matter—"
"in his words, “It’s good business.” When they started, the Arduino team had "
"almost entirely no idea how to build a community. They started by conducting "
"numerous workshops, working directly with people using the platform to make "
"sure the hardware and software worked the way it was meant to work and "
"solved people’s problems. The community grew organically from there."
msgstr ""
"Arduinos fokus er på høykvalitetskort, godt designet støttemateriell og "
"bygging av dets fellesskap; Dette fokuset er én av nøklene til suksessen. "
"Det å være åpen lar deg bygge et ekte fellesskap. David sier Arduinos "
"samfunn er en stor styrke, og noe som virkelig gjør noe, som han sier; «det "
"er god forretningsførsel». Da de begynte, hadde Arduino-laget nesten ingen "
"anelse om hvordan man bygger fellesskap. De startet ved å gjennomføre mange "
"arbeidsrettede møter, direkte med personer som bruker plattformen for å "
"kontrollere at maskinvaren og programvaren var formålstjenlig i det å løse "
"folks problemer. Samfunnet vokste organisk derfra."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2681
msgid ""
"A key decision for Arduino was trademarking the name. The founders needed a "
"way to guarantee to people that they were buying a quality product from a "
"company committed to open-source values and knowledge sharing. Trademarking "
"the Arduino name and logo expresses that guarantee and helps customers "
"easily identify their products, and the products sanctioned by them. If "
"others want to sell boards using the Arduino name and logo, they have to pay "
"a small fee to Arduino. This allows Arduino to scale up manufacturing and "
"distribution while at the same time ensuring the Arduino brand isn’t hurt by "
"low-quality copies."
msgstr ""
"En viktig beslutning for Arduino var å varemerke navnet. Grunnleggerne "
"trengte en måte å garantere folk kjøp av et kvalitetsprodukt fra et selskap "
"forpliktet til friprog-filosofi og kunnskapsdeling. Varemerking av Arduinos "
"navn og logo gir den garantien, og hjelper kundene å enkelt identifisere "
"produktene deres, samt produkter godkjent av dem. Hvis andre ønsker å selge "
"kretskort med Arduino-navn og -logo, må de betale en liten avgift til "
"Arduino. Dette gjør Arduino i stand til å skalere opp produksjon og "
"distribusjon, samtidig som det forsikres at Arduino-merket ikke skades av "
"lavkvalitetskopier."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2689
msgid ""
"Current official manufacturers are Smart Projects in Italy, SparkFun in the "
"United States, and Dog Hunter in Taiwan/China. These are the only "
"manufacturers that are allowed to use the Arduino logo on their boards.  "
"Trademarking their brand provided the founders with a way to protect "
"Arduino, build it out further, and fund software and tutorial development. "
"The trademark-licensing fee for the brand became Arduino’s revenue-"
"generating model."
msgstr ""
"Gjeldende offisielle produsenter er Smart-prosjekter i Italia, SparkFun i "
"USA, og Dog Hunter i Taiwan/Kina. Dette er de eneste produsentene som "
"tillates å bruke Arduino-logoen på brettene sine.  Varemerkingen av "
"merkevaren deres har gitt grunnleggerne en måte å beskytte Arduino på, bygge "
"ut videre, finansiere utvikling av programvare og opplæring. Gebyret for "
"varemerke-lisensiering ble Arduinos inntektsgenererende modell."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2696
msgid ""
"How far to open things up wasn’t always something the founders perfectly "
"agreed on. David, who was always one to advocate for opening things up more, "
"had some fears about protecting the Arduino name, thinking people would be "
"mad if they policed their brand. There was some early backlash with a "
"project called Freeduino, but overall, trademarking and branding has been a "
"critical tool for Arduino."
msgstr ""
"Hvilken utstrekning ting skulle åpnes i var ikke alltid noe grunnleggerne "
"var helt enige om. David, som alltid gikk i bresjen for å åpne ting opp mer, "
"hadde noen betenkeligheter om beskyttelse av Arduino-navnet, idet folk "
"kanskje ville bli sure om de beskyttet deres merkevare. Det var et tidlig "
"tilbakeslag med et prosjekt kalt Freeduino, men samlet, varemerking og "
"merkevarebygging har vært et kritisk verktøy for Arduino."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2709
msgid ""
"David encourages people and businesses to start by sharing everything as a "
"default strategy, and then think about whether there is anything that really "
"needs to be protected and why. There are lots of good reasons to not open up "
"certain elements. This strategy of sharing everything is certainly the "
"complete opposite of how today’s world operates, where nothing is shared. "
"Tom suggests a business formalize which elements are based on open sharing "
"and which are closed. An Arduino blog post from 2013 entitled “Send In the "
"Clones,” by one of the founders Massimo Banzi, does a great job of "
"explaining the full complexities of how trademarking their brand has played "
"out, distinguishing between official boards and those that are clones, "
"derivatives, compatibles, and counterfeits.2"
msgstr ""
"David oppfordrer folk og bedrifter til å starte ved å dele alt som forvalgt "
"strategi, og deretter tenke på om det er noe som virkelig trenger "
"beskyttelse, og hvorfor. Det er mange gode grunner til å ikke åpne bestemte "
"elementer. Denne strategien for å dele alt, er den diametrale motsats til "
"hvordan dagens verden opererer, der ingenting er delt. Tom foreslår at en "
"bedrift formaliserer hvilke elementer som er basert på åpen deling, og "
"hvilke som er lukket. Et Arduino-blogginnlegg fra 2013, med tittelen «Send "
"In the Clones», fra en av grunnleggerne Massimo Banzi, er til stor hjelp for "
"å forklare hele kompleksiteten i hvordan varemerkingen deres ble rullet ut, "
"ved å skille mellom offisielle kort og de som er kloner, derivater, "
"kompatible og forfalskninger.2)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2715
msgid ""
"For David, an exciting aspect of Arduino is the way lots of people can use "
"it to adapt technology in many different ways. Technology is always making "
"more things possible but doesn’t always focus on making it easy to use and "
"adapt. This is where Arduino steps in. Arduino’s goal is “making things that "
"help other people make things.”"
msgstr ""
"For David er en spennende del av Arduino hvordan bruken muliggjør tilpasning "
"av teknologi på mange forskjellige måter for så mange. Teknologi åpner "
"alltid flere muligheter, men ikke alltid med fokus på dens enkelhet i bruk "
"og tilpasningsdyktighet. Det er der Arduino trår til. Arduinos mål er «å "
"lage ting som hjelper andre mennesker å lage ting»."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2721
msgid ""
"Arduino has been hugely successful in making technology and electronics "
"reach a larger audience. For Tom, Arduino has been about “the "
"democratization of technology.” Tom sees Arduino’s open-source strategy as "
"helping the world get over the idea that technology has to be protected. Tom "
"says, “Technology is a literacy everyone should learn.”"
msgstr ""
"Arduino har vært svært vellykket med å få teknologi og elektronikk ut til et "
"større publikum. For Tom har Arduino handlet om «demokratisering av "
"teknologi». Tom ser Arduinos åpne kildekodestrategi som å hjelpe verden å "
"komme over tanken at teknologien må ha beskyttelse. Tom sier, «Teknologi er "
"en ferdighet som alle burde lære»."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2725
msgid ""
"Ultimately, for Arduino, going open has been good business—good for product "
"development, good for distribution, good for pricing, and good for "
"manufacturing."
msgstr ""
"Til slutt, for Arduino, å bli åpne har vært bra for forretningen – bra for "
"produktutvikling, bra for distribusjon, bra for prising og bra for "
"produksjon."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2727
#: MadewithCreativeCommonsmostup-to-dateversion.md:3765
#: MadewithCreativeCommonsmostup-to-dateversion.md:4005
#: MadewithCreativeCommonsmostup-to-dateversion.md:4242
#: MadewithCreativeCommonsmostup-to-dateversion.md:4862
#: MadewithCreativeCommonsmostup-to-dateversion.md:5087
#: MadewithCreativeCommonsmostup-to-dateversion.md:5326
#: MadewithCreativeCommonsmostup-to-dateversion.md:5573
#: MadewithCreativeCommonsmostup-to-dateversion.md:6006
#: MadewithCreativeCommonsmostup-to-dateversion.md:6233
#: MadewithCreativeCommonsmostup-to-dateversion.md:6674
#: MadewithCreativeCommonsmostup-to-dateversion.md:7241
msgid "Web links"
msgstr "Linker til nettet"

#. type: Bullet: '1.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:2730
msgid "www.arduino.cc/en/Main/Products"
msgstr "www.arduino.cc/en/Main/Products"

#. type: Bullet: '2.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:2730
msgid "blog.arduino.cc/2013/07/10/send-in-the-clones/"
msgstr "blog.arduino.cc/2013/07/10/send-in-the-clones/"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2732
msgid "## Ártica"
msgstr "## Ártica"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2736
msgid ""
"Ártica provides online courses and consulting services focused on how to use "
"digital technology to share knowledge and enable collaboration in arts and "
"culture. Founded in 2011 in Uruguay."
msgstr ""
"Ártica gir kurs på nettet og konsulenttjenester fokusert på hvordan du "
"bruker digital teknologi til å dele kunnskap og muliggjøre samarbeid i kunst "
"og kultur. Grunnlagt i 2011 i Uruguay."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2738
msgid "www.articaonline.com"
msgstr "www.articaonline.com"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2740
msgid "Revenue model: charging for custom services"
msgstr "Inntektsmodell: Betaling for tilpassede tjenester"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2742
msgid "Interview date: March 9, 2016"
msgstr "Dato for intervju: 9. mars 2016"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2744
msgid "Interviewees: Mariana Fossatti and Jorge Gemetto, cofounders"
msgstr "Intervjuobjekter: Mariana Fossatti og Jorge Gemetto, medgrunnleggere"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2746
#: MadewithCreativeCommonsmostup-to-dateversion.md:2896
#: MadewithCreativeCommonsmostup-to-dateversion.md:3051
#: MadewithCreativeCommonsmostup-to-dateversion.md:3392
#: MadewithCreativeCommonsmostup-to-dateversion.md:4502
#: MadewithCreativeCommonsmostup-to-dateversion.md:5590
#: MadewithCreativeCommonsmostup-to-dateversion.md:6257
#: MadewithCreativeCommonsmostup-to-dateversion.md:6694
#: MadewithCreativeCommonsmostup-to-dateversion.md:6872
#: MadewithCreativeCommonsmostup-to-dateversion.md:7260
msgid "Profile written by Sarah Hinchliff Pearson"
msgstr "Profilen skrevet av Sarah Hinchliff Pearson"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2751
msgid ""
"The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the "
"ultimate example of DIY. Not only are they successful entrepreneurs, the "
"niche in which their small business operates is essentially one they built "
"themselves."
msgstr ""
"Historien om Mariana Fossattis og Jorge Gemettos virksomhet, Ártica, er det "
"beste eksempelet på Gjør det selv (DIY: Do it yourself). Ikke bare er de "
"vellykkede gründere, nisjen deres lille virksomhet opererer i, er i hovedsak "
"en de har bygget selv."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2753
msgid "Their dream jobs didn’t exist, so they created them."
msgstr "Drømmejobbene deres eksisterer ikke, så de laget dem."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2763
msgid ""
"In 2011, Mariana was a sociologist working for an international organization "
"to develop research and online education about rural-development issues. "
"Jorge was a psychologist, also working in online education. Both were "
"bloggers and heavy users of social media, and both had a passion for arts "
"and culture. They decided to take their skills in digital technology and "
"online learning and apply them to a topic area they loved. They launched "
"Ártica, an online business that provides education and consulting for people "
"and institutions creating artistic and cultural projects on the Internet."
msgstr ""
"I 2011 var Mariana en sosiolog som arbeider for en internasjonal "
"organisasjon med å utvikle forskning og utdanning på nettet om "
"jordbruksutviklingsoppgaver. Jorge var psykolog, som også arbeidet med "
"utdanning på nett. Begge var bloggere og tunge brukere av sosiale medier, og "
"begge hadde en lidenskap for kunst og kultur. Med sine ferdigheter i digital "
"teknologi og nettlæring besluttet de å bruke dem på et område de likte. De "
"lanserte Ártica, en bedrift som gir opplæring og rådgivning for folk og "
"institusjoner som utvikler kunstneriske og kulturelle prosjekter på "
"Internettet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2774
msgid ""
"Ártica feels like a uniquely twenty-first century business. The small "
"company has a global online presence with no physical offices. Jorge and "
"Mariana live in Uruguay, and the other two full-time employees, who Jorge "
"and Mariana have never actually met in person, live in Spain. They started "
"by creating a MOOC (massive open online course) about remix culture and "
"collaboration in the arts, which gave them a direct way to reach an "
"international audience, attracting students from across Latin America and "
"Spain. In other words, it is the classic Internet story of being able to "
"directly tap into an audience without relying upon gatekeepers or "
"intermediaries."
msgstr ""
"Ártica føles som en unik virksomhet i det tjueførste århundre. Det lille "
"selskapet har en global tilstedeværelse på Internett uten fysiske kontorer. "
"Jorge og Mariana bor i Uruguay, og de andre to fulltids ansatte, som Jorge "
"og Mariana aldri har møtt personlig, bor i Spania. De startet ved å opprette "
"en MOOC (et fleksibelt nettkurs, gratis og tilgjengelig for alle) om remiks-"
"kultur og samarbeid innen kunsten, som ga dem en direkte vei til et "
"internasjonalt publikum, og tiltrekke seg studenter fra hele Latin-Amerika "
"og Spania. Med andre ord, det er den klassiske Internett-historien om å "
"kunne koble seg direkte til publikum uten å være avhengig av portvoktere "
"eller mellommenn."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2783
msgid ""
"Ártica offers personalized education and consulting services, and helps "
"clients implement projects. All of these services are customized. They call "
"it an “artisan” process because of the time and effort it takes to adapt "
"their work for the particular needs of students and clients. “Each student "
"or client is paying for a specific solution to his or her problems and "
"questions,” Mariana said. Rather than sell access to their content, they "
"provide it for free and charge for the personalized services."
msgstr ""
"Ártica tilbyr tilpasset utdanning og konsulenttjenester, og hjelper kundene "
"å gjennomføre prosjekter. Alle disse tjenestene er tilpasset. De kaller det "
"en «artisan» prosess på grunn av den tid og krefter det tar for å tilpasse "
"sitt arbeid til de spesielle behovene til studenter og kunder. «Hver student "
"eller kunde betaler for en bestemt løsning på hans eller hennes problemer og "
"spørsmål», sier Mariana. I stedet for å selge tilgang til innholdet sitt, "
"gir de det gratis, og tar betalt for tilpasningstjenestene."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2790
msgid ""
"When they started, they offered a smaller number of courses designed to "
"attract large audiences. “Over the years, we realized that online "
"communities are more specific than we thought,” Mariana said. Ártica now "
"provides more options for classes and has lower enrollment in each course. "
"This means they can provide more attention to individual students and offer "
"classes on more specialized topics."
msgstr ""
"Da de begynte, tilbød de et mindre antall kurs laget for å tiltrekke seg "
"store målgrupper. «Gjennom årene har vi innsett at nettsamfunn er mer "
"spesifikke enn vi trodde», sa Mariana. Ártica leverer nå flere alternative "
"klasser, og har færre påmeldinger på hvert kurs. Dette betyr at de kan gi "
"hver enkelte elev mer oppmerksomhet, og tilby kurs på mer spesialiserte "
"emner."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2796
msgid ""
"Online courses are their biggest revenue stream, but they also do more than "
"a dozen consulting projects each year, ranging from digitization to event "
"planning to marketing campaigns. Some are significant in scope, particularly "
"when they work with cultural institutions, and some are smaller projects "
"commissioned by individual artists."
msgstr ""
"Kurs på nettet er deres største inntektskilde, men de har også mer enn et "
"dusin konsulentprosjekter hvert år, alt fra digitalisering til "
"arrangementsplanlegging og markedsføringskampanjer.  Noen av dem har en viss "
"størrelse, spesielt når de jobber med kulturinstitusjoner, mens andre er "
"mindre prosjekter på oppdrag fra enkeltartister."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2802
msgid ""
"Ártica also seeks out public and private funding for specific projects.  "
"Sometimes, even if they are unsuccessful in subsidizing a project like a new "
"course or e-book, they will go ahead because they believe in it.  They take "
"the stance that every new project leads them to something new, every new "
"resource they create opens new doors."
msgstr ""
"Ártica søker også etter offentlig og privat finansiering til bestemte "
"prosjekter. Noen ganger, selv om de ikke lykkes i å få støtte til et "
"prosjekt som et nytt kurs eller en nettbok, går de videre fordi de tror på "
"det.  De har det standpunktet at hvert nytt prosjekt fører dem til noe nytt, "
"hver ny ressurs de lager åpner nye dører."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2816
msgid ""
"Ártica relies heavily on their free Creative Commons–licensed content to "
"attract new students and clients. Everything they create—online education, "
"blog posts, videos—is published under an Attribution-ShareAlike license (CC "
"BY-SA). “We use a ShareAlike license because we want to give the greatest "
"freedom to our students and readers, and we also want that freedom to be "
"viral,” Jorge said. For them, giving others the right to reuse and remix "
"their content is a fundamental value. “How can you offer an online "
"educational service without giving permission to download, make and keep "
"copies, or print the educational resources?” Jorge said. “If we want to do "
"the best for our students—those who trust in us to the point that they are "
"willing to pay online without face-to-face contact—we have to offer them a "
"fair and ethical agreement.”"
msgstr ""
"Ártica lener seg tungt på at deres gratis Creative Commons-lisensierte "
"innhold vil trekke til seg nye studenter og kunder. Alt de lager, nettbasert "
"utdanning, blogg-innlegg, videoer, utgis med en Attribution-ShareAlike-"
"lisens (CC BY-SA). «Vi bruker en ShareAlike-lisens fordi vi vil gi størst "
"mulig frihet til våre studenter og lesere, og vi ønsker også at friheten "
"skal være viral», sa Jorge. For dem er å gi andre rett til å gjenbruke og "
"remikse innholdet en grunnleggende verdi. «Hvordan kan du tilby en "
"nettbasert pedagogisk tjeneste uten å gi tillatelse til å laste ned, lage og "
"beholde kopier, eller skrive ut de pedagogiske ressursene?» Jorge sier: «"
"Hvis vi ønsker å gjøre det best for våre studenter  - de som stoler på oss "
"til det punktet at de er villige til å betale på nettet uten ansikt til "
"ansikt kontakt - har vi bare å tilby dem en hederlig og etisk avtale»."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2822
msgid ""
"They also believe sharing their ideas and expertise openly helps them build "
"their reputation and visibility. People often share and cite their work. A "
"few years ago, a publisher even picked up one of their e-books and "
"distributed printed copies. Ártica views reuse of their work as a way to "
"open up new opportunities for their business."
msgstr ""
"De tror også at å dele sine ideer og sin ekspertise åpent hjelper dem å "
"bygge omdømmet og synligheten sin. Folk  deler og siterer deres arbeid ofte. "
"For noen år siden plukket en utgiver selv opp en av nettbøkene deres, og "
"distribuerte trykte kopier. Ártica ser gjenbruk av arbeidet deres som en vei "
"til å åpne opp nye muligheter for sin virksomhet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2831
msgid ""
"This belief that openness creates new opportunities reflects another belief—"
"in serendipity. When describing their process for creating content, they "
"spoke of all of the spontaneous and organic ways they find inspiration. "
"“Sometimes, the collaborative process starts with a conversation between us, "
"or with friends from other projects,” Jorge said. “That can be the first "
"step for a new blog post or another simple piece of content, which can "
"evolve to a more complex product in the future, like a course or a book.”"
msgstr ""
"Troen på at åpenhet skaper nye muligheter, reflekterer en annen tro, til alt "
"hell. Når de beskriver sin prosess når de lager innhold, snakker de om alle "
"de spontane og organiske måtene de finne inspirasjon på. «Noen ganger "
"starter samarbeidsprosessen med en samtale mellom oss, eller med venner fra "
"andre prosjekter», sa Jorge. «Det kan være det første skrittet til et nytt "
"blogginnlegg, eller et nytt enkelt innhold, som  i fremtiden kan utvikle seg "
"til et mer sammensatt produkt, som et kurs eller en bok»."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2839
msgid ""
"Rather than planning their work in advance, they let their creative process "
"be dynamic. “This doesn’t mean that we don’t need to work hard in order to "
"get good professional results, but the design process is more flexible,” "
"Jorge said. They share early and often, and they adjust based on what they "
"learn, always exploring and testing new ideas and ways of operating. In many "
"ways, for them, the process is just as important as the final product."
msgstr ""
"Heller enn å planlegging arbeidet sitt på forhånd, lar de deres kreative "
"prosess være dynamisk. «Dette betyr ikke at vi ikke trenger å jobbe hardt "
"for å få gode profesjonelle resultater, men utformingsprosessen er mer "
"fleksibel», sa Jorge. De deler tidlig og ofte, og de justerer ut fra det de "
"lærer, og utforsker og tester alltid nye ideer og måter å arbeide på. På "
"mange måter er prosessen for dem like viktig som sluttproduktet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2845
msgid ""
"People and relationships are also just as important, sometimes more. “In the "
"educational and cultural business, it is more important to pay attention to "
"people and process, rather than content or specific formats or materials,” "
"Mariana said. “Materials and content are fluid. The important thing is the "
"relationships.”"
msgstr ""
"Folk og relasjoner er også like viktige, noen ganger mer. «I den pedagogiske "
"og kulturelle virksomheten, er det viktigere å ta hensyn til folk og "
"prosesser, snarere enn innhold eller spesielle formater eller materialer», "
"sa Mariana. «Materialer og innhold er flytende. Den viktige tingen er "
"relasjonene»."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2849
msgid ""
"Ártica believes in the power of the network. They seek to make connections "
"with people and institutions across the globe so they can learn from them "
"and share their knowledge."
msgstr ""
"Ártica tror på kraften i nettverket. De søker å lage forbindelser mellom "
"mennesker og institusjoner over hele verden, så de kan lære av dem og dele "
"sine kunnskaper."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2860
msgid ""
"At the core of everything Ártica does is a set of values. “Good content is "
"not enough,” Jorge said. “We also think that it is very important to take a "
"stand for some things in the cultural sector.” Mariana and Jorge are "
"activists. They defend free culture (the movement promoting the freedom to "
"modify and distribute creative work) and work to demonstrate the "
"intersection between free culture and other social-justice movements. Their "
"efforts to involve people in their work and enable artists and cultural "
"institutions to better use technology are all tied closely to their belief "
"system. Ultimately, what drives their work is a mission to democratize art "
"and culture."
msgstr ""
"Kjernen i alt Ártica gjør er et sett verdier. \"Godt innhold ikke er nok,\" "
"sa Jorge. \"Vi tror også at det er svært viktig å ta et standpunkt for noe i "
"kultursektoren.\" Mariana og Jorge er aktivister. De forsvarer fri kultur "
"(bevegelsen som fremmer frihet til å endre og distribuere kreativt arbeid) "
"og arbeider for å vise skjæringspunktet mellom fri kultur og andre  "
"bevegelser for sosial rettferdighet. Innsatsen deres for å involvere "
"mennesker i sitt arbeid og aktivere kunstnere og kulturinstitusjoner til å "
"bedre bruken av teknologi er tett knyttet til deres holdninger. Til syvende "
"og sist, det som driver deres arbeid er målet om å demokratisere kunst og "
"kultur."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2868
msgid ""
"Of course, Ártica also has to make enough money to cover its expenses.  "
"Human resources are, by far, their biggest expense. They tap a network of "
"collaborators on a case-by-case basis and hire contractors for specific "
"projects. Whenever possible, they draw from artistic and cultural resources "
"in the commons, and they rely on free software. Their operation is small, "
"efficient, and sustainable, and because of that, it is a success."
msgstr ""
"Ártica må selvfølgelig også tjene nok penger til å dekke sine utgifter.  I "
"stor grad er menneskelige ressursser den største utgiftsposten. De trekker "
"veksler på samarbeidspartnere fra sak til sak og leier inn oppdragstakere "
"til bestemte prosjekter. Når det er mulig trekker de vekslere på "
"kunstneriske og kulturelle ressurser i fellesskapet, og de stoleer på fri "
"programvare. Virksomheten deres er liten, effektiv og bærekraftig, og derfor "
"den er en suksess."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2874
msgid ""
"“There are lots of people offering online courses,” Jorge said. “But it is "
"easy to differentiate us. We have an approach that is very specific and "
"personal.” Ártica’s model is rooted in the personal at every level.  For "
"Mariana and Jorge, success means doing what brings them personal meaning and "
"purpose, and doing it sustainably and collaboratively."
msgstr ""
"\"Det er mange mennesker som tilbyr kurs på nettet,\" sa Jorge. \"Men det er "
"lett å skille oss ut. Vi har en tilnærming som er veldig spesifikk og "
"personlig.\" Árticas modell er forankret i det personlige på alle nivåer. "
"For Mariana og Jorge betyr suksess å gjøre det som bringer dem personlig "
"mening og hensikt, og gjøre det bærekraftig og i samarbeid."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2880
msgid ""
"In their work with younger artists, Mariana and Jorge try to emphasize that "
"this model of success is just as valuable as the picture of success we get "
"from the media. “If they seek only the traditional type of success, they "
"will get frustrated,” Mariana said. “We try to show them another image of "
"what it looks like.”"
msgstr ""
"I sitt arbeid med yngre artister, prøver Mariana og Jorge å understreke at "
"denne modellen for suksess er like verdifull som bildet av suksess vi får i "
"media. \"Hvis de bare søker etter den tradisjonell typen suksess, vil de bli "
"frustrert,\" sa Mariana. \"Vi prøver å vise dem et annet bilde av hvordan "
"det ser ut.\""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2882
msgid "## Blender Institute"
msgstr "## Blender Institute"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2885
msgid ""
"The Blender Institute is an animation studio that creates 3-D films using "
"Blender software. Founded in 2006 in the Netherlands."
msgstr ""
"Blender Institute er et animasjonsstudio som lager 3D filmer med Blender "
"programvare. Grunnlagt i 2006 i Nederland."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2887
msgid "www.blender.org"
msgstr "www.blender.org"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2890
msgid ""
"Revenue model: crowdfunding (subscription-based), charging for physical "
"copies, selling merchandise"
msgstr ""
"Inntektsmodell: Folkefinansiering (abonnementsbasert), betaling for fysiske "
"kopier, varesalg"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2892
msgid "Interview date: March 8, 2016"
msgstr "Dato for intervju: 8 mars 2016"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2894
msgid "Interviewee: Francesco Siddi, production coordinator"
msgstr "Intervjuet: Francesco Siddi, produksjonsleder"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2905
msgid ""
"For Ton Roosendaal, the creator of Blender software and its related "
"entities, sharing is practical. Making their 3-D content creation software "
"available under a free software license has been integral to its development "
"and popularity. Using that software to make movies that were licensed with "
"Creative Commons pushed that development even further. Sharing enables "
"people to participate and to interact with and build upon the technology and "
"content they create in a way that benefits Blender and its community in "
"concrete ways."
msgstr ""
"For Ton Roosendaal, som skapte Blender programvare og de tilknyttede "
"enhetene, er deling praktisk. Å gjøre deres programvare for å lage 3D-"
"innhold tilgjengelig under fri programvare-lisens har vært integrerende for "
"programmets utvikling og popularitet. Å bruke programvaren til å lage filmer "
"lisensiert med Creative Commons, skjøv denne utviklingen ytterligere "
"fremover. Deling gjør det mulig for folk å delta og samhandle med og å bygge "
"videre på den teknologien og innholdet de lager på en måte som er til fordel "
"for Blender og Blenders fellesskap helt konkret."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2914
msgid ""
"Each open-movie project Blender runs produces a host of openly licensed "
"outputs, not just the final film itself but all of the source material as "
"well. The creative process also enhances the development of the Blender "
"software because the technical team responds directly to the needs of the "
"film production team, creating tools and features that make their lives "
"easier. And, of course, each project involves a long, rewarding process for "
"the creative and technical community working together."
msgstr ""
"Hvert åpen-film prosjekt Blender kjører, produserer en rekke åpent "
"lisensierte resultater, ikke bare den endelige filmen selv, men alt "
"kildematerialet også. Den kreative prosessen forbedrer også utviklingen av "
"Blenders programvare fordi det tekniske teamet responderer direkte på  "
"behovene filmens produksjonsteam har, ved å lage verktøy og funksjoner som "
"gjør livet deres enklere. Og, selvfølgelig, hvert prosjekt innebærer en "
"lang, givende prosess der det kreative og tekniske fellesskapet arbeider "
"sammen."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2920
#, fuzzy
msgid ""
"Rather than just talking about the theoretical benefits of sharing and free "
"culture, Ton is very much about doing and making free culture.  Blender’s "
"production coordinator Francesco Siddi told us, “Ton believes if you don’t "
"make content using your tools, then you’re not doing anything.”"
msgstr ""
"Heller enn bare å snakke om de teoretisk fordelene av deling og fri kultur, "
"er Ton veldig for å få til og lage fri kultur. Blenders produksjonsleder "
"Francesco Siddi fortalte oss at, «Ton tror hvis du ikke ikke bruker "
"verktøyet ditt til å lage innhold, så gjør du ikke noenting.»"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2930
msgid ""
"Blender’s history begins in the late 1990s, when Ton created the Blender "
"software. Originally, the software was an in-house resource for his "
"animation studio based in the Netherlands. Investors became interested in "
"the software, so he began marketing the software to the public, offering a "
"free version in addition to a paid version. Sales were disappointing, and "
"his investors gave up on the endeavor in the early 2000s. He made a deal "
"with investors—if he could raise enough money, he could then make the "
"Blender software available under the GNU General Public License."
msgstr ""
"Blenders historie begynner i 1990, da Ton opprettet programvaren Blender. "
"Opprinnelig var programvaren en intern ressurs for hans animasjonsstudio i "
"Nederland. Investorer ble interessert i programvaren, så han begynte "
"markedsføring programvaren til publikum, og tilbød en gratis versjon i "
"tillegg til en betalt versjon. Salget var skuffende, og hans investorer ga "
"opp forsøket tidlig på 2000-tallet. Han gjorde en avtale med investorer - "
"hvis han kunne skaffe nok penger, kunne han så gjøre Blender-programvaren "
"tilgjengelig under GNU General Public License."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2940
msgid ""
"This was long before Kickstarter and other online crowdfunding sites "
"existed, but Ton ran his own version of a crowdfunding campaign and quickly "
"raised the money he needed. The Blender software became freely available for "
"anyone to use. Simply applying the General Public License to the software, "
"however, was not enough to create a thriving community around it. Francesco "
"told us, “Software of this complexity relies on people and their vision of "
"how people work together. Ton is a fantastic community builder and manager, "
"and he put a lot of work into fostering a community of developers so that "
"the project could live.”"
msgstr ""
"Dette var lenge før Kickstarter og andre nettsteder for folkefinansiering "
"eksisterte, men Ton kjørte sin egen versjon av en folkefinansiering og "
"skaffet raskt pengene han trengte. Blender-programvaren ble fritt "
"tilgjengelig å bruke for alle. Men bare å bruke General Public License til "
"programvaren, men var ikke nok til å få til et blomstrende fellesskap rundt "
"den. Francesco fortalte oss: «Programvare med denne kompleksiteten er "
"avhengig av mennesker og deres visjon om hvordan folk arbeider sammen. Ton "
"er en fantastisk felleskapsbygger og leder, og han har lagt ned mye arbeid i "
"å fremme et fellesskap av utviklere slik at prosjektet kunne leve.»"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2947
msgid ""
"Like any successful free and open-source software project, Blender developed "
"quickly because the community could make fixes and improvements. “Software "
"should be free and open to hack,” Francesco said. “Otherwise, everyone is "
"doing the same thing in the dark for ten years.” Ton set up the Blender "
"Foundation to oversee and steward the software development and maintenance."
msgstr ""
"Som ethvert vellykket programvareprosjekt med gratis og åpen kildekode "
"utviklet Blender seg raskt fordi fellesskapet kunne gjøre feilrettinger og "
"forbedringer. \"Programvare bør være fritt og åpent for rettelser,\" sa "
"Francesco. \"Ellers gjør alle det samme i mørket i ti år.\" Ton satt opp "
"Blender Foundation til å overvåke og forvalte programvareutviklingen og "
"vedlikeholdet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2956
msgid ""
"After a few years, Ton began looking for new ways to push development of the "
"software. He came up with the idea of creating CC-licensed films using the "
"Blender software. Ton put a call online for all interested and skilled "
"artists. Francesco said the idea was to get the best artists available, put "
"them in a building together with the best developers, and have them work "
"together. They would not only produce high-quality openly licensed content, "
"they would improve the Blender software in the process."
msgstr ""
"Etter noen år begynte Ton å lete etter nye måter å fremme utviklingen av "
"programvaren. Han fikk ideen om å lage CC-lisensierte filmer med Blender-"
"programvare. Ton la ut en forespørsel på nettet til alle interesserte og "
"erfarne kunstnere. Francesco sa ideen var å få de beste artistene som var "
"tilgjengelig, sette dem i en bygning sammen med de beste utviklerne, og få "
"dem til å arbeide sammen. De skulle ikke bare lage åpent lisensiert innhold "
"av høy kvalitet, de skulle forbedre Blenders programvare i prosessen."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2963
msgid ""
"They turned to crowdfunding to subsidize the costs of the project. They had "
"about twenty people working full-time for six to ten months, so the costs "
"were significant. Francesco said that when their crowdfunding campaign "
"succeeded, people were astounded. “The idea that making money was possible "
"by producing CC-licensed material was mind-blowing to people,” he said. "
"“They were like, ‘I have to see it to believe it.’”"
msgstr ""
"De vendte seg til folkefinansiering for å subsidiere prosjektkostnadene. De "
"hadde tyve personer som jobbet fulltid i seks til ti måneder, så kostnadene "
"var betydelige. Francesco sa at når folkefinansierings-kampanjen deres "
"lyktes, var folk forbløffet. \"Ideen om at å tjene penger var mulig ved å "
"produsere CC-lisensiert materiale, var overveldende for folk,\" sa han. \"De "
"var som \"jeg må se det for å tro det\".\""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2969
msgid ""
"The first film, which was released in 2006, was an experiment. It was so "
"successful that Ton decided to set up the Blender Institute, an entity "
"dedicated to hosting open-movie projects. The Blender Institute’s next "
"project was an even bigger success. The film, Big Buck Bunny, went viral, "
"and its animated characters were picked up by marketers."
msgstr ""
"Den første filmen, som ble utgitt i 2006, var et eksperiment. Det var så "
"vellykket at Ton besluttet å sette opp Blender Institute, en enhet øremerket "
"til å huse åpen-film prosjekter. Blender Institutes neste prosjekt var en "
"enda større suksess. Filmen, Big Buck Bunny, gikk viralt og de animerte "
"figurene ble plukket opp av markedsførere."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2980
msgid ""
"Francesco said that, over time, the Blender Institute projects have gotten "
"bigger and more prominent. That means the filmmaking process has become more "
"complex, combining technical experts and artists who focus on storytelling. "
"Francesco says the process is almost on an industrial scale because of the "
"number of moving parts. This requires a lot of specialized assistance, but "
"the Blender Institute has no problem finding the talent it needs to help on "
"projects. “Blender hardly does any recruiting for film projects because the "
"talent emerges naturally,” Francesco said. “So many people want to work with "
"us, and we can’t always hire them because of budget constraints.”"
msgstr ""
"Francesco sa at over tid har Blender Institute prosjektene blitt større og "
"mer betydningsfulle. Det betyr at prosessen med å lage film har blitt mer "
"kompleks ved å kombinere tekniske eksperter og kunstnere som har fokus på "
"historiefortelling. Francesco sier prosessen er nesten på industriell skala "
"bå grunn av antallet bevegelige deler. Dette krever mye spesialisert hjelp, "
"men Blender Institute har ingen problemer med å finne det talentet som "
"trenges til å bistå prosjekter. \"Blender utfører knapt gjør noen "
"rekruttering til filmprosjekter fordi talentet dukker helt naturlig opp\", "
"sa Francesco. \"Så mange mennesker ønsker å samarbeide med oss, at vi ikke "
"alltid kan ansette dem på grunn av budsjettbegrensninger.\""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2988
msgid ""
"Blender has had a lot of success raising money from its community over the "
"years. In many ways, the pitch has gotten easier to make. Not only is "
"crowdfunding simply more familiar to the public, but people know and trust "
"Blender to deliver, and Ton has developed a reputation as an effective "
"community leader and visionary for their work. “There is a whole community "
"who sees and understands the benefit of these projects,” Francesco said."
msgstr ""
"Blender har hatt stor suksess med å skaffe penger fra sitt fellesskap "
"gjennom årene. På mange måter har det blitt lettere å lage banen. Ikke bare "
"er folkefinansiering blitt bedre kjent i offentligheten, men folk kjenner "
"til og stoler på at Blender leverer, og Ton har opparbeidet et rykte som en "
"effektiv fellesskapsleder og visjonær for arbeidet deres. \"Det er et helt "
"fellesskap som ser og forstår fordelen med disse prosjektene,\" sa Francesco."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:2995
msgid ""
"While these benefits of each open-movie project make a compelling pitch for "
"crowdfunding campaigns, Francesco told us the Blender Institute has found "
"some limitations in the standard crowdfunding model where you propose a "
"specific project and ask for funding. “Once a project is over, everyone goes "
"home,” he said. “It is great fun, but then it ends. That is a problem.”"
msgstr ""
"Mens disse fordelene fra hvert åpen-film-prosjekt får en et overbevisende "
"grunnlag for folkefinansierings-kampanjer, fortalte Francesco oss. Blender "
"Institute har funnet noen begrensninger i den standard folkefinansierings-"
"modellen der man legger frem et bestemt prosjekt og ber om finansiering. "
"\"Når et prosjekt er over, drar alle hjem,\" sa han. \"Det er mye moro, men "
"så slutter det. Det er et problem.\""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3009
msgid ""
"To make their work more sustainable, they needed a way to receive ongoing "
"support rather than on a project-by-project basis. Their solution is Blender "
"Cloud, a subscription-style crowdfunding model akin to the online "
"crowdfunding platform, Patreon. For about ten euros each month, subscribers "
"get access to download everything the Blender Institute produces—software, "
"art, training, and more. All of the assets are available under an "
"Attribution license (CC BY) or placed in the public domain (CC0), but they "
"are initially made available only to subscribers. Blender Cloud enables "
"subscribers to follow Blender’s movie projects as they develop, sharing "
"detailed information and content used in the creative process. Blender Cloud "
"also has extensive training materials and libraries of characters and other "
"assets used in various projects."
msgstr ""
"For å gjøre arbeidet mer bærekraftig, trengte de en måte for å motta "
"kontinuerlig støtte og ikke på prosjekt-for-prosjekt basis. Deres løsning er "
"Blender Sky, en abonnementstype folkefinansieringsmodell som likner den "
"nettbaserte folkfinansierings-plattformen Patreon. For ca. 10 euro hver "
"måned får abonnenter tilgang til å laste ned alt det Blender Institute "
"produserer - programvare, kunst, opplæring, og mer. Alle disse ressursene er "
"tilgjengelige med en Attribution-lisens (CC BY) eller plassert i den "
"offentlige sfæren (CC0), men de er opprinnelig gjort tilgjengelige kun for "
"abonnenter. Blender Cloud lar abonnentene følge Blenders filmprosjekter mens "
"de utvikles, og deler detaljert informasjon og innhold til bruk i den "
"kreative prosessen. Blender Cloud har også omfattende opplæringsmateriell, "
"biblioteker med rollemodeller og andre ressurser til bruk i ulike prosjekter."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3014
msgid ""
"The continuous financial support provided by Blender Cloud subsidizes five "
"to six full-time employees at the Blender Institute. Francesco says their "
"goal is to grow their subscriber base. “This is our freedom,” he told us, "
"“and for artists, freedom is everything.”"
msgstr ""
"Kontinuerlig økonomisk støtte fra Blender Cloud finansierer fem til seks "
"heltidsansatte ved Blender Institute. Francesco sier at deres mål er å "
"utvide sin abonnentbase. \"Dette er vår frihet,\" fortalte han oss, \"og for "
"kunstnere er  frihet alt.\""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3021
msgid ""
"Blender Cloud is the primary revenue stream of the Blender Institute.  The "
"Blender Foundation is funded primarily by donations, and that money goes "
"toward software development and maintenance. The revenue streams of the "
"Institute and Foundation are deliberately kept separate. Blender also has "
"other revenue streams, such as the Blender Store, where people can purchase "
"DVDs, T-shirts, and other Blender products."
msgstr ""
"Blender Cloud er den primære inntektskilden for Blender Institute.  Blender "
"Fundation er finanisert hovedsakelig av donasjoner, og pengene går til "
"programvare-utvikling og -vedlikehold. Inntektstrømmene til Blender "
"Institute og Foundation er bevisst holdt separat. Blender har også andre "
"inntektsstrømmer, som Blender butikken, hvor folk kan kjøpe DVDer, t-"
"skjorter og andre Blender produkter."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3026
msgid ""
"Ton has worked on projects relating to his Blender software for nearly "
"twenty years. Throughout most of that time, he has been committed to making "
"the software and the content produced with the software free and open. "
"Selling a license has never been part of the business model."
msgstr ""
"Ton har jobbet med prosjekter knyttet til Blender programvare i nesten tjue "
"år. Gjennom det meste av denne tiden, har han vært opptatt av å gjøre "
"programvaren og innholdet som er produsert med programvaren gratis og åpent. "
"Å selge en lisens har aldri vært en del av forretningsmodellen."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3034
#, fuzzy
msgid ""
"Since 2006, he has been making films available along with all of their "
"source material. He says he has hardly ever seen people stepping into "
"Blender’s shoes and trying to make money off of their content. Ton believes "
"this is because the true value of what they do is in the creative and "
"production process. “Even when you share everything, all your original "
"sources, it still takes a lot of talent, skills, time, and budget to "
"reproduce what you did,” Ton said."
msgstr ""
"Siden 2006, har han gjort filmer tilgjengelig sammen med alt tilhørende "
"kildemateriale. Han sier han har knapt sett mennesker som har satt foten i "
"Blender sko og prøvd å tjene penger på innholdet. Ton mener dette er fordi "
"den sanne verdien av hva de gjør i den kreative- og i produksjons-prosessen. "
"\"Selv om du deler alt, alle din originale kilder, kreves det mye talent, "
"ferdigheter, tid og budsjett å reprodusere hva du gjorde,\" sa Ton."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3036
msgid "For Ton and Blender, it all comes back to doing."
msgstr "For Ton og Blender, går alt tilbake til hva du gjør."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3038
msgid "## Cards Against Humanity"
msgstr "## Cards Against Humanity"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3041
msgid ""
"Cards Against Humanity is a private, for-profit company that makes a popular "
"party game by the same name. Founded in 2011 in the U.S."
msgstr ""
"Cards Against Humanity er et privat, for-fortjeneste selskap som lager et "
"populært fest-spill ved samme navn. Grunnlagt i USA i 2011."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3043
msgid "www.cardsagainsthumanity.com"
msgstr "www.cardsagainsthumanity.com"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3045
msgid "Revenue model: charging for physical copies"
msgstr "Inntektsmodell: Betaling for fysiske kopier"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3047
msgid "Interview date: February 3, 2016"
msgstr "Dato for intervju: 3 februar 2016"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3049
msgid "Interviewee: Max Temkin, cofounder"
msgstr "Intervjuet: Max Temkin, medgrunnlegger"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3056
msgid ""
"If you ask cofounder Max Temkin, there is nothing particularly interesting "
"about the Cards Against Humanity business model. “We make a product. We sell "
"it for money. Then we spend less money than we make,” Max said."
msgstr ""
"Hvis du spør medgrunnlegger Max Temkin, er det ikke noe spesielt interessant "
"vedrørende forretningsmodellen til Cards Against Humanity. \"Vi lager et "
"produkt. Vi selger det og tar betalt. Så bruker vi mindre penger enn vi får "
"inn,\" sa Max."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3064
msgid ""
"He is right. Cards Against Humanity is a simple party game, modeled after "
"the game Apples to Apples. To play, one player asks a question or fill-in-"
"the-blank statement from a black card, and the other players submit their "
"funniest white card in response. The catch is that all of the cards are "
"filled with crude, gruesome, and otherwise awful things.  For the right kind "
"of people (“horrible people,” according to Cards Against Humanity "
"advertising), this makes for a hilarious and fun game."
msgstr ""
"Han har rett. Cards Against Humanity er et enkel fest-spill, tuftet på "
"spillet Apples to Apples. For å spille, stiller en spiller et spørsmål eller "
"fyller-inn-feltet- påstanden fra et svart kort, og de andre spillerne sender "
"sine morsomste hvite kort som svar. Haken er at alle kortene er fylt med "
"grove, grusomme og ellers forferdelig ting. For den rette typen folk "
"(\"fryktelige,\" ifølge Cards Against Humanitys reklame), blir dette et "
"artig og morsomt spill."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3070
msgid ""
"The revenue model is simple. Physical copies of the game are sold for a "
"profit. And it works. At the time of this writing, Cards Against Humanity is "
"the number-one best-selling item out of all toys and games on Amazon. There "
"are official expansion packs available, and several official themed packs "
"and international editions as well."
msgstr ""
"Inntektsmodellen er enkel. Fysiske kopier av spillet blir solgt med "
"fortjeneste, og det fungerer. Når dette blir skrevet er Cards Against "
"Humanity det bestselgende produktet blant alle leker og spill hos Amazon. "
"Offisielle utvidelsespakker er tilgjengelig, og også flere offisielle "
"temapakker samt internasjonale utgaver."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3075
msgid ""
"But Cards Against Humanity is also available for free. Anyone can download a "
"digital version of the game on the Cards Against Humanity website. More than "
"one million people have downloaded the game since the company began tracking "
"the numbers."
msgstr ""
"Men Cards Against Humanity er også tilgjengelig gratis. Alle kan laste ned "
"en digital versjon av spillet fra nettsiden til Cards Against Humanity. Mer "
"enn én million mennesker har lastet ned spillet etter at selskapet begynte "
"loggføre tallene."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3081
msgid ""
"The game is available under an Attribution-NonCommercial-ShareAlike license "
"(CC BY-NC-SA). That means, in addition to copying the game, anyone can "
"create new versions of the game as long as they make it available under the "
"same noncommercial terms. The ability to adapt the game is like an entire "
"new game unto itself."
msgstr ""
"Spillet er tilgjengelig med en Attribution-NonCommercial-ShareAlike-lisens "
"(CC BY-NC-SA). Det betyr, i tillegg til å kopiere spillet, at alle kan lage "
"nye versjoner av spillet så lenge de gjør det tilgjengelig på de samme ikke-"
"kommersielle vilkårene. Muligheten til å tilpasse spillet, er som et helt "
"nytt spill i seg selv."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3086
msgid ""
"All together, these factors—the crass tone of the game and company, the free "
"download, the openness to fans remixing the game—give the game a massive "
"cult following."
msgstr ""
"Tilsammen gir disse faktorene - den krasse tonen i spillet og selskapet, "
"gratis nedlasting, åpenhet for fans til å remikse spillet, - det som gir "
"spillet solid kultstatus."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3097
msgid ""
"Their success is not the result of a grand plan. Instead, Cards Against "
"Humanity was the last in a long line of games and comedy projects that Max "
"Temkin and his friends put together for their own amusement. As Max tells "
"the story, they made the game so they could play it themselves on New Year’s "
"Eve because they were too nerdy to be invited to other parties. The game was "
"a hit, so they decided to put it up online as a free PDF. People started "
"asking if they could pay to have the game printed for them, and eventually "
"they decided to run a Kickstarter to fund the printing. They set their "
"Kickstarter goal at \\$4,000—and raised \\$15,000. The game was officially "
"released in May 2011."
msgstr ""
"Suksessen deres er ikke et resultat av en storstilt plan. Cards Against "
"Humanity var det siste i en lang rekke spill og komedieprosjekter Max Temkin "
"og vennene hans satt sammen til egen fornøyelse. Som Max forteller "
"historien, laget de spillet så de kunne spille det selv på nyttårsaften "
"fordi de var for nerdete til å bli invitert i andres selskap. Spillet ble en "
"hit, så de bestemte seg for å legge det ut på nettet som en gratis PDF. Folk "
"begynte å spørre om de kunne betale for å få spillet trykket for dem, og til "
"slutt bestemte de seg å kjøre en Kickstarter for å finansiere trykkingen. De "
"satt Kickstarter-målet til \\$4,000 - and fikk inn \\$15,000. Spillet ble "
"utgitt offisielt i mai 2011."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3101
msgid ""
"The game caught on quickly, and it has only grown more popular over time. "
"Max says the eight founders never had a meeting where they decided to make "
"it an ongoing business. “It kind of just happened,” he said."
msgstr ""
"Spillet fenget raskt, og populariteten har bare vokst med tiden. Max sier at "
"de åtte grunnleggerne aldri hatt et møte hvor de bestemte seg for å gjøre "
"dette til en kontinuerlig virksomhet. \"På en måte hendte det bare,\" sa han."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3106
msgid ""
"But this tale of a “happy accident” belies marketing genius. Just like the "
"game, the Cards Against Humanity brand is irreverent and memorable.  It is "
"hard to forget a company that calls the FAQ on their website “Your dumb "
"questions.”"
msgstr ""
"Men denne fortellingen om en «lykkelig tilfeldighet» står i motsetning til "
"markedsføringbegavelsen. Akkurat som spillet, er Cards Against Humanity sitt "
"kjennemerke er distanse og minnenedverdighet.  Det er vanskelig å glemme en "
"virksomhet som kaller OSS-en på sin hjemmeside: \"Dine dumme spørsmål.\""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3118
msgid ""
"Like most quality satire, however, there is more to the joke than vulgarity "
"and shock value. The company’s marketing efforts around Black Friday "
"illustrate this particularly well. For those outside the United States, "
"Black Friday is the term for the day after the Thanksgiving holiday, the "
"biggest shopping day of the year. It is an incredibly important day for "
"Cards Against Humanity, like it is for all U.S.  retailers. Max said they "
"struggled with what to do on Black Friday because they didn’t want to "
"support what he called the “orgy of consumerism” the day has become, "
"particularly since it follows a day that is about being grateful for what "
"you have. In 2013, after deliberating, they decided to have an Everything "
"Costs \\$5 More sale."
msgstr ""
"Som de fleste kvalitetsatirer, er det imidlertid mer i spøken enn i "
"vulgaritet og sjokk. Selskapets markedsføring rundt Black Friday illustrerer "
"dette spesielt godt. For dem utenfor USA er Black Friday begrepet for dagen "
"etter Thanksgiving-helligdagen, den største handledagen i året. Det er en "
"utrolig viktig dag for Cards Against Humanity, som det er for alle deres "
"forhandlere i USA. Max sa at de strevde med hva de skulle gjøre med Black "
"Friday fordi de ikke ønsker å støtte det han kalte \"en orgie av forbruk\". "
"Dagen er blitt, spesielt siden den følger etter en dag som handler om å være "
"takknemlig for hva du har. I 2013 besluttet de, etter rådslaging, å ha et "
"salg der Everything Costs \\$5 More."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3122
msgid ""
"“We sweated it out the night before Black Friday, wondering if our fans were "
"going to hate us for it,” he said. “But it made us laugh so we went with it. "
"People totally caught the joke.”"
msgstr ""
"\"Vi svettet natten før Black Friday, og lurte på om våre fans ville hate "
"oss,\" sa han. \"Men det fikk oss til å le så vi gikk ut ned det. Og folk "
"oppfattet helt klart spøken.\""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3127
msgid ""
"This sort of bold transparency delights the media, but more importantly, it "
"engages their fans. “One of the most surprising things you can do in "
"capitalism is just be honest with people,” Max said. “It shocks people that "
"there is transparency about what you are doing.”"
msgstr ""
"Denne typen modig åpenhet gleder media, men enda viktigere, det engasjerer "
"fansen. \"En av de mest overraskende tingene du kan gjøre i kapitalismen er "
"bare å være ærlig med folk,\" sa Max. \"Det sjokkerer folk at det er åpenhet "
"om hva du gjør.\""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3134
msgid ""
"Max also likened it to a grand improv scene. “If we do something a little "
"subversive and unexpected, the public wants to be a part of the joke.” One "
"year they did a Give Cards Against Humanity \\$5 event, where people "
"literally paid them five dollars for no reason. Their fans wanted to make "
"the joke funnier by making it successful. They made \\$70,000 in a single "
"day."
msgstr ""
"Max sammenlignet det også med en stor improvisasjonsscene. \"Hvis vi gjør "
"noe litt revolusjonært og uventet, vil publikum være med på spøken. Ett år "
"laget de spøken Give Cards Against Humanity \\$5, hvor folk bokstavelig talt "
"betalte dem fem dollar uten grunn. Fansen ville gjøre spøken morsommere ved "
"å gjøre den vellykket. De fikk inn \\$70,000 på én dag."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3145
msgid ""
"This remarkable trust they have in their customers is what inspired their "
"decision to apply a Creative Commons license to the game. Trusting your "
"customers to reuse and remix your work requires a leap of faith.  Cards "
"Against Humanity obviously isn’t afraid of doing the unexpected, but there "
"are lines even they do not want to cross. Before applying the license, Max "
"said they worried that some fans would adapt the game to include all of the "
"jokes they intentionally never made because they crossed that line. “It "
"happened, and the world didn’t end,” Max said.  “If that is the worst cost "
"of using CC, I’d pay that a hundred times over because there are so many "
"benefits.”"
msgstr ""
"Denne bemerkelsesverdige tilliten de har hos sine kunder var det som "
"inspirerte beslutningen deres om å bruke en Creative Commons-lisens til "
"spillet. Å tiltro kundene dine gjenbruk og remiksing av arbeidet ditt krever "
"en porsjon tæl. Cards Against Humanity er åpenbart ikke redd for gjør det "
"uventede, men det finnes grenser selv ikke de ønsker å krysse. Før de brukte "
"lisensen, sier Max de var bekymret for at noen fans ville tilpasse spillet "
"til å inkludere alle vitser de forsettlig aldri laget fordi de gikk over den "
"linjen. \"Det skjedde, og verden ikke under,\" sa Max.  \"Hvis det er den "
"verste kostnaden ved å bruke CC, ville jeg betalt dét hundre ganger, fordi "
"det er så mange fordeler.\""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3152
msgid ""
"Any successful product inspires its biggest fans to create remixes of it, "
"but unsanctioned adaptations are more likely to fly under the radar.  The "
"Creative Commons license gives fans of Cards Against Humanity the freedom to "
"run with the game and copy, adapt, and promote their creations openly. Today "
"there are thousands of fan expansions of the game."
msgstr ""
"Et vellykket produkt inspirerer sine største fans til å lage remikser av "
"det, men ikke-sanksjonerte tilpasninger flyr sannsynligvis under radaren. "
"Creative Commons-lisensen gir tilhengere av Cards Against Humanity frihet "
"til å bruke spillet og kopiere, tilpasse, og åpent reklamere for det de har "
"laget. I dag finnes det tusenvis av utvidelser fra tilhengere av spillet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3157
msgid ""
"Max said, “CC was a no-brainer for us because it gets the most people "
"involved. Making the game free and available under a CC license led to the "
"unbelievable situation where we are one of the best-marketed games in the "
"world, and we have never spent a dime on marketing.”"
msgstr ""
"Max sa, \"CC var lett for oss fordi det får mest folk involvert. Å gjøre "
"spillet gratis og tilgjengelig med en CC-lisens ledet til den utrolige "
"situasjonen der vi er en av de best markedsført spillene i verden, og vi har "
"aldri brukt en krone på markedsføring.\""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3168
msgid ""
"Of course, there are limits to what the company allows its customers to do "
"with the game. They chose the Attribution-NonCommercial-ShareAlike license "
"because it restricts people from using the game to make money.  It also "
"requires that adaptations of the game be made available under the same "
"licensing terms if they are shared publicly. Cards Against Humanity also "
"polices its brand. “We feel like we’re the only ones who can use our brand "
"and our game and make money off of it,” Max said.  About 99.9 percent of the "
"time, they just send an email to those making commercial use of the game, "
"and that is the end of it. There have only been a handful of instances where "
"they had to get a lawyer involved."
msgstr ""
"Selvfølgelig, er det grenser for hva firmaet tillater sine kunder å gjøre "
"med spillet. De valgte Attribution-NonCommercial-ShareAlike-lisensen fordi "
"den begrenser folk fra å bruke spillet til å tjene penger. Det krever også "
"at tilpasninger av spillet gjøres tilgjengelig med de samme lisensvilkårene "
"hvis de deles offentlig. Cards Against Humanity passer også på sin "
"merkevare. \"Vi føler at vi er de eneste som kan bruke vår merkevare og vårt "
"spill til å tjene penger,\" sa Max. Rundt 99,9 prosent av tiden, sender de "
"bare en e-post til dem som bruker spillet kommersielt, og det er slutten på "
"det. Det har bare vært en håndfull tilfeller der de har måttet hyre advokat."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3176
msgid ""
"Just as there is more than meets the eye to the Cards Against Humanity "
"business model, the same can be said of the game itself. To be playable, "
"every white card has to work syntactically with enough black cards. The "
"eight creators invest an incredible amount of work into creating new cards "
"for the game. “We have daylong arguments about commas,” Max said.  “The "
"slacker tone of the cards gives people the impression that it is easy to "
"write them, but it is actually a lot of work and quibbling.”"
msgstr ""
"Akkurat som det er mer for øyet enn det en ser i forretningsmodellen til "
"Cards Against Humanity, kan det samme sies om selve spillet. For å være "
"spillbare, må alle hvite kort kunne fungere sammen med nok svartinger. Åtte "
"bidragsytere legger ned en utrolig mengde arbeid for å skape nye kort for "
"spillet. \"Vi har dagelange diskusjoner om kommaer\" sa Max.  «Slappfisk-"
"tonen i kortene gir folk inntrykk av at det er enkelt å skrive dem, men det "
"er faktisk mye arbeid og ordklyving.»"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3185
msgid ""
"That means cocreation with their fans really doesn’t work. The company has a "
"submission mechanism on their website, and they get thousands of "
"suggestions, but it is very rare that a submitted card is adopted.  Instead, "
"the eight initial creators remain the primary authors of expansion decks and "
"other new products released by the company.  Interestingly, the creativity "
"of their customer base is really only an asset to the company once their "
"original work is created and published when people make their own "
"adaptations of the game."
msgstr ""
"Det betyr at å lage dem sammen med fansen deres virkelig ikke virker. "
"Selskapet har en innleveringsmulighet på hjemmesiden sin, og de får inn "
"tusenvis av forslag, men det er sjelden at et innsendt kort kommer med. De "
"åtte første forfatterne er og blir de viktigste bidragsytere til nye grupper "
"tilleggskort, og andre nye produkter utgitt av selskapet. Interessant nok er "
"kreativiteten i kundebasen deres egentlig bare en ressurs for selskapet, "
"først når det opprinnelige arbeidet er ferdig og publisert, i det at folk "
"lager sine egne tilpasninger til spillet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3191
msgid ""
"For all of their success, the creators of Cards Against Humanity are only "
"partially motivated by money. Max says they have always been interested in "
"the Walt Disney philosophy of financial success. “We don’t make jokes and "
"games to make money—we make money so we can make more jokes and games,” he "
"said."
msgstr ""
"Med all sin suksess, er de som laget Cards Against Humanity  bare delvis "
"motivert av penger. Max sier de alltid har vært interessert i Walt Disney "
"sin filosofi om økonomisk suksess. \"Vi lager ikke vitser og spill for å "
"tjene penger - vi tjener penger slik at vi kan lage flere vitser og spill\", "
"sa han."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3198
msgid ""
"In fact, the company has given more than \\$4 million to various charities "
"and causes. “Cards is not our life plan,” Max said. “We all have other "
"interests and hobbies. We are passionate about other things going on in our "
"lives. A lot of the activism we have done comes out of us taking things from "
"the rest of our lives and channeling some of the excitement from the game "
"into it.”"
msgstr ""
"Faktisk har selskapet gitt mer enn \\$4 millioner til forskjellige "
"veldedighetsorganisasjoner og formål. \"Kort er ikke vår plan for livet\", "
"sa Max. \"Vi har andre interesser og hobbyer. Vi er opptatt av andre ting "
"som skjer i våre liv. Mye av vår aktivisme vi har utført springer ut fra at "
"vi tar ut ting fra resten av våre liv og kanaliserer noe av spenningen i "
"spillet inn i det.\""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3204
msgid ""
"Seeing money as fuel rather than the ultimate goal is what has enabled them "
"to embrace Creative Commons licensing without reservation. CC licensing "
"ended up being a savvy marketing move for the company, but nonetheless, "
"giving up exclusive control of your work necessarily means giving up some "
"opportunities to extract more money from customers."
msgstr ""
"Å se penger som drivstoff i stedet for det endelige målet, er det som har "
"gjort dem i stand til uten reservasjon, å favne om Creative Commons-"
"lisensiering. CC-lisensiering endte opp som et forstandig markedsføringsgrep "
"for selskapet, men likevel, å gi opp den eksklusive kontrollen over sitt "
"arbeide betyr nødvendigvis å gi opp noe av mulighetene til å utgyte mer "
"penger fra kunder."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3209
msgid ""
"“It’s not right for everyone to release everything under CC licensing,” Max "
"said. “If your only goal is to make a lot of money, then CC is not best "
"strategy. This kind of business model, though, speaks to your values, and "
"who you are and why you’re making things.”"
msgstr ""
"\"Det er ikke riktig for alle å legge ut alt under CC-lisensiering,\" sa "
"Max. \"Hvis du har som eneste mål å tjene masse penger, er ikke CC beste "
"strategi. Denne forretningsmodellen, selv om den tiltaler ditt verdisyn, "
"hvem du er og hvorfor du gjør ting.\""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3211
msgid "## The Conversation"
msgstr "## The Conversation"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3215
msgid ""
"The Conversation is an independent source of news, sourced from the academic "
"and research community and delivered direct to the public over the Internet. "
"Founded in 2011 in Australia."
msgstr ""
"The Conversation er en uavhengig kilde for nyheter, hentet fra akademiske og "
"forskningsamfunnet og levert direkte til publikum over Internett. Grunnlagt "
"2011 i Australia."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3217
msgid "theconversation.com"
msgstr "theconversation.com"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3220
msgid ""
"Revenue model: charging content creators (universities pay membership fees "
"to have their faculties serve as writers), grant funding"
msgstr ""
"Inntektsmodell: Betaling fra innholdsleverandørene (universiteter betaler "
"kontingent for å ha sine fakulteter som forfattere), donasjonsfinansiering"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3224
msgid "Interviewee: Andrew Jaspan, founder"
msgstr "Intervjuet: Andrew Jaspan, grunnlegger"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3234
msgid ""
"Andrew Jaspan spent years as an editor of major newspapers including the "
"Observer in London, the Sunday Herald in Glasgow, and the Age in Melbourne, "
"Australia. He experienced firsthand the decline of newspapers, including the "
"collapse of revenues, layoffs, and the constant pressure to reduce costs. "
"After he left the Age in 2005, his concern for the future journalism didn’t "
"go away. Andrew made a commitment to come up with an alternative model."
msgstr ""
"Andrew Jaspan tilbrakte flere år som redaktør for store aviser, inkludert "
"The Observer i London, The Sunday Herald i Glasgow og The age i Melbourne, "
"Australia. Han opplevde selv nedgangen for avisene, inkludert fallet i "
"inntekter og permitteringer, og konstant press for kostnadsreduksjon. Etter "
"at han forlot The Age i 2005, forsvant ikke hans bekymring for fremtidens "
"journalistikk. Andrew forpliktet seg til å koke opp en alternativ modell."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3240
msgid ""
"Around the time he left his job as editor of the Melbourne Age, Andrew "
"wondered where citizens would get news grounded in fact and evidence rather "
"than opinion or ideology. He believed there was still an appetite for "
"journalism with depth and substance but was concerned about the increasing "
"focus on the sensational and sexy."
msgstr ""
"På det tidspunktet han forlot jobben som redaktør av Melbourne Age, undret "
"Andrew på hvor borgerne ville få nyheter forankret i fakta og bevis snarere "
"enn i mening eller ideologi. Han mente det fortsatt var etterspørsel etter "
"journalistikk med dybde og substans, men var bekymret for økende fokus på "
"det spekulative."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3258
msgid ""
"While at the Age, he’d become friends with a vice-chancellor of a university "
"in Melbourne who encouraged him to talk to smart people across campus—an "
"astrophysicist, a Nobel laureate, earth scientists, economists . . . These "
"were the kind of smart people he wished were more involved in informing the "
"world about what is going on and correcting the errors that appear in media. "
"However, they were reluctant to engage with mass media. Often, journalists "
"didn’t understand what they said, or unilaterally chose what aspect of a "
"story to tell, putting out a version that these people felt was wrong or "
"mischaracterized. Newspapers want to attract a mass audience. Scholars want "
"to communicate serious news, findings, and insights. It’s not a perfect "
"match. Universities are massive repositories of knowledge, research, wisdom, "
"and expertise. But a lot of that stays behind a wall of their own making—"
"there are the walled garden and ivory tower metaphors, and in more literal "
"terms, the paywall. Broadly speaking, universities are part of society but "
"disconnected from it. They are an enormous public resource but not that good "
"at presenting their expertise to the wider public."
msgstr ""
"Mens han var i avisen \"The Age\" var han blitt venner med en prorektor ved "
"et universitet i Melbourne, som oppmuntret ham til å snakke med gløgge folk "
"på hele lærestedet - en astrofysiker, en nobelprisvinner, forskere fra "
"geovitenskap, økonomer... Disse var dyktige folk som han ønsket var mer "
"involvert i å informere verden om hva som skjer og rette feilene som duker "
"dukker opp i media. De var imidlertid uvillige til å engasjere seg i "
"massemedia. Ofte forsto ikke journalister hva de sa, eller ensidig valgte ut "
"hvilket aspekt av en historie som ble fortalt, og legger ut en versjon som "
"fagfolkene følte var feil eller feilkarakterisert. Aviser vil tiltrekke seg "
"et massepublikum. Forskere vil kommunisere alvorlige nyheter, funn og "
"innsikter. Det er ikke en perfekt overensstemmelse. Universiteter er massive "
"lagre med kunnskap, forskning, visdom og ekspertise. Men mye av dette ligger "
"bak en vegg de har laget selv - det er metaforene om en inngjerdet hage og "
"elfenbenstårnet, og i mer bokstavelig forstand, betalingsveggen. Bredt sagt "
"er universiteter en del av samfunnet, men frakoblet det. De er en enorm "
"offentlig ressurs, men ikke så bra på presentere sin kompetanse til den "
"større offentlighet."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3269
msgid ""
"Andrew believed he could to help connect academics back into the public "
"arena, and maybe help society find solutions to big problems. He thought "
"about pairing professional editors with university and research experts, "
"working one-on-one to refine everything from story structure to headline, "
"captions, and quotes. The editors could help turn something that is academic "
"into something understandable and readable. And this would be a key "
"difference from traditional journalism—the subject matter expert would get a "
"chance to check the article and give final approval before it is published. "
"Compare this with reporters just picking and choosing the quotes and writing "
"whatever they want."
msgstr ""
"Andrew trodde han kunne hjelpe til med å koble akademikere til den "
"offentlige arenaen igjen, og kanskje bidra til at samfunnet finner løsninger "
"på større problemer. Han tenkte på å koble profesjonelle redaktører med "
"universitet og forskere, til å arbeider én-til-én for å forbedre alt fra "
"fortellingsstruktur til overskrift, bildetekster og sitater. Redaktørene kan "
"bidra til å gjøre noe som er akademisk, til noe forståelig og lesbart. Dette "
"ville vært en hovedforskjell fra tradisjonell journalistikk -  emneeksperten "
"ville fått en sjanse å se artikkelen, og gi den en endelig godkjenning før "
"publikasjon. Sammenlign dette med journalister som bare plukker og velger "
"sitater, og skriver hva enn de måtte ønske."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3280
#, fuzzy
msgid ""
"The people he spoke to liked this idea, and Andrew embarked on raising money "
"and support with the help of the Commonwealth Scientific and Industrial "
"Research Organisation (CSIRO), the University of Melbourne, Monash "
"University, the University of Technology Sydney, and the University of "
"Western Australia. These founding partners saw the value of an independent "
"information channel that would also showcase the talent and knowledge of the "
"university and research sector. With their help, in 2011, the Conversation, "
"was launched as an independent news site in Australia. Everything published "
"in the Conversation is openly licensed with Creative Commons."
msgstr ""
"De han snakket med likte denne idéen, og Andrew gikk i gang med å skaffe "
"penger og støtte ved hjelp av Commonwealth Scientific and Industrial "
"Research Organisation (CSIRO), University of Melbourne, Monash University, "
"University of Technology Sydney, og University of Western Australia. Disse "
"grunnleggende samarbeidspartnere så verdien av en uavhengig "
"informasjonskanal som også ville bli et utstillingsvindu for talent og "
"kunnskap i universitets- og forskningssektoren. Med deres hjelp, i 2011, ble "
"Conversation lansert som en uavhengig nyhetsside i Australia. Alt som "
"publiseres i Conversation lisensieres åpent med Creative Commons."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3289
msgid ""
"The Conversation is founded on the belief that underpinning a functioning "
"democracy is access to independent, high-quality, informative journalism. "
"The Conversation’s aim is for people to have a better understanding of "
"current affairs and complex issues—and hopefully a better quality of public "
"discourse. The Conversation sees itself as a source of trusted information "
"dedicated to the public good. Their core mission is simple: to provide "
"readers with a reliable source of evidence-based information."
msgstr ""
"Conversation er grunnlagt i den oppfatning at forankringen av et fungerende "
"demokrati er i tilgang til uavhengig,  informativ journalistikk med høy "
"kvalitet. Conversations mål er at folk skal få en bedre forståelse av "
"aktuelle saker og komplekse problemstillinger, - og forhåpentligvis også "
"høyne kvaliteten på den offentlige diskusjonen. Conversation ser seg selv "
"som en kilde til pålitelig informasjon til vårt felles beste. Kjerneoppgaven "
"deres er enkel: Å gi leserne en pålitelig kilde til bevisbasert informasjon."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3302
#, fuzzy
msgid ""
"Andrew worked hard to reinvent a methodology for creating reliable, credible "
"content. He introduced strict new working practices, a charter, and codes of "
"conduct.1 These include fully disclosing who every author is (with their "
"relevant expertise); who is funding their research; and if there are any "
"potential or real conflicts of interest. Also important is where the content "
"originates, and even though it comes from the university and research "
"community, it still needs to be fully disclosed.  The Conversation does not "
"sit behind a paywall. Andrew believes access to information is an issue of "
"equality—everyone should have access, like access to clean water. The "
"Conversation is committed to an open and free Internet. Everyone should have "
"free access to their content, and be able to share it or republish it."
msgstr ""
"Andrew jobbet hardt for å gjenoppfinne en metodikk for å lage pålitelig, "
"troverdig innhold. Han innførte strenge nye arbeidsrutiner, prinsipper og "
"koder for utføringen.1 Disse inkluderer fullt åpenhet om hvem hver forfatter "
"er (med sin relevante kompetanse); Hvem som finansierer forskningen deres; "
"Og om det er noen potensielle eller faktiske interessekonflikter. Viktig er "
"det også hvor innholdet kommer fra, selv om det kommer fra universitets- og "
"forskningssamfunnet, må det fremdeles være helt åpent.  Conversation "
"befinner seg ikke bak betalingsmur. Andrew tror at tilgang til informasjon "
"er et likhetsspørsmål - alle skal ha tilgang, som tilgang til rent vann. "
"Conversation er forpliktet til et åpent og gratis Internett. Alle bør ha "
"gratis tilgang til innholdet deres, kunne dele det eller publiserere det på "
"nytt."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3313
#, fuzzy
msgid ""
"Creative Commons help with these goals; articles are published with the "
"Attribution- NoDerivs license (CC BY-ND). They’re freely available for "
"others to republish elsewhere as long as attribution is given and the "
"content is not edited. Over five years, more than twenty-two thousand sites "
"have republished their content. The Conversation website gets about 2.9 "
"million unique views per month, but through republication they have thirty-"
"five million readers. This couldn’t have been done without the Creative "
"Commons license, and in Andrew’s view, Creative Commons is central to "
"everything the Conversation does."
msgstr ""
"Creative Commons hjelper til med disse målene; artiklene publiseres med "
"Attribution-NoDerivs-lisens (CC BY-ND). Det er fritt tilgjengelig for andre "
"å viderepublisere et annet sted så lenge henvisning er gitt og innholdet "
"ikke er endret. I fem år, har mer enn tjueto tusen nettsteder re-publisert "
"innholdet. Conversations nettsted får om lag 2,9 millioner unike "
"sidevisninger per måned, men gjennom viderepublisering har de trettifem "
"millioner lesere. Dette kunne ikke blitt gjort uten Creative Commons-"
"lisensen, og etter Andrews syn, er Creative Commons sentral i alt "
"Conversation gjør."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3320
msgid ""
"When readers come across the Conversation, they seem to like what they find "
"and recommend it to their friends, peers, and networks. Readership has grown "
"primarily through word of mouth. While they don’t have sales and marketing, "
"they do promote their work through social media (including Twitter and "
"Facebook), and by being an accredited supplier to Google News."
msgstr ""
"Når leserne kommer over Conversation, virker det som om de liker det de "
"finner, og anbefaler det til venner, kolleger, og sine nettverk. Leserskaren "
"har primært vokst gjennom jungeltelegrafen. Selv om de ikke har salg og "
"markedsføring, fremmer de sitt arbeid gjennom sosiale medier (inkludert "
"Twitter og Facebook), og ved å være en akkreditert leverandør til Google "
"News."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3328
msgid ""
"It’s usual for the founders of any company to ask themselves what kind of "
"company it should be. It quickly became clear to the founders of the "
"Conversation that they wanted to create a public good rather than make money "
"off of information. Most media companies are working to aggregate as many "
"eyeballs as possible and sell ads. The Conversation founders didn’t want "
"this model. It takes no advertising and is a not-for-profit venture."
msgstr ""
"Det er vanlig for grunnleggerne av alle selskaper å spørre seg selv hva "
"slags selskap det skal være. Det ble raskt klart for grunnleggerne av "
"Conversation at de ønsket å opprette et offentlig gode i stedet for å tjene "
"penger på informasjonen. De fleste medieselskaper arbeider med å samle så "
"mange øyne som mulig for salg av annonser. Conversation-stifterne ønsket "
"ikke den modellen. De har ingen reklame og er et ikke-for-profitt -"
"foretagende."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3337
msgid ""
"There are now different editions of the Conversation for Africa, the United "
"Kingdom, France, and the United States, in addition to the one for "
"Australia. All five editions have their own editorial mastheads, advisory "
"boards, and content. The Conversation’s global virtual newsroom has roughly "
"ninety staff working with thirty-five thousand academics from over sixteen "
"hundred universities around the world. The Conversation would like to be "
"working with university scholars from even more parts of the world."
msgstr ""
"I dag er det ulike utgaver av Conversation for Afrika, Storbritannia, "
"Frankrike og USA, i tillegg til en for Australia. Alle fem versjonene har "
"egne redaksjonelle kolofoner, eget rådgivende styre og eget innhold. "
"Conversations globale virtuelle redaksjon har omtrent nitti ansatte som "
"arbeider med trettifem tusen akademikere fra over seksten hundre "
"universiteter over hele verden. Conversation ønsker å jobbe med "
"universitetsforskere fra enda flere deler av verden."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3344
msgid ""
"Additionally, each edition has its own set of founding partners, strategic "
"partners, and funders. They’ve received funding from foundations, "
"corporates, institutions, and individual donations, but the Conversation is "
"shifting toward paid memberships by universities and research institutions "
"to sustain operations. This would safeguard the current service and help "
"improve coverage and features."
msgstr ""
"I tillegg har hver utgave sitt eget sett av finansieringspartnere, "
"strategiske partnere og finansielle bidragsytere. De har mottatt "
"finansiering fra stiftelser, bedrifter, institusjoner og individuelle "
"donasjoner, men Conversation beveger seg mot betalt medlemskap fra "
"universiteter og forskningsinstitusjoner for å  videreføre virksomheten. "
"Dette ville sikre den nåværende tjenesten, og hjelpe til med å forbedre "
"dekning og funksjoner."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3350
msgid ""
"When professors from member universities write an article, there is some "
"branding of the university associated with the article. On the Conversation "
"website, paying university members are listed as “members and funders.” "
"Early participants may be designated as “founding members,” with seats on "
"the editorial advisory board."
msgstr ""
"Når professorer fra medlemsuniversiteter skriver en artikkel, er det noe "
"merkevarebygging for universitetet tilknyttet artikkelen. På Conversations "
"nettside, er betalende universitetsmedlemmer oppført som \"medlemmer og "
"finansierere .\" Tidlige deltakerne kan angis som \"grunnleggermedlemmer\", "
"med plass i det redaksjonelle rådgivende styre."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3358
msgid ""
"Academics are not paid for their contributions, but they get free editing "
"from a professional (four to five hours per piece, on average).  They also "
"get access to a large audience. Every author and member university has "
"access to a special analytics dashboard where they can check the reach of an "
"article. The metrics include what people are tweeting, the comments, "
"countries the readership represents, where the article is being republished, "
"and the number of readers per article."
msgstr ""
"Akademikere betales ikke for sine bidrag, men får fri redigeringsbistand fra "
"en profesjonell (fire til fem timer i gjennomsnitt per stykke).  De får også "
"tilgang til et stort publikum. Hver forfatter og medlems-universitet har "
"tilgang til en spesiell analyseoversikt der de kan se hvor langt en artikkel "
"rekker ut. Beregningene omfatter hva folk kvitrer, kommentarene, landene "
"lesekretsen representerer, hvor artikkelen er viderepublisert, og antall "
"lesere per artikkel."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3364
msgid ""
"The Conversation plans to expand the dashboard to show not just reach but "
"impact. This tracks activities, behaviors, and events that occurred as a "
"result of publication, including things like a scholar being asked to go on "
"a show to discuss their piece, give a talk at a conference, collaborate, "
"submit a journal paper, and consult a company on a topic."
msgstr ""
"Conversation planlegger å utvide analyseverktøyet til å vise ikke bare "
"spredning, men innvirkning. Dette sporer aktiviteter, atferd og hendelser "
"som som følge av publikasjonen, inkludert ting som at en fagperson blir bedt "
"om å være med på en forestilling for å diskutere sitt bidrag, holde en tale "
"på en konferanse, samarbeide, sende et bidrag til en journal og konsultere "
"et selskap om et emne."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3368
msgid ""
"These reach and impact metrics show the benefits of membership. With the "
"Conversation, universities can engage with the public and show why they’re "
"of value."
msgstr ""
"Disse gjennomslag- og rekkevidde -beregningene viser fordelene ved "
"medlemskap. Med Conversation, kan universiteter engasjere offentligheten og "
"vise at de er verdifulle."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3374
msgid ""
"With its tagline, “Academic Rigor, Journalistic Flair,” the Conversation "
"represents a new form of journalism that contributes to a more informed "
"citizenry and improved democracy around the world. Its open business model "
"and use of Creative Commons show how it’s possible to generate both a public "
"good and operational revenue at the same time."
msgstr ""
"Med sitt slagord, “Akademisk standhaftighet, journalistisk finesse\", "
"representerer Conversation en ny form for journalistikk som bidrar til en "
"bedre informert borgerstand, og forbedret demokrati rundt om i verden. Dets "
"åpne forretningsmodell og bruk av Creative Commons viser hvordan det er "
"mulig å bygge opp både et offentlig gode inndrive operasjonelle inntekter "
"samtidig."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3376
#: MadewithCreativeCommonsmostup-to-dateversion.md:4485
#: MadewithCreativeCommonsmostup-to-dateversion.md:5764
#: MadewithCreativeCommonsmostup-to-dateversion.md:7409
msgid "Web link"
msgstr "Nettlenke"

#. type: Bullet: '1.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:3378
msgid "theconversation.com/us/charter"
msgstr "theconversation.com/us/charter"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3380
msgid "## Cory Doctorow"
msgstr "## Cory Doctorow"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3383
msgid ""
"Cory Doctorow is a science fiction writer, activist, blogger, and "
"journalist. Based in the U.S."
msgstr ""
"Cory Doctorow er en science fiction-forfatter, aktivist, blogger og "
"journalist med base i USA."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3385
msgid "craphound.com and boingboing.net"
msgstr "craphound.com og boingboing.net"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3388
msgid ""
"Revenue model: charging for physical copies (book sales), pay-what-you-want, "
"selling translation rights to books"
msgstr ""
"Inntektsmodell: Betaling for fysiske kopier(boksalg), betal-hva-du-vil, selg "
"av rettigheter til bokoversettelser"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3390
msgid "Interview date: January 12, 2016"
msgstr "Dato for intervju: 12 januar, 2016"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3399
msgid ""
"Cory Doctorow hates the term “business model,” and he is adamant that he is "
"not a brand. “To me, branding is the idea that you can take a thing that has "
"certain qualities, remove the qualities, and go on selling it,” he said. "
"“I’m not out there trying to figure out how to be a brand. I’m doing this "
"thing that animates me to work crazy insane hours because it’s the most "
"important thing I know how to do.”"
msgstr ""
"Cory Doctorow hater begrepet «forretningsmodell», og han er ubøyelig på at "
"han ikke er en merkevare. «For meg, er merkevarebygging idéen om at du kan "
"ta en ting som har visse kvaliteter, fjerne kvalitetene og så gå i gang og "
"selge det,» sa han. «Jeg er ikke der ute for å prøve å finne ut hvordan man "
"blir en merkevare. Jeg gjør det som egger meg i det å arbeide et sinnssykt "
"antall timer fordi det er det aller viktigste jeg vet hvordan skal gjøres.»"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3403
msgid ""
"Cory calls himself an entrepreneur. He likes to say his success came from "
"making stuff people happened to like and then getting out of the way of them "
"sharing it."
msgstr ""
"Cory kaller seg entreprenør. Han liker å si at hans suksess kom fra å gjøre "
"ting folk tilfeldigvis liker, for så å ikke være i veien når de deler det."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3412
#, fuzzy
msgid ""
"He is a science fiction writer, activist, blogger, and journalist.  "
"Beginning with his first novel, Down and Out in the Magic Kingdom, in 2003, "
"his work has been published under a Creative Commons license. Cory is "
"coeditor of the popular CC-licensed site Boing Boing, where he writes about "
"technology, politics, and intellectual property. He has also written several "
"nonfiction books, including the most recent Information Doesn’t Want to Be "
"Free, about the ways in which creators can make a living in the Internet age."
msgstr ""
"Han er science fiction-forfatter, aktivist, blogger og journalist. Han "
"begynte med sin første roman, Down and Out in the Magic Kingdom, i 2003, med "
"sitt arbeid publisert med en Creative Commons-lisens. Cory er medredaktør av "
"det populære CC-lisensierte nettstedet Boing Boing, der han skriver om "
"teknologi, politikk, opphavsrett og programvarepatenter. Han har også "
"skrevet flere sakprosa-bøker, inkludert den nyeste \"Information Doesn’t "
"Want to Be Free\", om måtene innholdsprodusenter kan skaffe seg et levebrød "
"i Internett-alderen."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3416
msgid ""
"Cory primarily makes money by selling physical books, but he also takes on "
"paid speaking gigs and is experimenting with pay-what-you-want models for "
"his work."
msgstr ""
"Cory tjener primært penger ved å selge fysiske bøker, men han tar også "
"betalt på foredrags-arrangementer, og  eksperimenterer med betal-hva-du-vil-"
"modeller for sitt arbeid."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3431
msgid ""
"While Cory’s extensive body of fiction work has a large following, he is "
"just as well known for his activism. He is an outspoken opponent of "
"restrictive copyright and digital-rights-management (DRM) technology used to "
"lock up content because he thinks both undermine creators and the public "
"interest. He is currently a special adviser at the Electronic Frontier "
"Foundation, where he is involved in a lawsuit challenging the U.S. law that "
"protects DRM. Cory says his political work doesn’t directly make him money, "
"but if he gave it up, he thinks he would lose credibility and, more "
"importantly, lose the drive that propels him to create. “My political work "
"is a different expression of the same artistic-political urge,” he said. “I "
"have this suspicion that if I gave up the things that didn’t make me money, "
"the genuineness would leach out of what I do, and the quality that causes "
"people to like what I do would be gone.”"
msgstr ""
"Mens Cory omfattende fiksjonsforfatterskap har en stor tilhengerskare, er "
"han like godt kjent for sin aktivisme. Han er en frittalende motstander av "
"at restriktiv opphavsretts- og digital rettighetshånterings(DRM)-teknologi "
"brukes til å låse innhold fordi han mener begge undergraver "
"innholdsprodusenters- og offentlighetens-interesser. Han er spesialrådgiver "
"for Electronic Frontier Foundation, hvor han er involvert i en rettssak som "
"utfordrer den amerikanske lovens beskyttelse av DRM. Cory sier at hans "
"politiske arbeid ikke er direkte inntektsbringende, men hvis han ga det opp, "
"tror han at han vil miste troverdighet, og mer viktigere, tape pågangsmotet "
"som driver ham til å lage innhold. \"Mitt politiske arbeid er et annet "
"uttrykk for den samme kunstnerisk-politiske trangen,\" sa han. \"Jeg har "
"denne mistanken om at hvis jeg ga opp tingene som ikke ga meg penger, ville "
"ektheten forsvinne fra det jeg gjør, og kvaliteten som fører folk til å like "
"det jeg gjør, ville bli borte.\""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3442
msgid ""
"Cory has been financially successful, but money is not his primary "
"motivation. At the start of his book Information Doesn’t Want to Be Free, he "
"stresses how important it is not to become an artist if your goal is to get "
"rich. “Entering the arts because you want to get rich is like buying lottery "
"tickets because you want to get rich,” he wrote. “It might work, but it "
"almost certainly won’t. Though, of course, someone always wins the lottery.” "
"He acknowledges that he is one of the lucky few to “make it,” but he says he "
"would be writing no matter what. “I am compelled to write,” he wrote. “Long "
"before I wrote to keep myself fed and sheltered, I was writing to keep "
"myself sane.”"
msgstr ""
"Cory har blitt økonomisk vellykket, men penger er ikke hans viktigste "
"motivasjon. I begynnelsen boka \"Information Doesn’t Want to Be Free\" "
"understreker han hvor viktig det er å ikke bli kunstner, hvis målet ditt er "
"å bli rik. \"Å velge kunsten fordi du ønsker å bli rik er som å kjøpe lodd, "
"fordi du vil bli rik,\" skrev han. \"Det kan fungere, men det vil nesten "
"helt sikkert ikke gjøre det. Selvfølgelig vinner dog noen alltid lotteriet."
"\" Han erkjenner at han er en av de heldige få som \"får det til\", men han "
"sier han vil skrive samme hva. \"Jeg er nødt til å skrive,\" skrev han. "
"\"Lenge før jeg skrev for å få mat på bordet og tak over hodet, skrev jeg "
"for å holde meg selv normal.\""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3450
msgid ""
"Just as money is not his primary motivation to create, money is not his "
"primary motivation to share. For Cory, sharing his work with Creative "
"Commons is a moral imperative. “It felt morally right,” he said of his "
"decision to adopt Creative Commons licenses. “I felt like I wasn’t "
"contributing to the culture of surveillance and censorship that has been "
"created to try to stop copying.” In other words, using CC licenses "
"symbolizes his worldview."
msgstr ""
"Likeframt at skapelsen av penger ikke er hans hovedformål, er delingen derav "
"ei heller det. Cory er dele sitt arbeid med Creative Commons et moralsk "
"imperativ. «Det føltes moralsk riktig,» omtalte han sin beslutning om å "
"vedta Creative Commons-lisenser. «Jeg følte at jeg ikke var bidragsyter til "
"overvåkningskultur og sensur, som er opprettet for å prøve å stoppe "
"kopieringen.» Med andre ord symboliserer bruken av CC-lisenser hans "
"verdensbilde."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3458
msgid ""
"He also feels like there is a solid commercial basis for licensing his work "
"with Creative Commons. While he acknowledges he hasn’t been able to do a "
"controlled experiment to compare the commercial benefits of licensing with "
"CC against reserving all rights, he thinks he has sold more books using a CC "
"license than he would have without it. Cory says his goal is to convince "
"people they should pay him for his work. “I started by not calling them "
"thieves,” he said."
msgstr ""
"Han føler også at det finnes solid kommersiell basis lisensiering av sitt "
"arbeid med Creative Commons. Mens han erkjenner han ikke har vært i stand "
"til å gjøre et kontrollert eksperiment for å sammenligne de kommersielle "
"fordelene ved lisensiering med CC opp mot å reservere alle rettigheter, "
"mener han at han har solgt flere bøker ved å bruke en CC-lisens enn han "
"ville ha gjort uten. Cory sier hans mål er å overbevise folk om de skal "
"betale ham for sitt arbeid. \"Jeg startet med å ikke kalle dem tyver,\" sa "
"han."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3469
msgid ""
"Cory started using CC licenses soon after they were first created. At the "
"time his first novel came out, he says the science fiction genre was overrun "
"with people scanning and downloading books without permission.  When he and "
"his publisher took a closer look at who was doing that sort of thing online, "
"they realized it looked a lot like book promotion. “I knew there was a "
"relationship between having enthusiastic readers and having a successful "
"career as a writer,” he said. “At the time, it took eighty hours to OCR a "
"book, which is a big effort. I decided to spare them the time and energy, "
"and give them the book for free in a format destined to spread.”"
msgstr ""
"Cory startet bruken av CC-lisenser like etter at de var laget ferdige. Da "
"hans første novelle kom ut, sa han at science fiction-sjangeren var var "
"misbrukt av folk som lastet ned og delte bøker uten lov. Da han i samråd med "
"sin forlagsmann tok dem som gjorde dette på nett i nærmere øyesyn, skjønte "
"de at det mer så ut som bokpromotering. \"Jeg visste at det var en symbiose "
"mellom en entusiastisk leserskare og suksess som skribent.\" sa han. \"På "
"den tiden tok det åtti timer å tegnlese(OCR) en bok, noe som representerer "
"mye innsats. Jeg besluttet å spare dem tiden og energien, og gi ut boken min "
"gratis i et format hvis spredning var et tegn i tiden.\""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3475
msgid ""
"Cory admits the stakes were pretty low for him when he first adopted "
"Creative Commons licenses. He only had to sell two thousand copies of his "
"book to break even. People often said he was only able to use CC licenses "
"successfully at that time because he was just starting out. Now they say he "
"can only do it because he is an established author."
msgstr ""
"Cory innrømmer satsingen hans var ganske liten da han først tok i bruk "
"Creative Commons-lisenser. Han måtte bare selge to tusen eksemplarer av boka "
"si for å gå i null. Folk sa ofte at han kun var i stand til å nytte CC-"
"lisensiering med hell på dette tidspunktet fordi han var i startfasen. Nå "
"sier de at det er som følge av hans etablerte forfatterskap."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3482
msgid ""
"The bottom line, Cory says, is that no one has found a way to prevent people "
"from copying the stuff they like. Rather than fighting the tide, Cory makes "
"his work intrinsically shareable. “Getting the hell out of the way for "
"people who want to share their love of you with other people sounds obvious, "
"but it’s remarkable how many people don’t do it,” he said."
msgstr ""
"I konklusjonen, sier Cory at ingen har funnet en måte å forhindre folk fra å "
"kopiere ting de liker. Snarere enn å opptre naturstridig, gjør han sitt "
"arbeide iboende delbart. \"Å i god fart komme seg vekk fra å være iveien for "
"folk som vil dele sin kjærlighet til deg med andre, høres opplagt ut, men "
"det er oppsiktsvekkende hvor mange som ikke synes det\"."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3495
#, fuzzy
msgid ""
"Making his work available under Creative Commons licenses enables him to "
"view his biggest fans as his ambassadors. “Being open to fan activity makes "
"you part of the conversation about what fans do with your work and how they "
"interact with it,” he said. Cory’s own website routinely highlights cool "
"things his audience has done with his work. Unlike corporations like Disney "
"that tend to have a hands-off relationship with their fan activity, he has a "
"symbiotic relationship with his audience.  “Engaging with your audience "
"can’t guarantee you success,” he said. “And Disney is an example of being "
"able to remain aloof and still being the most successful company in the "
"creative industry in history. But I figure my likelihood of being Disney is "
"pretty slim, so I should take all the help I can get.”"
msgstr ""
"Ved å gjøre sitt arbeid tilgjengelig med CC-lisenser lar har se sine mest "
"ihuga tilhengere som sine ambassadører. \"Å være åpen for fan-aktivitet gjør "
"deg til en del av samtalen om hva tilhengere gjør med ditt arbeide, og "
"hvordan de kommuniserer med det. sa han. Corys egen nettside framhever "
"regelmessig kule ting hans publikum har gjort med hans arbeide. Ulikt "
"selskaper som Disney, som tenderer til å ha et hendene vekk-forhold til sin "
"fanskare, har han en nær sameksistens med sitt publikum. \"Å engasjerer ditt "
"publikum kan ikke garantere suksess\", sa han. \"Og Disney er et eksempel å "
"merke seg, i det at de tross alt er det mest vellykkede selskapet i den "
"kreative industrien. Dog ser jeg min sannsynlighet for å bli Disney heller "
"usannsynlig, så jeg bør ta all den hjelp jeg kan få."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3508
#, fuzzy
msgid ""
"His first book was published under the most restrictive Creative Commons "
"license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND). It allows only "
"verbatim copying for noncommercial purposes. His later work is published "
"under the Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA), which "
"gives people the right to adapt his work for noncommercial purposes but only "
"if they share it back under the same license terms. Before releasing his "
"work under a CC license that allows adaptations, he always sells the right "
"to translate the book to other languages to a commercial publisher first. He "
"wants to reach new potential buyers in other parts of the world, and he "
"thinks it is more difficult to get people to pay for translations if there "
"are fan translations already available for free."
msgstr ""
"Hans første bok ble publisert med den mest restriktive Creative Commons-"
"lisensen, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND). Den tillater kun "
"helhetlig kopiering for ikke-kommersielle formål. Hans senere arbeider kom "
"ut under Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA), som gir "
"folk retten til å endre hans arbeider for ikke-kommersielle formål, men bare "
"hvis de deler på like lisensvilkår. Før han utgav sitt arbeid under en CC-"
"lisens som tillater bearbeidelser, selger han alltid retten til å oversette "
"boka til andre språk til en forlagsmann først. Han ønsker å nå nye "
"potensielle kjøpere i andre deler av verden, og tror det er vanskeligere å "
"få folk til å betale for oversettelser hvis det allerede finnes "
"uprofesjonelle oversettelser tilgjengelig gratis."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3520
#, fuzzy
msgid ""
"In his book Information Doesn’t Want to Be Free, Cory likens his philosophy "
"to thinking like a dandelion. Dandelions produce thousands of seeds each "
"spring, and they are blown into the air going in every direction. The "
"strategy is to maximize the number of blind chances the dandelion has for "
"continuing its genetic line. Similarly, he says there are lots of people out "
"there who may want to buy creative work or compensate authors for it in some "
"other way. “The more places your work can find itself, the greater the "
"likelihood that it will find one of those would-be customers in some "
"unsuspected crack in the metaphorical pavement,” he wrote. “The copies that "
"others make of my work cost me nothing, and present the possibility that "
"I’ll get something.”"
msgstr ""
"I hans bok \"Information Doesn't Want to Be Free\", holder Cory løvetannen "
"opp mot lyset av sin filosofi. De produserer tusener av frø hver vår, og de "
"blåses for alle vinder i alle retninger. Strategien er å maksimalisere "
"antall tilfeldigheter som må på plass for at den skal kunne videreføre sin "
"hærkomst. Likeledes, sier han at det finnes mange der ute som ønsker å kjøe "
"kreative arbeider eller kompensere forfattere for dem, på en eller annen "
"måte. \"Desto flere plasser ditt arbeide kan finne sitt publikum, desto "
"større er sjansen for at en potensiell kunde skal springe ut av asfalten.\" "
"skrev han. Kopiene andre gjør av arbeidet koster meg ingenting, og "
"presenterer muligheten for at jeg får noe tilbake.\""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3529
msgid ""
"Applying a CC license to his work increases the chances it will be shared "
"more widely around the Web. He avoids DRM—and openly opposes the practice—"
"for similar reasons. DRM has the effect of tying a work to a particular "
"platform. This digital lock, in turn, strips the authors of control over "
"their own work and hands that control over to the platform.  He calls it "
"Cory’s First Law: “Anytime someone puts a lock on something that belongs to "
"you and won’t give you the key, that lock isn’t there for your benefit.”"
msgstr ""
"Å tillegge sitt arbeide CC-lisens øker sjansen for at det skal deles viden "
"rundt på nettet. Han unngår DRM - og nytter åpent høvet til å ville avskaffe "
"slikt - av lignende grunner. DRM har effekten av å prøve å binde et verk til "
"en spesiell plattform. Denne digitale låsen, vil i tur medføre at "
"forfatterne mister kontroll over eget arbeide, og overlanger kontrollen til "
"plattformen. Han kaller det Corys første lov: \"Hver gang noen putter en lås "
"på noe som tilhører deg og ikke ønsker å gi deg nøkkelen, er den ikke der i "
"hensikt å gavne deg.\""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3538
#, fuzzy
msgid ""
"Cory operates under the premise that artists benefit when there are more, "
"rather than fewer, places where people can access their work. The Internet "
"has opened up those avenues, but DRM is designed to limit them.  “On the one "
"hand, we can credibly make our work available to a widely dispersed "
"audience,” he said. “On the other hand, the intermediaries we historically "
"sold to are making it harder to go around them.” Cory continually looks for "
"ways to reach his audience without relying upon major platforms that will "
"try to take control over his work."
msgstr ""
"Cory opererer under premisset om at artister nyter godt av flere, snarere "
"enn færre plasser tilgjengelig for deres arbeide. Internett har åpnet opp de "
"krokene, men DRM er designet for å begrense dem. \"På den ene siden kan vi i "
"god tro gjøre vårt arbeide tilgjengelig for et vidt publikum,\" sa han. \"På "
"den andre siden, gjør forlagsholderne vi tradisjonelt har gått til det "
"vanskeligere å komme unna dem.\" Cory ser kontinuerlig etter måter å nå sitt "
"publikum uten å måtte ha med store plattformer som ønsker å ta kontrollen "
"over hans arbeide å gjøre."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3547
#, fuzzy
msgid ""
"Cory says his e-book sales have been lower than those of his competitors, "
"and he attributes some of that to the CC license making the work available "
"for free. But he believes people are willing to pay for content they like, "
"even when it is available for free, as long as it is easy to do. He was "
"extremely successful using Humble Bundle, a platform that allows people to "
"pay what they want for DRM-free versions of a bundle of a particular "
"creator’s work. He is planning to try his own pay-what-you-want experiment "
"soon."
msgstr ""
"Cory sier at hans nettbaserte boksalg har vært lavere enn sine konkurrenter, "
"og han mener noe av det skriver seg til bruken av CC-lisensiering i det at "
"det gjør arbeidene tilgjengelige gratis. Han tror dog at folk er villige til "
"å betale for innhold de liker, selv når det er tilgjengelig gratis, så lenge "
"det er enkelt å gjøre. Han traff helt blink i bruken av Humble Bundle, en "
"plattform som tillater folk å betale det de vil, for DRM-frie versjoner av "
"et knippe arbeider. Han planlegger å sette sitt eget betal-hva-du-vil -"
"eksperiment ut i livet snart."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3556
#, fuzzy
msgid ""
"Fans are particularly willing to pay when they feel personally connected to "
"the artist. Cory works hard to create that personal connection. One way he "
"does this is by personally answering every single email he gets.  “If you "
"look at the history of artists, most die in penury,” he said.  “That reality "
"means that for artists, we have to find ways to support ourselves when "
"public tastes shift, when copyright stops producing.  Future-proofing your "
"artistic career in many ways means figuring out how to stay connected to "
"those people who have been touched by your work.”"
msgstr ""
"Tilhengere er i særdeleshet villig til å betale når de føler seg personlig "
"tilknyttet artisten. Cory arbeider hardt for å knytte de personlige båndene. "
"Én måte han gjør dette på er å svare personlig på hver eneste e-post han "
"får. \"Hvis du ser på artisters historikk, vil du se at de fleste dør i "
"elendighet,\" \"Det betyr at for artister, må vi finne måter å støtte oss "
"selv, trass i at den gemene hops drifter tar annen retning, når kopiretten "
"slutter å produsere. Å sikre sin artistiske karriére for fremtiden er på "
"mange måter noe som handler om å holde kontakten med dem som har blitt rørt "
"av ditt arbeide.\""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3562
msgid ""
"Cory’s realism about the difficulty of making a living in the arts does not "
"reflect pessimism about the Internet age. Instead, he says the fact that it "
"is hard to make a living as an artist is nothing new. What is new, he writes "
"in his book, “is how many ways there are to make things, and to get them "
"into other people’s hands and minds.”"
msgstr ""
"Corys vednære tilnærming til vanskelighetene rundt det å leve av kunsten "
"gjør seg ikke gjeldende som pessimisme rundt internettalderen. Isteden, sier "
"han at det faktum at det er vanskelig å livnære seg som artist ikke er noe "
"nytt. Det som er nytt, skriver han i sin bok \"er hvor mange måter det går "
"an å lage ting, og hvordan man får dem inn i andre folks sinn og hender\"."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3564
msgid "It has never been easier to think like a dandelion."
msgstr "Det har aldri vært lettere å rette tankene i løvetannens baner."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3566
msgid "## Figshare"
msgstr "## Figshare"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3571
msgid ""
"Figshare is a for-profit company offering an online repository where "
"researchers can preserve and share the output of their research, including "
"figures, data sets, images, and videos. Founded in 2011 in the UK."
msgstr ""
"Figshare er et selskap som er basert på fortjeneste og tilbyr et online "
"oppbevaringssted der forskere kan bevare og dele resultatet av sin "
"forskning, inkludert tall, datasett, bilder og videoer. Grunnlagt i 2011 i "
"Storbritannia."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3573
msgid "figshare.com"
msgstr "figshare.com"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3575
msgid "Revenue model: platform providing paid services to creators"
msgstr ""
"Inntektesmodell: Plattform som tilbyr betalte tjenester til "
"innholdsleverandører"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3577
msgid "Interview date: January 28, 2016"
msgstr "Dato for intervju: 28. januar 2016"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3579
msgid "Interviewee: Mark Hahnel, founder"
msgstr "Intervjuet: Mark Hahnel, grunnlegger"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3590
msgid ""
"Figshare’s mission is to change the face of academic publishing through "
"improved dissemination, discoverability, and reusability of scholarly "
"research. Figshare is a repository where users can make all the output of "
"their research available—from posters and presentations to data sets and code"
"—in a way that’s easy to discover, cite, and share. Users can upload any "
"file format, which can then be previewed in a Web browser.  Research output "
"is disseminated in a way that the current scholarly-publishing model does "
"not allow."
msgstr ""
"Figshares mål er å endre den vitenskapelig publisering ens fremside gjennom "
"forbedret formidling, gjenkjenning og gjenbruk av akademiske forskning. "
"Figshare er et oppbevaringssted hvor brukerekan gjøre alle resultatene av "
"sin forsknings tilgjengelig - fra plakater og presentasjoner til datasett og "
"kode - på en måte som er lett å oppdage, sitere og dele. Brukernes kan laste "
"opp alle filformater, som deretter kan forhåndsvises i en nettleser.  "
"Forskningsresultater formidles på en måte som den gjeldende modellen for "
"vitenskapelig disiplinpublisering ikke tillater."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3594
msgid ""
"Figshare founder Mark Hahnel often gets asked: How do you make money? How do "
"we know you’ll be here in five years? Can you, as a for-profit venture, be "
"trusted? Answers have evolved over time."
msgstr ""
"Figshares grunnlegger, Mark Hahnel, får ofte spørsmål om hvordan han tjener "
"penger? Hvordan vet vi at du er her om fem år? Kan du, som er basert på "
"fortjeneste, være og stole på? Svar har utviklet seg over tid."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3602
msgid ""
"Mark traces the origins of Figshare back to when he was a graduate student "
"getting his PhD in stem cell biology. His research involved working with "
"videos of stem cells in motion. However, when he went to publish his "
"research, there was no way for him to also publish the videos, figures, "
"graphs, and data sets. This was frustrating. Mark believed publishing his "
"complete research would lead to more citations and be better for his career."
msgstr ""
"Mark sporer opprinnelsen til Figshare tilbake til da han som student skulle "
"ta sin Ph.D.-eksamen i stamcellebiologi. Hans forskning involverte å arbeide "
"med videoer av stamceller i bevegelse. Men da han gikk for å publisere sin "
"forskning, var det umulig for ham å også publisere videoer, figurer, "
"diagrammer og datasett. Dette var frustrerende. Mark trodde å publisere sin "
"forskning fullstendig, ville føre til flere sitater og være bedre for hans "
"karriere."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3608
#, fuzzy
msgid ""
"Mark does not consider himself an advanced software programmer.  "
"Fortunately, things like cloud-based computing and wikis had become "
"mainstream, and he believed it ought to be possible to put all his research "
"online and share it with anyone. So he began working on a solution."
msgstr ""
"Mark anser seg ikke som noen avansert programmør. Beleilig nok hadde ting "
"som skybasert regnekraft og wiki-er blitt allemannseie, og han trodde det "
"ville vært mulig å putte sitt forskningsarbeide på nett og dele det med "
"alle. Dernest begynte han å arbeide med en løsning."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3612
msgid ""
"There were two key needs: licenses to make the data citable, and persistent "
"identifiers— URL links that always point back to the original object "
"ensuring the research is citable for the long term."
msgstr ""
"Det var to nøkkelbehov: Lisensene måtte gjøre dataene mulig å sitere, samt å "
"gi dem varige identifikatorer - nettadresser som alltid peker tilbake til "
"originalobjektet for å sikre at forskningen kan siteres på lang sikt."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3619
msgid ""
"Mark chose Digital Object Identifiers (DOIs) to meet the need for a "
"persistent identifier. In the DOI system, an object’s metadata is stored as "
"a series of numbers in the DOI name. Referring to an object by its DOI is "
"more stable than referring to it by its URL, because the location of an "
"object (the web page or URL) can often change. Mark partnered with DataCite "
"for the provision of DOIs for research data."
msgstr ""
"Mark valgte digitale objektidentifikatorer (DOI-er) for å møte behovet for "
"vedvarende identifikatorer. I DOI-systemet, blir et objekts metadata lagret "
"som en serie nummer i DOI-navnet. Å referere til et objekt ved sitt DOI er "
"mer stabilt enn å bruke nettadressen, fordi plasseringen av et objekt "
"(nettsiden eller -adressen) ofte kan endre seg. Mark gikk i partnerskap med "
"DataCite for å tilby DOI-er for forskningsdata."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3625
#, fuzzy
msgid ""
"As for licenses, Mark chose Creative Commons. The open-access and open-"
"science communities were already using and recommending Creative Commons. "
"Based on what was happening in those communities and Mark’s dialogue with "
"peers, he went with CC0 (in the public domain) for data sets and CC BY "
"(Attribution) for figures, videos, and data sets."
msgstr ""
"Det gjelder lisenser, valgte Mark Creative Commons. Miljøene for åpen "
"tilgang og tilsvarende forskning brukte allerede, og anbefalte Creative "
"Commons. Basert på hva som skjedde i de kretsene, og Marks samtaler med sine "
"fagfeller, gikk han for CC0 (tilsvarende offentlig eie) for datasett og CC "
"BY (Attribution) for figurer, videoer og datasett."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3630
msgid ""
"So Mark began using DOIs and Creative Commons for his own research work.  He "
"had a science blog where he wrote about it and made all his data open. "
"People started commenting on his blog that they wanted to do the same. So he "
"opened it up for them to use, too."
msgstr ""
"Mark begynte å bruke DOI-er og Creative Commons for egen forskning. Han "
"hadde en vitenskapsblogg der han skrev om de, og gjorde all dataen åpen. "
"Folk startet å kommentere på bloggen hans at de ønsket å gjøre det samme. Så "
"han åpnet det opp for dem også."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3637
msgid ""
"People liked the interface and simple upload process. People started asking "
"if they could also share theses, grant proposals, and code.  Inclusion of "
"code raised new licensing issues, as Creative Commons licenses are not used "
"for software. To allow the sharing of software code, Mark chose the MIT "
"license, but GNU and Apache licenses can also be used."
msgstr ""
"Folk likte grensesnittet og den enkle opplastingsprosessen. Spørsmålene om "
"hvorvidt teser, legatforespørsler og kode kunne deles kom. Innlemming av "
"kode bød på nye spørsmål vedrørende lisensiering, siden Creative Commons-"
"lisensene ikke brukes for programvare. For å tillate delingen derav, brukte "
"Mark MIT-lisensen, men GNU og Apache-lisenser kan også brukes."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3643
#, fuzzy
msgid ""
"Mark sought investment to make this into a scalable product. After a few "
"unsuccessful funding pitches, UK-based Digital Science expressed interest "
"but insisted on a more viable business model. They made an initial "
"investment, and together they came up with a freemium-like business model."
msgstr ""
"Mark trengte investeringer for å gjøre dette til et skalerbart produkt. "
"Etter noen mislykkede finansieringinitiativ, uttrykte UK-baserte Digital "
"Science interesse, men insisterte på en mer levedyktig forretningsmodell. De "
"gjorde en innledende investering, og sammen de kom opp med en freemium som "
"forretningsmodell. (I følge Wikipedia er Freemium er en forretningsmodell "
"hvor vanligvis en digital tjeneste eller anvendelse som programvare, media, "
"spill eller internett-tjeneste, er tilgjengelig gratis, men at man må betale "
"for premiumfordeler, funksjonalitet eller virituelle eiendeler.)"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3653
msgid ""
"Under the freemium model, academics upload their research to Figshare for "
"storage and sharing for free. Each research object is licensed with Creative "
"Commons and receives a DOI link. The premium option charges researchers a "
"fee for gigabytes of private storage space, and for private online space "
"designed for a set number of research collaborators, which is ideal for "
"larger teams and geographically dispersed research groups. Figshare sums up "
"its value proposition to researchers as “You retain ownership. You license "
"it. You get credit. We just make sure it persists.”"
msgstr ""
"Under det freemium-modellen laster akademikere gratis opp sin forskning til "
"Figshare for lagring og deling. Hvert forskningsobjekt er lisensiert med "
"Creative Commons og mottar en DOI link. I premium-alternativet kreves "
"forskere en avgift for gigabyter med privat lagringsplass, og for private "
"nettsteder designet for et bestemt antall partnere i et forskningssamarbeid, "
"som er ideelt for større grupper og geografisk spredte forskningsgrupper. "
"Figshare oppsummerer sine verdimål for forskere som \"Du beholder eierskap. "
"Du lisensiere det. Du krediteres. Vi sikre bare at det varer.\""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3661
msgid ""
"In January 2012, Figshare was launched. (The fig in Figshare stands for "
"figures.) Using investment funds, Mark made significant improvements to "
"Figshare. For example, researchers could quickly preview their research "
"files within a browser without having to download them first or require "
"third-party software. Journals who were still largely publishing articles as "
"static noninteractive PDFs became interested in having Figshare provide that "
"functionality for them."
msgstr ""
"Figshare ble lansert i januar 2012. (Fig i Figshare står for tall.) Ved å "
"bruke investeringsfond, fikk Mark til betydelige forbedringer i Figshare. "
"For eksempel kan forskere raskt forhåndsvise forskningsfilene i en nettleser "
"uten å laste dem ned først eller forutsette en tredjeparts programvare. "
"Journaler som fortsatt i stor grad publiserte artikler som statiske ikke-"
"interaktive PDF-filer, ble interessert i å få Figshare til å gi dem denne "
"funksjonaliteten."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3673
msgid ""
"Figshare diversified its business model to include services for journals. "
"Figshare began hosting large amounts of data for the journals’ online "
"articles. This additional data improved the quality of the articles. "
"Outsourcing this service to Figshare freed publishers from having to develop "
"this functionality as part of their own infrastructure. Figshare-hosted data "
"also provides a link back to the article, generating additional click-"
"through and readership—a benefit to both journal publishers and researchers. "
"Figshare now provides research-data infrastructure for a wide variety of "
"publishers including Wiley, Springer Nature, PLOS, and Taylor and Francis, "
"to name a few, and has convinced them to use Creative Commons licenses for "
"the data."
msgstr ""
"Figshare utvidet sin forretningsmodell til å omfatte tjenester for "
"tidsskifter. Figshare begynte å leie ut plass til store datamengder til "
"tidskriftenes artikler på nettet. Disse tilleggsdataene forbedret kvaliteten "
"på artiklene. Utkontrakting av denne tjenesten til Figshare frigjorde "
"tidsskrifsutgiverene fra å utvikle denne oppgaven som en del av sin egen "
"infrastruktur. Data Figshare huser har også en link tilbake til artikkelen, "
"noe som gir flere videreklikk og lesertall – en fordel både for "
"tidsskriftsutgivere og forskere. Figshare nå gir nå infrastruktur til "
"forskningsdata for en rekke utgivere medregnet Wiley, Springer Nature, PLOS, "
"og Taylor og Francis, for å nevne noen, og har overbevist dem om å bruke "
"Creative Commons-lisenser for dataene."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3681
msgid ""
"Governments allocate significant public funds to research. In parallel with "
"the launch of Figshare, governments around the world began requesting the "
"research they fund be open and accessible. They mandated that researchers "
"and academic institutions better manage and disseminate their research "
"outputs. Institutions looking to comply with this new mandate became "
"interested in Figshare. Figshare once again diversified its business model, "
"adding services for institutions."
msgstr ""
"Regjeringer tildele betydelige offentlige midler til forskning. Parallelt "
"med lanseringen av Figshare begynte regjeringer over hele verden ber om "
"forskning de finansiere være åpen og tilgjengelig. De mandat at forskere og "
"akademiske institusjoner bedre administrere og spre sine forskning utganger. "
"Institusjoner vil overholde denne nye mandat ble interessert i Figshare. "
"Figshare diversifisert igjen sin forretningsmodell, legge til tjenester for "
"institusjoner."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3689
msgid ""
"Figshare now offers a range of fee-based services to institutions, including "
"their own minibranded Figshare space (called Figshare for Institutions) that "
"securely hosts research data of institutions in the cloud. Services include "
"not just hosting but data metrics, data dissemination, and user-group "
"administration. Figshare’s workflow, and the services they offer for "
"institutions, take into account the needs of librarians and administrators, "
"as well as of the researchers."
msgstr ""
"Figshare tilbyr nå en rekke avgiftsbaserte tjenester til institusjoner, "
"inkludert sin egen miniutgave av Figshare for institusjoner (kalt Figshare "
"for Institutions) som gir et sikkert rom for insitutsjonenes forskningsdata "
"i skyen. Tjenestene inkluderer ikke utleie av plass, men databeregninger, "
"dataformidling og administraqsjon av brukergrupper. Figshares arbeidsflyt og "
"tjenestene de tilbyr for institusjoner, tar hensyn til behovene til "
"bibliotekarer og administratorer, samt av forskerne."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3700
msgid ""
"As with researchers and publishers, Fig-share encouraged institutions to "
"share their research with CC BY (Attribution) and their data with CC0 (into "
"the public domain). Funders who require researchers and institutions to use "
"open licensing believe in the social responsibilities and benefits of making "
"research accessible to all.  Publishing research in this open way has come "
"to be called open access.  But not all funders specify CC BY; some "
"institutions want to offer their researchers a choice, including less "
"permissive licenses like CC BY-NC (Attribution-NonCommercial), CC BY-SA "
"(Attribution-ShareAlike), or CC BY-ND (Attribution-NoDerivs)."
msgstr ""
"Så vel som til forskere og utgivere, oppmuntret Fig-share-institusjoner om å "
"dele sin forskning med CC BY\n"
" (Attribution) og data med CC0 (for offentligheten). Bidagsytere forutsetter "
"at forskere og institusjoner bruker åpen lisensiering tror på sosialt ansvar "
"og fordelene ved å gjøre forskning tilgjengelig for alle. Å publisere "
"forskning på denne åpne måten er kommet til å bli kalt \"open access\", åpen "
"adgang.  Men ikke alle bidragsytere spesifiserer CC BY; noen institusjoner "
"vil tilby forskere et valg, inkludert mindre liberale lisenser som CC BY-NC "
"(Attribution-NonCommercial), CC BY-SA (Attribution-ShareAlike) eller CC BY-"
"ND (Attribution-NoDerivs)."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3708
msgid ""
"For Mark this created a conflict. On the one hand, the principles and "
"benefits of open science are at the heart of Figshare, and Mark believes CC "
"BY is the best license for this. On the other hand, institutions were saying "
"they wouldn’t use Figshare unless it offered a choice in licenses. He "
"initially refused to offer anything beyond CC0 and CC BY, but after seeing "
"an open-source CERN project offer all Creative Commons licenses without any "
"negative repercussions, he decided to follow suit."
msgstr ""
"For Mark skapte dette en konflikt. På den ene siden, er prinsipper og "
"fordelene av åpen vitenskap i hjertet av Figshare, og merke mener CC BY av "
"er den beste lisensen for dette. På den annen side, sa institusjoner at de "
"ikke ville bruke Figshare med mindre det tilbudt et utvalg av lisenser. Han "
"nektet utgangspunktet å tilby noe utover CC0 og CC BY, men etter å ha sett "
"et CERN prosjekt med åpen kildekode tilby alle Creative Commons-lisensene "
"uten noen negative konsekvenser, bestemte han seg å følge etter."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3715
msgid ""
"Mark is thinking of doing a Figshare study that tracks research "
"dissemination according to Creative Commons license, and gathering metrics "
"on views, citations, and downloads. You could see which license generates "
"the biggest impact. If the data showed that CC BY is more impactful, Mark "
"believes more and more researchers and institutions will make it their "
"license of choice."
msgstr ""
"Mark tenker på å lage en Figshare studie, som sporer forskningsformidling "
"med Creative Commons-lisens, og samle beregninger av visninger, referanser, "
"og nedlastinger. Da kan du kan se hvilken lisens som genererer den største "
"effekten. Hvis data viste at CC BY er mer slagkraftig, tror Mark at flere og "
"flere forskere og institusjoner vil gjøre den til sin valgte lisens."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3724
msgid ""
"Figshare has an Application Programming Interface (API) that makes it "
"possible for data to be pulled from Figshare and used in other applications. "
"As an example, Mark shared a Figshare data set showing the journal "
"subscriptions that higher-education institutions in the United Kingdom paid "
"to ten major publishers.1 Figshare’s API enables that data to be pulled into "
"an app developed by a completely different researcher that converts the data "
"into a visually interesting graph, which any viewer can alter by changing "
"any of the variables.2"
msgstr ""
"Figshare har et programmeringsgrensesnitt (API) som gjør det mulig å hente "
"data fra Figshare og bruke det i andre programmer, som eksempel, delte Mark "
"et Figshare-datasett som viste publiseringsabonnementskostnader betalt av "
"høyere utdanningsinstitusjoner i Storbritannia til ti store "
"publiseringsforlag.1 Figshare sitt API muliggjør bruk av den dataen i et "
"program av en helt annen forsker, som konverterer dataen til en visuelt "
"interessant graf, hvilket enhver seer kan endre ved å endre variablene.2"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3734
msgid ""
"The free version of Figshare has built a community of academics, who through "
"word of mouth and presentations have promoted and spread awareness of "
"Figshare. To amplify and reward the community, Figshare established an "
"Advisor program, providing those who promoted Figshare with hoodies and T-"
"shirts, early access to new features, and travel expenses when they gave "
"presentations outside of their area. These Advisors also helped Mark on what "
"license to use for software code and whether to offer universities an option "
"of using Creative Commons licenses."
msgstr ""
"Gratisversjonen av Figshare medført et fellesskap av akademikere, som ved "
"jungeltelegrafen og presentasjoner har formidlet og spredt forståelse for "
"Figshare. For å forsterke og belønne fellesskapet, etablerte Figshare et "
"Advisor program, gir dem som spredte Figshare med hettegensere, tidlig "
"tilgang til nye funksjoner og reiseutgifter når de innledet om programmet "
"utenfor sitt sitt område. Disse Advisor-ene hjalp også Mark med hvilke "
"lisens som var aktuell til programvarekoder og om universiteter skulle "
"tilbys muligheten til å bruke Creative Commons-lisenser."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3744
msgid ""
"Mark says his success is partly about being in the right place at the right "
"time. He also believes that the diversification of Figshare’s model over "
"time has been key to success. Figshare now offers a comprehensive set of "
"services to researchers, publishers, and institutions.3 If he had relied "
"solely on revenue from premium subscriptions, he believes Figshare would "
"have struggled. In Figshare’s early days, their primary users were early-"
"career and late-career academics. It has only been because funders mandated "
"open licensing that Figshare is now being used by the mainstream."
msgstr ""
"Mark skriver delvis sin suksess til å være på rett sted til rett tid. Han "
"tror også at oppdelingen av av Figshare sin modell over tid har vært "
"nøkkelen til suksess. Figshare tilbyr nå et helhetlig tjenestetilbud til "
"forskere, forleggere, og institusjoner.3 Hvis han hadde begrenset seg til "
"inntjening fra \"premium\"-abonnementer, tror han det ville blitt vanskelig "
"for Figshare. I starten var deres hovedbrukere akademikere i starten og "
"slutten av karrieren. Det har kun vært fordi kronerullerne krevde åpen "
"lisensiering at Figshare nå brukes av allmenningen."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3751
msgid ""
"Today Figshare has 26 million–plus page views, 7.5 million–plus downloads, "
"800,000–plus user uploads, 2 million–plus articles, 500,000-plus "
"collections, and 5,000–plus projects. Sixty percent of their traffic comes "
"from Google. A sister company called Altmetric tracks the use of Figshare by "
"others, including Wikipedia and news sources."
msgstr ""
"I dag har Figshare over 26 millioner sidevisninger, over 7.5 millioner "
"nedlastninger, over 800 000 opplastninger fra brukere, over 2 millioner "
"artikler, over 500 000 samlinger, og over 5000 prosjekter. 60 prosent av "
"trafikken deres kommer fra Google. Et søsterselskap kalt Altmetric sporer "
"bruken av Figshare av andre, inkludert Wikipedia og nyhetskilder."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3763
msgid ""
"Figshare uses the revenue it generates from the premium subscribers, journal "
"publishers, and institutions to fund and expand what it can offer to "
"researchers for free. Figshare has publicly stuck to its principles—keeping "
"the free service free and requiring the use of CC BY and CC0 from the start—"
"and from Mark’s perspective, this is why people trust Figshare. Mark sees "
"new competitors coming forward who are just in it for money. If Figshare was "
"only in it for the money, they wouldn’t care about offering a free version. "
"Figshare’s principles and advocacy for openness are a key differentiator. "
"Going forward, Mark sees Figshare not only as supporting open access to "
"research but also enabling people to collaborate and make new discoveries."
msgstr ""
"Figshare bruker inntektene de genererer fra sine premium-abonnenter, "
"tidsskriftsutgivere og institusjoner til å finansiere og utvide det de kan "
"tilby til forskere gratis. Figshare har offentlig holdt seg til sine "
"prinsipper,  ved å holde den gratis tjenesten gratis og kreve bruk av CC BY "
"og CC0 fra begynnelsen. Fra Marks perspektiv, er det derfor folk stoler på "
"Figshare. Mark ser nye konkurrenter som vokser frem og bare er der for "
"pengenes skyld. Hvis Figshare bare var der for pengene, ville de ikke bry "
"seg om å tilby en gratis versjon. Figshares prinsipper, og forsvar for "
"åpenhet, er en viktig faktor. Ser en fremover, mener  Mark at Figshare ikke "
"bare er en støtte for åpen tilgang til forskning, men at den gjør folk i "
"stand til å samarbeide og gjøre nye funn."

#. type: Bullet: '1.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:3769
msgid ""
"figshare.com/articles/Journal\\_subscription\\_costs\\_FOIs\\_to\\_UK"
"\\_universities/1186832"
msgstr ""
"figshare.com/articles/Journal\\_subscription\\_costs\\_FOIs\\_to\\_UK"
"\\_universities/1186832"

#. type: Bullet: '2.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:3769
msgid ""
"retr0.shinyapps.io/journal\\_costs/?"
"year=2014&inst=19,22,38,42,59,64,80,95,136"
msgstr ""
"retr0.shinyapps.io/journal\\_costs/?"
"year=2014&inst=19,22,38,42,59,64,80,95,136"

#. type: Bullet: '3.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:3769
msgid "figshare.com/features"
msgstr "figshare.com/features"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3771
msgid "## Figure.NZ"
msgstr "## Figure.NZ"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3775
msgid ""
"Figure.NZ is a nonprofit charity that makes an online data platform designed "
"to make data reusable and easy to understand. Founded in 2012 in New Zealand."
msgstr ""
"Figure.NZ er en veldedig bistandsorganisasjon som lager en nettbasert "
"dataplattform myntet på å gjøre data gjenbrukbar og enkel å forstå seg på."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3777
msgid "figure.nz"
msgstr "figure.nz"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3780
msgid ""
"Revenue model: platform providing paid services to creators, donations, "
"sponsorships"
msgstr ""
"Inntektsmodell: Plattform som tilbyr betalte tjenester til skapere, "
"bidragsytere, legatmidler"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3782
msgid "Interview date: May 3, 2016"
msgstr "Dato for intervju: 3. mai 2016"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3784
msgid "Interviewee: Lillian Grace, founder"
msgstr "Intervjuet: Lillian Grace, grunnlegger"

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3803
msgid ""
"In the paper Harnessing the Economic and Social Power of Data presented at "
"the New Zealand Data Futures Forum in 2014,1 Figure.NZ founder Lillian Grace "
"said there are thousands of valuable and relevant data sets freely available "
"to us right now, but most people don’t use them.  She used to think this "
"meant people didn’t care about being informed, but she’s come to see that "
"she was wrong. Almost everyone wants to be informed about issues that matter—"
"not only to them, but also to their families, their communities, their "
"businesses, and their country. But there’s a big difference between "
"availability and accessibility of information. Data is spread across "
"thousands of sites and is held within databases and spreadsheets that "
"require both time and skill to engage with. To use data when making a "
"decision, you have to know what specific question to ask, identify a source "
"that has collected the data, and manipulate complex tools to extract and "
"visualize the information within the data set. Lillian established Figure.NZ "
"to make data truly accessible to all, with a specific focus on New Zealand."
msgstr ""
"I forskningsartikkelen \"Harnessing the Economic and Social Power of Data\", "
"presentert på New Zealand Data Futures Forum i 2014,1  sa Figure.NZ "
"grunnlegger Lillian Grace at det er  tusenvis av verdifulle og relevante "
"datasett fritt tilgjengelige for oss akkurat nå, men fleste bruker dem "
"ikke.  Hun tenkte gjerne at dette betydde folk ikke bryr seg om å være "
"informert, men etterhvert har hun kommet til at hun tok feil. Nesten alle "
"ønsker å bli informert om saker som betyr noe, - ikke bare for dem, men også "
"for deres familier, deres lokalsamfunn, deres  virksomheter og landet deres. "
"Men det er stor forskjell mellom tilgangen og tilgjengeligheten på "
"informasjon. Data er spredt over tusenvis av nettsteder og ligger i "
"databaser og regneark som det krever både tid og dyktighet å sette seg inn "
"i. For å bruke data når det skal tas en beslutning, må du vite hvilket "
"spesifikt spørsmål du skal stille, identifisere en kilde som har samlet inn "
"dataene, og håndtere komplekse verktøy for å trekke ut og vise frem "
"informasjonen i datasettet. Lillian etablert Figure.NZ for å gjøre data "
"virkelig tilgjengelig for alle, med spesielt fokus på New Zealand."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3812
msgid ""
"Lillian had the idea for Figure.NZ in February 2012 while working for the "
"New Zealand Institute, a think tank concerned with improving economic "
"prosperity, social well-being, environmental quality, and environmental "
"productivity for New Zealand and New Zealanders. While giving talks to "
"community and business groups, Lillian realized “every single issue we "
"addressed would have been easier to deal with if more people understood the "
"basic facts.” But understanding the basic facts sometimes requires data and "
"research that you often have to pay for."
msgstr ""
"Lillian fikk ideen til Figure.NZ i februar 2012 mens hun jobbet for New "
"Zealand Institute, en tenketank som var opptatt av bedret økonomisk "
"velstand, sosial velferd, miljøkvaliteten og produktivitet New Zealand og "
"for nyzealendere. Når hun holdt foredrag i lokalsamfunn og for "
"næringsdrivende, innså Lillian \"hver eneste problem vi behandlet ville vært "
"lettere å håndtere hvis flere hadde forstått de grunnleggende fakta.\" Men "
"for å kunne forstå grunnleggende fakta kreves noen ganger data og forskning "
"du ofte må betale for."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3824
msgid ""
"Lillian began to imagine a website that lifted data up to a visual form that "
"could be easily understood and freely accessed. Initially launched as Wiki "
"New Zealand, the original idea was that people could contribute their data "
"and visuals via a wiki. However, few people had graphs that could be used "
"and shared, and there were no standards or consistency around the data and "
"the visuals. Realizing the wiki model wasn’t working, Lillian brought the "
"process of data aggregation, curation, and visual presentation in-house, and "
"invested in the technology to help automate some of it. Wiki New Zealand "
"became Figure.NZ, and efforts were reoriented toward providing services to "
"those wanting to open their data and present it visually."
msgstr ""
"Lillian begynte å forestille eg  et nettsted som løftet frem data til "
"visuell form som kunne lett forstås og var fritt tilgjengelig. Det ble "
"innledningvis lansert som Wiki New Zealand, da den opprinnelige ideen var at "
"folk kunne bidra med sine data og bilder via en wiki. Men noen hadde grafer "
"som kunnen brukes og deles, og det var ingen standarder eller sammenheng "
"mellom dataene og visuelle. Når Lillian innså at wiki-modellen ikke "
"fungerte, tok Lillian prosessen med data aggregering, konservering og "
"visuell presentasjon hjem, og investert i teknologien til å automatisere noe "
"av det. Wiki New Zealand ble Figure.NZ og innsatsen ble reorientert mot gir "
"tjenester til dem som ønsker å åpne sine data og presentere dem visuelt."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3839
msgid ""
"Here’s how it works. Figure.NZ sources data from other organizations, "
"including corporations, public repositories, government departments, and "
"academics. Figure.NZ imports and extracts that data, and then validates and "
"standardizes it—all with a strong eye on what will be best for users. They "
"then make the data available in a series of standardized forms, both human- "
"and machine-readable, with rich metadata about the sources, the licenses, "
"and data types. Figure.NZ has a chart-designing tool that makes simple bar, "
"line, and area graphs from any data source.  The graphs are posted to the "
"Figure.NZ website, and they can also be exported in a variety of formats for "
"print or online use. Figure.NZ makes its data and graphs available using the "
"Attribution (CC BY)  license. This allows others to reuse, revise, remix, "
"and redistribute Figure.NZ data and graphs as long as they give attribution "
"to the original source and to Figure.NZ."
msgstr ""
"Hvordan fungerer det? Figure.NZ datakilder fra andre organisasjoner, "
"inkludert bedrifter, offentlige dataarkiv, etater og akademikere. Figure.NZ "
"importerer og ekstraherer data, og deretter validerer og standardiserer det "
"- med et klart øye for det vil være best for brukere. Deretter gjør de data "
"tilgjengelige med en rekke standardiserte skjemaer, både lesbare både for "
"mennesker og maskiner, og med innholdsinformasjon om kildene, lisensene og "
"typer data. Figure.NZ har et diagram-designer-verktøy som lager enkel "
"strek-, linje-, og område-grafikk fra en datakilde. Grafene posteres til "
"Figure.NZ sitt nettområde, og de kan også eksporteres i en rekke formater "
"for utskrift eller til Internett bruk. Figure.NZ gjør sine data og grafer "
"tilgjengelige med Attribution (CC BY) lisenser. Dette gjør at andre kan "
"bruke, endre, remikse og distribuere Figure.NZ-data og -grafer så lenge de "
"henviser til den opprinnelige kilden og Figure.NZ."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3853
msgid ""
"Lillian characterizes the initial decision to use Creative Commons as "
"naively fortunate. It was first recommended to her by a colleague.  Lillian "
"spent time looking at what Creative Commons offered and thought it looked "
"good, was clear, and made common sense. It was easy to use and easy for "
"others to understand. Over time, she’s come to realize just how fortunate "
"and important that decision turned out to be. New Zealand’s government has "
"an open-access and licensing framework called NZGOAL, which provides "
"guidance for agencies when they release copyrighted and noncopyrighted work "
"and material.2 It aims to standardize the licensing of works with government "
"copyright and how they can be reused, and it does this with Creative Commons "
"licenses. As a result, 98 percent of all government-agency data is Creative "
"Commons licensed, fitting in nicely with Figure.NZ’s decision."
msgstr ""
"Lillian karakteriserer avgjørelsen om å bruke Creative Commons som et naivt "
"hell. Det ble først anbefalt henne av en kollega.  Lillian brukte tid til å "
"se på hva Creative Commons tilbyr og syntes det så bra ut, var klart, og "
"appellerte til sunn fornuft. Det var lett å bruke og enkelt for andre å "
"forstå. Over tid har hun innsett hvor heldig og viktig denne beslutningen "
"viste seg å bli. New Zealands regjeringen har en åpen tilgang og "
"lisensieringsrammeverk kalt NZGOAL, som gir veiledning for etater og organer "
"når de legger ut opphavsrettsbeskyttet og ikke-opphavsrettsbeskyttet arbeid "
"og materiale.2) Målet er å standardisere lisensiering av arbeid regjeringen "
"har opphavsrett til og hvordan det kan brukes på igjen, og det gjør den med "
"Creative Commons-lisenser. Som et resultat, har 98 prosent av alle "
"forvaltningsorganers data Creative Commons-lisens, noe som passer i pent til "
"Figure.NZ's beslutning."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3864
msgid ""
"Lillian thinks current ideas of what a business is are relatively new, only "
"a hundred years old or so. She’s convinced that twenty years from now, we "
"will see new and different models for business. Figure.NZ is set up as a "
"nonprofit charity. It is purpose-driven but also strives to pay people well "
"and thinks like a business. Lillian sees the charity-nonprofit status as an "
"essential element for the mission and purpose of Figure.NZ. She believes "
"Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s "
"nonprofit status assures people who have data and people who want to use it "
"that they can rely on Figure.NZ’s motives. People see them as a trusted "
"wrangler and source."
msgstr ""
"Lillian mener gjeldende ideer om hva som er en bedrift er relativt nye, bare "
"hundre år eller så. Hun er overbevist om at 20 år fra nå, vil vi se nye og "
"forskjellige modeller for forretningsforetak. Figure.NZ er definert som en "
"nonprofit stiftelse. Den er formålesdrevet men bestreber seg også på å "
"betale folk godt og tenker som en bedrift. Lillian ser nonprofit-status som "
"en grunnforutsetning for hensikten og formålet med Figure.NZ. Hun tror "
"Wikipedia ikke ville fungere hvis det skulle drives for fortjeneste, og "
"tilsvarende Figure.NZs ideelle status sikrer folk som har data og folk som "
"ønsker å bruke det at de kan stole på Figure.NZ's motiver. Folk ser dem som "
"en vokter og kilde til å stole på."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3881
msgid ""
"Although Figure.NZ is a social enterprise that openly licenses their data "
"and graphs for everyone to use for free, they have taken care not to be "
"perceived as a free service all around the table. Lillian believes hundreds "
"of millions of dollars are spent by the government and organizations to "
"collect data. However, very little money is spent on taking that data and "
"making it accessible, understandable, and useful for decision making. "
"Government uses some of the data for policy, but Lillian believes that it is "
"underutilized and the potential value is much larger. Figure.NZ is focused "
"on solving that problem. They believe a portion of money allocated to "
"collecting data should go into making sure that data is useful and generates "
"value. If the government wants citizens to understand why certain decisions "
"are being made and to be more aware about what the government is doing, why "
"not transform the data it collects into easily understood visuals? It could "
"even become a way for a government or any organization to differentiate, "
"market, and brand itself."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3886
msgid ""
"Figure.NZ spends a lot of time seeking to understand the motivations of data "
"collectors and to identify the channels where it can provide value.  Every "
"part of their business model has been focused on who is going to get value "
"from the data and visuals."
msgstr ""
"Figure.NZ bruker mye tid på å forsøke å forstå motivasjonen til de som "
"samler inn data, og for å identifisere kanalene der de kan gi verdi.  Hver "
"eneste del av forretningsmodellen har vært fokusert på hvem som kommer til å "
"få verdi fra dataene og de visuelle fremstillingene."

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3899
msgid ""
"Figure.NZ has multiple lines of business. They provide commercial services "
"to organizations that want their data publicly available and want to use "
"Figure.NZ as their publishing platform. People who want to publish open data "
"appreciate Figure.NZ’s ability to do it faster, more easily, and better than "
"they can. Customers are encouraged to help their users find, use, and make "
"things from the data they make available on Figure.NZ’s website. Customers "
"control what is released and the license terms (although Figure.NZ "
"encourages Creative Commons licensing).  Figure.NZ also serves customers who "
"want a specific collection of charts created—for example, for their website "
"or annual report. Charging the organizations that want to make their data "
"available enables Figure.NZ to provide their site free to all users, to "
"truly democratize data."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3910
msgid ""
"Lillian notes that the current state of most data is terrible and often not "
"well understood by the people who have it. This sometimes makes it difficult "
"for customers and Figure.NZ to figure out what it would cost to import, "
"standardize, and display that data in a useful way. To deal with this, "
"Figure.NZ uses “high-trust contracts,” where customers allocate a certain "
"budget to the task that Figure.NZ is then free to draw from, as long as "
"Figure.NZ frequently reports on what they’ve produced so the customer can "
"determine the value for money. This strategy has helped build trust and "
"transparency about the level of effort associated with doing work that has "
"never been done before."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3916
msgid ""
"A second line of business is what Figure.NZ calls partners. ASB Bank and "
"Statistics New Zealand are partners who back Figure.NZ’s efforts. As one "
"example, with their support Figure.NZ has been able to create Business "
"Figures, a special way for businesses to find useful data without having to "
"know what questions to ask.3"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3920
msgid ""
"Figure.NZ also has patrons.4 Patrons donate to topic areas they care about, "
"directly enabling Figure.NZ to get data together to flesh out those areas. "
"Patrons do not direct what data is included or excluded."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3925
msgid ""
"Figure.NZ also accepts philanthropic donations, which are used to provide "
"more content, extend technology, and improve services, or are targeted to "
"fund a specific effort or provide in-kind support. As a charity, donations "
"are tax deductible."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3935
msgid ""
"Figure.NZ has morphed and grown over time. With data aggregation, curation, "
"and visualizing services all in-house, Figure.NZ has developed a deep "
"expertise in taking random styles of data, standardizing it, and making it "
"useful. Lillian realized that Figure.NZ could easily become a warehouse of "
"seventy people doing data. But for Lillian, growth isn’t always good. In her "
"view, bigger often means less effective. Lillian set artificial constraints "
"on growth, forcing the organization to think differently and be more "
"efficient. Rather than in-house growth, they are growing and building "
"external relationships."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3944
msgid ""
"Figure.NZ’s website displays visuals and data associated with a wide range "
"of categories including crime, economy, education, employment, energy, "
"environment, health, information and communications technology, industry, "
"tourism, and many others. A search function helps users find tables and "
"graphs. Figure.NZ does not provide analysis or interpretation of the data or "
"visuals. Their goal is to teach people how to think, not think for them. "
"Figure.NZ wants to create intuitive experiences, not user manuals."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3956
msgid ""
"Figure.NZ believes data and visuals should be useful. They provide their "
"customers with a data collection template and teach them why it’s important "
"and how to use it. They’ve begun putting more emphasis on tracking what "
"users of their website want. They also get requests from social media and "
"through email for them to share data for a specific topic—for example, can "
"you share data for water quality? If they have the data, they respond "
"quickly; if they don’t, they try and identify the organizations that would "
"have that data and forge a relationship so they can be included on Figure."
"NZ’s site. Overall, Figure.NZ is seeking to provide a place for people to be "
"curious about, access, and interpret data on topics they are interested in."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3964
msgid ""
"Lillian has a deep and profound vision for Figure.NZ that goes well beyond "
"simply providing open-data services. She says things are different now. “We "
"used to live in a world where it was really hard to share information "
"widely. And in that world, the best future was created by having a few great "
"leaders who essentially had access to the information and made decisions on "
"behalf of others, whether it was on behalf of a country or companies."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3968
msgid ""
"“But now we live in a world where it’s really easy to share information "
"widely and also to communicate widely. In the world we live in now, the best "
"future is the one where everyone can make well-informed decisions."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3972
msgid ""
"“The use of numbers and data as a way of making well-informed decisions is "
"one of the areas where there is the biggest gaps. We don’t really use "
"numbers as a part of our thinking and part of our understanding yet."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3982
msgid ""
"“Part of the reason is the way data is spread across hundreds of sites.  In "
"addition, for the most part, deep thinking based on data is constrained to "
"experts because most people don’t have data literacy.  There once was a time "
"when many citizens in society couldn’t read or write. However, as a society, "
"we’ve now come to believe that reading and writing skills should be "
"something all citizens have. We haven’t yet adopted a similar belief around "
"numbers and data literacy. We largely still believe that only a few "
"specially trained people can analyze and think with numbers."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3988
msgid ""
"“Figure.NZ may be the first organization to assert that everyone can use "
"numbers in their thinking, and it’s built a technological platform along "
"with trust and a network of relationships to make that possible. What you "
"can see on Figure.NZ are tens of thousands of graphs, maps, and data."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:3996
msgid ""
"“Figure.NZ sees this as a new kind of alphabet that can help people analyze "
"what they see around them. A way to be thoughtful and informed about "
"society. A means of engaging in conversation and shaping decision making "
"that transcends personal experience. The long-term value and impact is "
"almost impossible to measure, but the goal is to help citizens gain "
"understanding and work together in more informed ways to shape the future.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4003
msgid ""
"Lillian sees Figure.NZ’s model as having global potential. But for now, "
"their focus is completely on making Figure.NZ work in New Zealand and to get "
"the “network effect”— users dramatically increasing value for themselves and "
"for others through use of their service. Creative Commons is core to making "
"the network effect possible."
msgstr ""

#. type: Bullet: '1.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4010
msgid ""
"www.nzdatafutures.org.nz/sites/default/files/NZDFF\\_harness-the-power.pdf"
msgstr ""

#. type: Bullet: '2.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4010
msgid ""
"www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-"
"government-open-access-and-licensing-nzgoal-framework/"
msgstr ""

#. type: Bullet: '3.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4010
msgid "figure.nz/business/"
msgstr ""

#. type: Bullet: '4.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4010
msgid "figure.nz/patrons/"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4012
msgid "## Knowledge Unlatched"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4016
msgid ""
"Knowledge Unlatched is a not-for-profit community interest company that "
"brings libraries together to pool funds to publish open-access books.  "
"Founded in 2012 in the UK."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4018
msgid "knowledgeunlatched.org"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4020
msgid "Revenue model: crowdfunding (specialized)"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4022
msgid "Interview date: February 26, 2016"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4024
msgid "Interviewee: Frances Pinter, founder"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4040
msgid ""
"The serial entrepreneur Dr. Frances Pinter has been at the forefront of "
"innovation in the publishing industry for nearly forty years. She founded "
"the UK-based Knowledge Unlatched with a mission to enable open access to "
"scholarly books. For Frances, the current scholarly- book-publishing system "
"is not working for anyone, and especially not for monographs in the "
"humanities and social sciences. Knowledge Unlatched is committed to changing "
"this and has been working with libraries to create a sustainable alternative "
"model for publishing scholarly books, sharing the cost of making monographs "
"(released under a Creative Commons license) and savings costs over the long "
"term. Since its launch, Knowledge Unlatched has received several awards, "
"including the IFLA/Brill Open Access award in 2014 and a Curtin University "
"Commercial Innovation Award for Innovation in Education in 2015."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4045
msgid ""
"Dr. Pinter has been in academic publishing most of her career. About ten "
"years ago, she became acquainted with the Creative Commons founder Lawrence "
"Lessig and got interested in Creative Commons as a tool for both protecting "
"content online and distributing it free to users."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4050
msgid ""
"Not long after, she ran a project in Africa convincing publishers in Uganda "
"and South Africa to put some of their content online for free using a "
"Creative Commons license and to see what happened to print sales. Sales went "
"up, not down."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4064
msgid ""
"In 2008, Bloomsbury Academic, a new imprint of Bloomsbury Publishing in the "
"United Kingdom, appointed her its founding publisher in London. As part of "
"the launch, Frances convinced Bloomsbury to differentiate themselves by "
"putting out monographs for free online under a Creative Commons license (BY-"
"NC or BY-NC-ND, i.e., Attribution-NonCommercial or Attribution-NonCommercial-"
"NoDerivs). This was seen as risky, as the biggest cost for publishers is "
"getting a book to the stage where it can be printed. If everyone read the "
"online book for free, there would be no print-book sales at all, and the "
"costs associated with getting the book to print would be lost. Surprisingly, "
"Bloomsbury found that sales of the print versions of these books were 10 to "
"20 percent higher than normal.  Frances found it intriguing that the "
"Creative Commons–licensed free online book acts as a marketing vehicle for "
"the print format."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4071
msgid ""
"Frances began to look at customer interest in the three forms of the book: "
"1) the Creative Commons–licensed free online book in PDF form, 2)  the "
"printed book, and 3) a digital version of the book on an aggregator platform "
"with enhanced features. She thought of this as the “ice cream model”: the "
"free PDF was vanilla ice cream, the printed book was an ice cream cone, and "
"the enhanced e-book was an ice cream sundae."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4078
msgid ""
"After a while, Frances had an epiphany—what if there was a way to get "
"libraries to underwrite the costs of making these books up until they’re "
"ready be printed, in other words, cover the fixed costs of getting to the "
"first digital copy? Then you could either bring down the cost of the printed "
"book, or do a whole bunch of interesting things with the printed book and e-"
"book—the ice cream cone or sundae part of the model."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4085
msgid ""
"This idea is similar to the article-processing charge some open-access "
"journals charge researchers to cover publishing costs. Frances began to "
"imagine a coalition of libraries paying for the prepress costs—a “book-"
"processing charge”—and providing everyone in the world with an open-access "
"version of the books released under a Creative Commons license."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4094
msgid ""
"This idea really took hold in her mind. She didn’t really have a name for it "
"but began talking about it and making presentations to see if there was "
"interest. The more she talked about it, the more people agreed it had "
"appeal. She offered a bottle of champagne to anyone who could come up with a "
"good name for the idea. Her husband came up with Knowledge Unlatched, and "
"after two years of generating interest, she decided to move forward and "
"launch a community interest company (a UK term for not-for-profit social "
"enterprises) in 2012."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4097
msgid ""
"She describes the business model in a paper called Knowledge Unlatched: "
"Toward an Open and Networked Future for Academic Publishing:"
msgstr ""
"Hun beskriver forretningsmodellen i en artikkel med tittel Knowledge "
"Unlatched: Toward an Open and Networked Future for Academic Publishing:"

#. type: Bullet: '1.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4115
msgid ""
"Publishers offer titles for sale reflecting origination costs only via "
"Knowledge Unlatched."
msgstr ""

#. type: Bullet: '2.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4115
msgid ""
"Individual libraries select titles either as individual titles or as "
"collections (as they do from library suppliers now)."
msgstr ""
"Frittstående bibliotek velger titler enten som individuelle titler eller som "
"samlinger (slik de gjør fra bibliotekleverandører i dag)."

#. type: Bullet: '3.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4115
msgid ""
"Their selections are sent to Knowledge Unlatched specifying the titles to be "
"purchased at the stated price(s)."
msgstr ""

#. type: Bullet: '4.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4115
msgid ""
"The price, called a Title Fee (set by publishers and negotiated by Knowledge "
"Unlatched), is paid to publishers to cover the fixed costs of publishing "
"each of the titles that were selected by a minimum number of libraries to "
"cover the Title Fee."
msgstr ""

#. type: Bullet: '5.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4115
msgid ""
"Publishers make the selected titles available Open Access (on a Creative "
"Commons or similar open license) and are then paid the Title Fee which is "
"the total collected from the libraries."
msgstr ""

#. type: Bullet: '6.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4115
msgid ""
"Publishers make print copies, e-Pub, and other digital versions of selected "
"titles available to member libraries at a discount that reflects their "
"contribution to the Title Fee and incentivizes membership.1"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4123
msgid ""
"The first round of this model resulted in a collection of twenty-eight "
"current titles from thirteen recognized scholarly publishers being "
"unlatched. The target was to have two hundred libraries participate. The "
"cost of the package per library was capped at \\$1,680, which was an average "
"price of sixty dollars per book, but in the end they had nearly three "
"hundred libraries sharing the costs, and the price per book came in at just "
"under forty-three dollars."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4132
msgid ""
"The open-access, Creative Commons versions of these twenty-eight books are "
"still available online.4 Most books have been licensed with CC BY-NC or CC "
"BY-NC-ND. Authors are the copyright holder, not the publisher, and negotiate "
"choice of license as part of the publishing agreement. Frances has found "
"that most authors want to retain control over the commercial and remix use "
"of their work. Publishers list the book in their catalogs, and the "
"noncommercial restriction in the Creative Commons license ensures authors "
"continue to get royalties on sales of physical copies."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4142
msgid ""
"There are three cost variables to consider for each round: the overall cost "
"incurred by the publishers, total cost for each library to acquire all the "
"books, and the individual price per book. The fee publishers charge for each "
"title is a fixed charge, and Knowledge Unlatched calculates the total amount "
"for all the books being unlatched at a time.  The cost of an order for each "
"library is capped at a maximum based on a minimum number of libraries "
"participating. If the number of participating libraries exceeds the minimum, "
"then the cost of the order and the price per book go down for each library."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4155
msgid ""
"The second round, recently completed, unlatched seventy-eight books from "
"twenty-six publishers. For this round, Frances was experimenting with the "
"size and shape of the offerings. Books were being bundled into eight small "
"packages separated by subject (including Anthropology, History, Literature, "
"Media and Communications, and Politics), of around ten books per package. "
"Three hundred libraries around the world have to commit to at least six of "
"the eight packages to enable unlatching. The average cost per book was just "
"under fifty dollars. The unlatching process took roughly ten months. It "
"started with a call to publishers for titles, followed by having a library "
"task force select the titles, getting authors’ permissions, getting the "
"libraries to pledge, billing the libraries, and finally, unlatching."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4160
msgid ""
"The longest part of the whole process is getting libraries to pledge and "
"commit funds. It takes about five months, as library buy-in has to fit "
"within acquisition cycles, budget cycles, and library-committee meetings."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4168
msgid ""
"Knowledge Unlatched informs and recruits libraries through social media, "
"mailing lists, listservs, and library associations. Of the three hundred "
"libraries that participated in the first round, 80 percent are also "
"participating in the second round, and there are an additional eighty new "
"libraries taking part. Knowledge Unlatched is also working not just with "
"individual libraries but also library consortia, which has been getting even "
"more libraries involved."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4172
msgid ""
"Knowledge Unlatched is scaling up, offering 150 new titles in the second "
"half of 2016. It will also offer backlist titles, and in 2017 will start to "
"make journals open access too."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4176
msgid ""
"Knowledge Unlatched deliberately chose monographs as the initial type of "
"book to unlatch. Monographs are foundational and important, but also "
"problematic to keep going in the standard closed publishing model."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4184
msgid ""
"The cost for the publisher to get to a first digital copy of a monograph is "
"\\$5,000 to \\$50,000. A good one costs in the \\$10,000 to \\$15,000 range. "
"Monographs typically don’t sell a lot of copies. A publisher who in the past "
"sold three thousand copies now typically sells only three hundred. That "
"makes unlatching monographs a low risk for publishers. For the first round, "
"it took five months to get thirteen publishers. For the second round, it "
"took one month to get twenty-six."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4193
msgid ""
"Authors don’t generally make a lot of royalties from monographs.  Royalties "
"range from zero dollars to 5 to 10 percent of receipts. The value to the "
"author is the awareness it brings to them; when their book is being read, it "
"increases their reputation. Open access through unlatching generates many "
"more downloads and therefore awareness. (On the Knowledge Unlatched website, "
"you can find interviews with the twenty-eight round-one authors describing "
"their experience and the benefits of taking part.)5"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4202
msgid ""
"Library budgets are constantly being squeezed, partly due to the inflation "
"of journal subscriptions. But even without budget constraints, academic "
"libraries are moving away from buying physical copies. An academic library "
"catalog entry is typically a URL to wherever the book is hosted. Or if they "
"have enough electronic storage space, they may download the digital file "
"into their digital repository. Only secondarily do they consider getting a "
"print book, and if they do, they buy it separately from the digital version."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4209
msgid ""
"Knowledge Unlatched offers libraries a compelling economic argument.  Many "
"of the participating libraries would have bought a copy of the monograph "
"anyway, but instead of paying \\$95 for a print copy or \\$150 for a digital "
"multiple-use copy, they pay \\$50 to unlatch. It costs them less, and it "
"opens the book to not just the participating libraries, but to the world."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4219
msgid ""
"Not only do the economics make sense, but there is very strong alignment "
"with library mandates. The participating libraries pay less than they would "
"have in the closed model, and the open-access book is available to all "
"libraries. While this means nonparticipating libraries could be seen as free "
"riders, in the library world, wealthy libraries are used to paying more than "
"poor libraries and accept that part of their money should be spent to "
"support open access. “Free ride” is more like community responsibility. By "
"the end of March 2016, the round-one books had been downloaded nearly eighty "
"thousand times in 175 countries."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4222
msgid ""
"For publishers, authors, and librarians, the Knowledge Unlatched model for "
"monographs is a win-win-win."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4231
msgid ""
"In the first round, Knowledge Unlatched’s overheads were covered by grants. "
"In the second round, they aim to demonstrate the model is sustainable. "
"Libraries and publishers will each pay a 7.5 percent service charge that "
"will go toward Knowledge Unlatched’s running costs.  With plans to scale up "
"in future rounds, Frances figures they can fully recover costs when they are "
"unlatching two hundred books at a time.  Moving forward, Knowledge Unlatched "
"is making investments in technology and processes. Future plans include "
"unlatching journals and older books."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4240
msgid ""
"Frances believes that Knowledge Unlatched is tapping into new ways of "
"valuing academic content. It’s about considering how many people can find, "
"access, and use your content without pay barriers. Knowledge Unlatched taps "
"into the new possibilities and behaviors of the digital world. In the "
"Knowledge Unlatched model, the content-creation process is exactly the same "
"as it always has been, but the economics are different.  For Frances, "
"Knowledge Unlatched is connected to the past but moving into the future, an "
"evolution rather than a revolution."
msgstr ""

#. type: Bullet: '1.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4248
msgid "www.pinter.org.uk/pdfs/Toward\\_an\\_Open.pdf"
msgstr ""

#. type: Bullet: '2.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4248
msgid "www.oapen.org"
msgstr ""

#. type: Bullet: '3.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4248
msgid "www.hathitrust.org"
msgstr ""

#. type: Bullet: '4.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4248
msgid "collections.knowledgeunlatched.org/collection-availability-1/"
msgstr ""

#. type: Bullet: '5.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4248
msgid "www.knowledgeunlatched.org/featured-authors-section/"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4250
msgid "## Lumen Learning"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4253
msgid ""
"Lumen Learning is a for-profit company helping educational institutions use "
"open educational resources (OER). Founded in 2013 in the U.S."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4255
msgid "lumenlearning.com"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4257
msgid "Revenue model: charging for custom services, grant funding"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4259
msgid "Interview date: December 21, 2015"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4261
msgid "Interviewees: David Wiley and Kim Thanos, cofounders"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4283
msgid ""
"Cofounded by open education visionary Dr. David Wiley and education-"
"technology strategist Kim Thanos, Lumen Learning is dedicated to improving "
"student success, bringing new ideas to pedagogy, and making education more "
"affordable by facilitating adoption of open educational resources. In 2012, "
"David and Kim partnered on a grant-funded project called the Kaleidoscope "
"Open Course Initiative.1 It involved a set of fully open general-education "
"courses across eight colleges predominantly serving at-risk students, with "
"goals to dramatically reduce textbook costs and collaborate to improve the "
"courses to help students succeed.  David and Kim exceeded those goals: the "
"cost of the required textbooks, replaced with OER, decreased to zero "
"dollars, and average student-success rates improved by 5 to 10 percent when "
"compared with previous years. After a second round of funding, a total of "
"more than twenty-five institutions participated in and benefited from this "
"project. It was career changing for David and Kim to see the impact this "
"initiative had on low-income students. David and Kim sought further funding "
"from the Bill and Melinda Gates Foundation, who asked them to define a plan "
"to scale their work in a financially sustainable way. That is when they "
"decided to create Lumen Learning."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4292
msgid ""
"David and Kim went back and forth on whether it should be a nonprofit or "
"for- profit. A nonprofit would make it a more comfortable fit with the "
"education sector but meant they’d be constantly fund-raising and seeking "
"grants from philanthropies. Also, grants usually require money to be used in "
"certain ways for specific deliverables. If you learn things along the way "
"that change how you think the grant money should be used, there often isn’t "
"a lot of flexibility to do so."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4300
msgid ""
"But as a for-profit, they’d have to convince educational institutions to pay "
"for what Lumen had to offer. On the positive side, they’d have more control "
"over what to do with the revenue and investment money; they could make "
"decisions to invest the funds or use them differently based on the situation "
"and shifting opportunities. In the end, they chose the for-profit status, "
"with its different model for and approach to sustainability."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4306
msgid ""
"Right from the start, David and Kim positioned Lumen Learning as a way to "
"help institutions engage in open educational resources, or OER. OER are "
"teaching, learning, and research materials, in all different media, that "
"reside in the public domain or are released under an open license that "
"permits free use and repurposing by others."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4318
msgid ""
"Originally, Lumen did custom contracts for each institution. This was "
"complicated and challenging to manage. However, through that process "
"patterns emerged which allowed them to generalize a set of approaches and "
"offerings. Today they don’t customize as much as they used to, and instead "
"they tend to work with customers who can use their off-the-shelf options. "
"Lumen finds that institutions and faculty are generally very good at seeing "
"the value Lumen brings and are willing to pay for it.  Serving disadvantaged "
"learner populations has led Lumen to be very pragmatic; they describe what "
"they offer in quantitative terms—with facts and figures—and in a way that is "
"very student-focused. Lumen Learning helps colleges and universities—"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4327
msgid "replace expensive textbooks in high-enrollment courses with OER;"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4327
msgid ""
"provide enrolled students day one access to Lumen’s fully customizable OER "
"course materials through the institution’s learning-management system;"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4327
msgid ""
"measure improvements in student success with metrics like passing rates, "
"persistence, and course completion; and"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4327
msgid ""
"collaborate with faculty to make ongoing improvements to OER based on "
"student success research."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4333
msgid ""
"Lumen has developed a suite of open, Creative Commons–licensed courseware in "
"more than sixty-five subjects. All courses are freely and publicly available "
"right off their website. They can be copied and used by others as long as "
"they provide attribution to Lumen Learning following the terms of the "
"Creative Commons license."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4339
msgid ""
"Then there are three types of bundled services that cost money. One option, "
"which Lumen calls Candela courseware, offers integration with the "
"institution’s learning-management system, technical and pedagogical support, "
"and tracking of effectiveness. Candela courseware costs institutions ten "
"dollars per enrolled student."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4345
msgid ""
"A second option is Waymaker, which offers the services of Candela but adds "
"personalized learning technologies, such as study plans, automated messages, "
"and assessments, and helps instructors find and support the students who "
"need it most. Waymaker courses cost twenty-five dollars per enrolled student."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4352
msgid ""
"The third and emerging line of business for Lumen is providing guidance and "
"support for institutions and state systems that are pursuing the development "
"of complete OER degrees. Often called Z-Degrees, these programs eliminate "
"textbook costs for students in all courses that make up the degree (both "
"required and elective) by replacing commercial textbooks and other expensive "
"resources with OER."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4367
msgid ""
"Lumen generates revenue by charging for their value-added tools and services "
"on top of their free courses, just as solar-power companies provide the "
"tools and services that help people use a free resource—sunlight. And "
"Lumen’s business model focuses on getting the institutions to pay, not the "
"students. With projects they did prior to Lumen, David and Kim learned that "
"students who have access to all course materials from day one have greater "
"success. If students had to pay, Lumen would have to restrict access to "
"those who paid. Right from the start, their stance was that they would not "
"put their content behind a paywall. Lumen invests zero dollars in "
"technologies and processes for restricting access—no digital rights "
"management, no time bombs. While this has been a challenge from a business-"
"model perspective, from an open-access perspective, it has generated immense "
"goodwill in the community."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4376
msgid ""
"In most cases, development of their courses is funded by the institution "
"Lumen has a contract with. When creating new courses, Lumen typically works "
"with the faculty who are teaching the new course. They’re often part of the "
"institution paying Lumen, but sometimes Lumen has to expand the team and "
"contract faculty from other institutions. First, the faculty identifies all "
"of the course’s learning outcomes. Lumen then searches for, aggregates, and "
"curates the best OER they can find that addresses those learning needs, "
"which the faculty reviews."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4386
msgid ""
"Sometimes faculty like the existing OER but not the way it is presented.  "
"The open licensing of existing OER allows Lumen to pick and choose from "
"images, videos, and other media to adapt and customize the course. Lumen "
"creates new content as they discover gaps in existing OER. Test-bank items "
"and feedback for students on their progress are areas where new content is "
"frequently needed. Once a course is created, Lumen puts it on their platform "
"with all the attributions and links to the original sources intact, and any "
"of Lumen’s new content is given an Attribution (CC BY) license."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4392
msgid ""
"Using only OER made them experience firsthand how complex it could be to mix "
"differently licensed work together. A common strategy with OER is to place "
"the Creative Commons license and attribution information in the website’s "
"footer, which stays the same for all pages. This doesn’t quite work, "
"however, when mixing different OER together."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4401
msgid ""
"Remixing OER often results in multiple attributions on every page of every "
"course—text from one place, images from another, and videos from yet "
"another. Some are licensed as Attribution (CC BY), others as Attribution-"
"ShareAlike (CC BY-SA). If this information is put within the text of the "
"course, faculty members sometimes try to edit it and students find it a "
"distraction. Lumen dealt with this challenge by capturing the license and "
"attribution information as metadata, and getting it to show up at the end of "
"each page."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4409
msgid ""
"Lumen’s commitment to open licensing and helping low-income students has led "
"to strong relationships with institutions, open-education enthusiasts, and "
"grant funders. People in their network generously increase the visibility of "
"Lumen through presentations, word of mouth, and referrals. Sometimes the "
"number of general inquiries exceed Lumen’s sales capacity."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4420
msgid ""
"To manage demand and ensure the success of projects, their strategy is to be "
"proactive and focus on what’s going on in higher education in different "
"regions of the United States, watching out for things happening at the "
"system level in a way that fits with what Lumen offers.  A great example is "
"the Virginia community college system, which is building out Z-Degrees. "
"David and Kim say there are nine other U.S.  states with similar system-"
"level activity where Lumen is strategically focusing its efforts. Where "
"there are projects that would require a lot of resources on Lumen’s part, "
"they prioritize the ones that would impact the largest number of students."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4428
msgid ""
"As a business, Lumen is committed to openness. There are two core "
"nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative "
"Commons licenses, for all the materials it creates; and day-one access for "
"students. Having clear nonnegotiables allows them to then engage with the "
"education community to solve for other challenges and work with institutions "
"to identify new business models that achieve institution goals, while "
"keeping Lumen healthy."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4437
msgid ""
"Openness also means that Lumen’s OER must necessarily be nonexclusive and "
"nonrivalrous. This represents several big challenges for the business model: "
"Why should you invest in creating something that people will be reluctant to "
"pay for? How do you ensure that the investment the diverse education "
"community makes in OER is not exploited? Lumen thinks we all need to be "
"clear about how we are benefiting from and contributing to the open "
"community."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4444
msgid ""
"In the OER sector, there are examples of corporations, and even "
"institutions, acting as free riders. Some simply take and use open resources "
"without paying anything or contributing anything back. Others give back the "
"minimum amount so they can save face. Sustainability will require those "
"using open resources to give back an amount that seems fair or even give "
"back something that is generous."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4453
msgid ""
"Lumen does track institutions accessing and using their free content.  They "
"proactively contact those institutions, with an estimate of how much their "
"students are saving and encouraging them to switch to a paid model. Lumen "
"explains the advantages of the paid model: a more interactive relationship "
"with Lumen; integration with the institution’s learning-management system; a "
"guarantee of support for faculty and students; and future sustainability "
"with funding supporting the evolution and improvement of the OER they are "
"using."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4460
msgid ""
"Lumen works hard to be a good corporate citizen in the OER community.  For "
"David and Kim, a good corporate citizen gives more than they take, adds "
"unique value, and is very transparent about what they are taking from "
"community, what they are giving back, and what they are monetizing.  Lumen "
"believes these are the building blocks of a sustainable model and strives "
"for a correct balance of all these factors."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4465
msgid ""
"Licensing all the content they produce with CC BY is a key part of giving "
"more value than they take. They’ve also worked hard at finding the right "
"structure for their value-add and how to package it in a way that is "
"understandable and repeatable."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4475
msgid ""
"As of the fall 2016 term, Lumen had eighty-six different open courses, "
"working relationships with ninety-two institutions, and more than seventy-"
"five thousand student enrollments. Lumen received early start-up funding "
"from the Bill and Melinda Gates Foundation, the Hewlett Foundation, and the "
"Shuttleworth Foundation. Since then, Lumen has also attracted investment "
"funding. Over the last three years, Lumen has been roughly 60 percent grant "
"funded, 20 percent revenue earned, and 20 percent funded with angel capital. "
"Going forward, their strategy is to replace grant funding with revenue."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4483
msgid ""
"In creating Lumen Learning, David and Kim say they’ve landed on solutions "
"they never imagined, and there is still a lot of learning taking place. For "
"them, open business models are an emerging field where we are all learning "
"through sharing. Their biggest recommendations for others wanting to pursue "
"the open model are to make your commitment to open resources public, let "
"people know where you stand, and don’t back away from it. It really is about "
"trust."
msgstr ""

#. type: Bullet: '1.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4487
msgid "lumenlearning.com/innovative-projects/"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4489
msgid "## Jonathan Mann"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4492
msgid ""
"Jonathan Mann is a singer and songwriter who is most well known as the “Song "
"A Day” guy. Based in the U.S."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4494
msgid "jonathanmann.net and jonathanmann.bandcamp.com"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4498
msgid ""
"Revenue model: charging for custom services, pay-what-you-want, crowdfunding "
"(subscription-based), charging for in-person version (speaking engagements "
"and musical performances)"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4500
msgid "Interview date: February 22, 2016"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4512
msgid ""
"Jonathan Mann thinks of his business model as “hustling”—seizing nearly "
"every opportunity he sees to make money. The bulk of his income comes from "
"writing songs under commission for people and companies, but he has a wide "
"variety of income sources. He has supporters on the crowdfunding site "
"Patreon. He gets advertising revenue from YouTube and Bandcamp, where he "
"posts all of his music. He gives paid speaking engagements about creativity "
"and motivation. He has been hired by major conferences to write songs "
"summarizing what speakers have said in the conference sessions."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4521
msgid ""
"His entrepreneurial spirit is coupled with a willingness to take action "
"quickly. A perfect illustration of his ability to act fast happened in 2010, "
"when he read that Apple was having a conference the following day to address "
"a snafu related to the iPhone 4. He decided to write and post a song about "
"the iPhone 4 that day, and the next day he got a call from the public "
"relations people at Apple wanting to use and promote his video at the Apple "
"conference. The song then went viral, and the experience landed him in Time "
"magazine."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4526
msgid ""
"Jonathan’s successful “hustling” is also about old-fashioned persistence. He "
"is currently in his eighth straight year of writing one song each day. He "
"holds the Guinness World Record for consecutive daily songwriting, and he is "
"widely known as the “song-a-day guy.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4534
msgid ""
"He fell into this role by, naturally, seizing a random opportunity a friend "
"alerted him to seven years ago—an event called Fun-A-Day, where people are "
"supposed to create a piece of art every day for thirty-one days straight. He "
"was in need of a new project, so he decided to give it a try by writing and "
"posting a song each day. He added a video component to the songs because he "
"knew people were more likely to watch video online than simply listening to "
"audio files."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4548
msgid ""
"He had a really good time doing the thirty-one-day challenge, so he decided "
"to see if he could continue it for one year. He never stopped.  He has "
"written and posted a new song literally every day, seven days a week, since "
"he began the project in 2009. When he isn’t writing songs that he is hired "
"to write by clients, he writes songs about whatever is on his mind that day. "
"His songs are catchy and mostly lighthearted, but they often contain at "
"least an undercurrent of a deeper theme or meaning. Occasionally, they are "
"extremely personal, like the song he cowrote with his exgirlfriend "
"announcing their breakup. Rain or shine, in sickness or health, Jonathan "
"posts and writes a song every day. If he is on a flight or otherwise "
"incapable of getting Internet access in time to meet the deadline, he will "
"prepare ahead and have someone else post the song for him."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4555
msgid ""
"Over time, the song-a-day gig became the basis of his livelihood. In the "
"beginning, he made money one of two ways. The first was by entering a wide "
"variety of contests and winning a handful. The second was by having the "
"occasional song and video go some varying degree of viral, which would bring "
"more eyeballs and mean that there were more people wanting him to write "
"songs for them. Today he earns most of his money this way."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4562
msgid ""
"His website explains his gig as “taking any message, from the super simple "
"to the totally complicated, and conveying that message through a heartfelt, "
"fun and quirky song.” He charges \\$500 to create a produced song and \\$300 "
"for an acoustic song. He has been hired for product launches, weddings, "
"conferences, and even Kickstarter campaigns like the one that funded the "
"production of this book."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4569
msgid ""
"Jonathan can’t recall when exactly he first learned about Creative Commons, "
"but he began applying CC licenses to his songs and videos as soon as he "
"discovered the option. “CC seems like such a no-brainer,” Jonathan said. “I "
"don’t understand how anything else would make sense.  It seems like such an "
"obvious thing that you would want your work to be able to be shared.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4577
msgid ""
"His songs are essentially marketing for his services, so obviously the "
"further his songs spread, the better. Using CC licenses helps grease the "
"wheels, letting people know that Jonathan allows and encourages them to "
"copy, interact with, and remix his music. “If you let someone cover your "
"song or remix it or use parts of it, that’s how music is supposed to work,” "
"Jonathan said. “That is how music has worked since the beginning of time. "
"Our me-me, mine-mine culture has undermined that.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4583
msgid ""
"There are some people who cover his songs fairly regularly, and he would "
"never shut that down. But he acknowledges there is a lot more he could do to "
"build community. “There is all of this conventional wisdom about how to "
"build an audience online, and I generally think I don’t do any of that,” "
"Jonathan said."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4591
msgid ""
"He does have a fan community he cultivates on Bandcamp, but it isn’t his "
"major focus. “I do have a core audience that has stuck around for a really "
"long time, some even longer than I’ve been doing song-a-day,” he said. "
"“There is also a transitional aspect that drop in and get what they need and "
"then move on.” Focusing less on community building than other artists makes "
"sense given Jonathan’s primary income source of writing custom songs for "
"clients."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4601
msgid ""
"Jonathan recognizes what comes naturally to him and leverages those skills. "
"Through the practice of daily songwriting, he realized he has a gift for "
"distilling complicated subjects into simple concepts and putting them to "
"music. In his song “How to Choose a Master Password,” Jonathan explained the "
"process of creating a secure password in a silly, simple song. He was hired "
"to write the song by a client who handed him a long technical blog post from "
"which to draw the information. Like a good (and rare) journalist, he "
"translated the technical concepts into something understandable."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4615
msgid ""
"When he is hired by a client to write a song, he first asks them to send a "
"list of talking points and other information they want to include in the "
"song. He puts all of that into a text file and starts moving things around, "
"cutting and pasting until the message starts to come together.  The first "
"thing he tries to do is grok the core message and develop the chorus. Then "
"he looks for connections or parts he can make rhyme. The entire process "
"really does resemble good journalism, but of course the final product of his "
"work is a song rather than news. “There is something about being challenged "
"and forced to take information that doesn’t seem like it should be sung "
"about or doesn’t seem like it lends itself to a song,” he said. “I find that "
"creative challenge really satisfying. I enjoy getting lost in that process.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4621
msgid ""
"Jonathan admits that in an ideal world, he would exclusively write the music "
"he wanted to write, rather than what clients hire him to write.  But his "
"business model is about capitalizing on his strengths as a songwriter, and "
"he has found a way to keep it interesting for himself."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4631
msgid ""
"Jonathan uses nearly every tool possible to make money from his art, but he "
"does have lines he won’t cross. He won’t write songs about things he "
"fundamentally does not believe in, and there are times he has turned down "
"jobs on principle. He also won’t stray too much from his natural style. “My "
"style is silly, so I can’t really accommodate people who want something "
"super serious,” Jonathan said. “I do what I do very easily, and it’s part of "
"who I am.” Jonathan hasn’t gotten into writing commercials for the same "
"reasons; he is best at using his own unique style rather than mimicking "
"others."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4638
msgid ""
"Jonathan’s song-a-day commitment exemplifies the power of habit and grit. "
"Conventional wisdom about creative productivity, including advice in books "
"like the best-seller The Creative Habit by Twyla Tharp, routinely emphasizes "
"the importance of ritual and action. No amount of planning can replace the "
"value of simple practice and just doing.  Jonathan Mann’s work is a living "
"embodiment of these principles."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4644
msgid ""
"When he speaks about his work, he talks about how much the song-a-day "
"process has changed him. Rather than seeing any given piece of work as "
"precious and getting stuck on trying to make it perfect, he has become "
"comfortable with just doing. If today’s song is a bust, tomorrow’s song "
"might be better."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4651
msgid ""
"Jonathan seems to have this mentality about his career more generally.  He "
"is constantly experimenting with ways to make a living while sharing his "
"work as widely as possible, seeing what sticks. While he has major "
"accomplishments he is proud of, like being in the Guinness World Records or "
"having his song used by Steve Jobs, he says he never truly feels successful."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4655
msgid ""
"“Success feels like it’s over,” he said. “To a certain extent, a creative "
"person is not ever going to feel completely satisfied because then so much "
"of what drives you would be gone.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4657
msgid "## Noun Project"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4661
msgid ""
"The Noun Project is a for-profit company offering an online platform to "
"display visual icons from a global network of designers. Founded in 2010 in "
"the U.S."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4663
msgid "thenounproject.com"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4665
msgid "Revenue model: charging a transaction fee, charging for custom services"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4667
msgid "Interview date: October 6, 2015"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4669
msgid "Interviewee: Edward Boatman, cofounder"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4675
msgid ""
"The Noun Project creates and shares visual language. There are millions who "
"use Noun Project symbols to simplify communication across borders, "
"languages, and cultures."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4682
msgid ""
"The original idea for the Noun Project came to cofounder Edward Boatman "
"while he was a student in architecture design school. He’d always done a lot "
"of sketches and started to draw what used to fascinate him as a child, like "
"trains, sequoias, and bulldozers. He began thinking how great it would be if "
"he had a simple image or small icon of every single object or concept on the "
"planet."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4688
msgid ""
"When Edward went on to work at an architecture firm, he had to make a lot of "
"presentation boards for clients. But finding high-quality sources for "
"symbols and icons was difficult. He couldn’t find any website that could "
"provide them. Perhaps his idea for creating a library of icons could "
"actually help people in similar situations."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4695
msgid ""
"With his partner, Sofya Polyakov, he began collecting symbols for a website "
"and writing a business plan. Inspiration came from the book Professor and "
"the Madman, which chronicles the use of crowdsourcing to create the Oxford "
"English Dictionary in 1870. Edward began to imagine crowdsourcing icons and "
"symbols from volunteer designers around the world."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4703
msgid ""
"Then Edward got laid off during the recession, which turned out to be a huge "
"catalyst. He decided to give his idea a go, and in 2010 Edward and Sofya "
"launched the Noun Project with a Kickstarter campaign, back when Kickstarter "
"was in its infancy.1 They thought it’d be a good way to introduce the global "
"web community to their idea. Their goal was to raise \\$1,500, but in twenty "
"days they got over \\$14,000. They realized their idea had the potential to "
"be something much bigger."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4709
msgid ""
"They created a platform where symbols and icons could be uploaded, and "
"Edward began recruiting talented designers to contribute their designs, a "
"process he describes as a relatively easy sell. Lots of designers have old "
"drawings just gathering “digital dust” on their hard drives. It’s easy to "
"convince them to finally share them with the world."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4717
msgid ""
"The Noun Project currently has about seven thousand designers from around "
"the world. But not all submissions are accepted. The Noun Project’s quality-"
"review process means that only the best works become part of its collection. "
"They make sure to provide encouraging, constructive feedback whenever they "
"reject a piece of work, which maintains and builds the relationship they "
"have with their global community of designers."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4722
msgid ""
"Creative Commons is an integral part of the Noun Project’s business model; "
"this decision was inspired by Chris Anderson’s book Free: The Future of "
"Radical Price, which introduced Edward to the idea that you could build a "
"business model around free content."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4734
msgid ""
"Edward knew he wanted to offer a free visual language while still providing "
"some protection and reward for its contributors. There is a tension between "
"those two goals, but for Edward, Creative Commons licenses bring this "
"idealism and business opportunity together elegantly. He chose the "
"Attribution (CC BY) license, which means people can download the icons for "
"free and modify them and even use them commercially. The requirement to give "
"attribution to the original creator ensures that the creator can build a "
"reputation and get global recognition for their work. And if they simply "
"want to offer an icon that people can use without having to give credit, "
"they can use CC0 to put the work into the public domain."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4743
msgid ""
"Noun Project’s business model and means of generating revenue have evolved "
"significantly over time. Their initial plan was to sell T-shirts with the "
"icons on it, which in retrospect Edward says was a horrible idea. They did "
"get a lot of email from people saying they loved the icons but asking if "
"they could pay a fee instead of giving attribution.  Ad agencies (among "
"others) wanted to keep marketing and presentation materials clean and free "
"of attribution statements. For Edward, “That’s when our lightbulb went off.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4749
msgid ""
"They asked their global network of designers whether they’d be open to "
"receiving modest remuneration instead of attribution. Designers saw it as a "
"win-win. The idea that you could offer your designs for free and have a "
"global audience and maybe even make some money was pretty exciting for most "
"designers."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4761
msgid ""
"The Noun Project first adopted a model whereby using an icon without giving "
"attribution would cost \\$1.99 per icon. The model’s second iteration added "
"a subscription component, where there would be a monthly fee to access a "
"certain number of icons—ten, fifty, a hundred, or five hundred. However, "
"users didn’t like these hard-count options. They preferred to try out many "
"similar icons to see which worked best before eventually choosing the one "
"they wanted to use. So the Noun Project moved to an unlimited model, whereby "
"users have unlimited access to the whole library for a flat monthly fee. "
"This service is called NounPro and costs \\$9.99 per month. Edward says this "
"model is working well—good for customers, good for creators, and good for "
"the platform."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4772
msgid ""
"Customers then began asking for an application-programming interface (API), "
"which would allow Noun Project icons and symbols to be directly accessed "
"from within other applications. Edward knew that the icons and symbols would "
"be valuable in a lot of different contexts and that they couldn’t possibly "
"know all of them in advance, so they built an API with a lot of flexibility. "
"Knowing that most API applications would want to use the icons without "
"giving attribution, the API was built with the aim of charging for its use. "
"You can use what’s called the “Playground API” for free to test how it "
"integrates with your application, but full implementation will require you "
"to purchase the API Pro version."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4776
msgid ""
"The Noun Project shares revenue with its international designers. For one-"
"off purchases, the revenue is split 70 percent to the designer and 30 "
"percent to Noun Project."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4785
msgid ""
"The revenue from premium purchases (the subscription and API options) is "
"split a little differently. At the end of each month, the total revenue from "
"subscriptions is divided by Noun Project’s total number of downloads, "
"resulting in a rate per download—for example, it could be \\$0.13 per "
"download for that month. For each download, the revenue is split 40 percent "
"to the designer and 60 percent to the Noun Project.  (For API usage, it’s "
"per use instead of per download.) Noun Project’s share is higher this time "
"as it’s providing more service to the user."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4790
msgid ""
"The Noun Project tries to be completely transparent about their royalty "
"structure.2 They tend to over communicate with creators about it because "
"building trust is the top priority."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4796
msgid ""
"For most creators, contributing to the Noun Project is not a full-time job "
"but something they do on the side. Edward categorizes monthly earnings for "
"creators into three broad categories: enough money to buy beer; enough to "
"pay the bills; and most successful of all, enough to pay the rent."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4808
msgid ""
"Recently the Noun Project launched a new app called Lingo. Designers can use "
"Lingo to organize not just their Noun Project icons and symbols but also "
"their photos, illustrations, UX designs, et cetera. You simply drag any "
"visual item directly into Lingo to save it. Lingo also works for teams so "
"people can share visuals with each other and search across their combined "
"collections. Lingo is free for personal use. A pro version for \\$9.99 per "
"month lets you add guests. A team version for \\$49.95 per month allows up "
"to twenty-five team members to collaborate, and to view, use, edit, and add "
"new assets to each other’s collections.  And if you subscribe to NounPro, "
"you can access Noun Project from within Lingo."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4814
msgid ""
"The Noun Project gives a ton of value away for free. A very large percentage "
"of their roughly one million members have a free account, but there are "
"still lots of paid accounts coming from digital designers, advertising and "
"design agencies, educators, and others who need to communicate ideas "
"visually."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4819
msgid ""
"For Edward, “creating, sharing, and celebrating the world’s visual language” "
"is the most important aspect of what they do; it’s their stated mission. It "
"differentiates them from others who offer graphics, icons, or clip art."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4826
msgid ""
"Noun Project creators agree. When surveyed on why they participate in the "
"Noun Project, this is how designers rank their reasons: 1) to support the "
"Noun Project mission, 2) to promote their own personal brand, and 3) to "
"generate money. It’s striking to see that money comes third, and mission, "
"first. If you want to engage a global network of contributors, it’s "
"important to have a mission beyond making money."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4831
msgid ""
"In Edward’s view, Creative Commons is central to their mission of sharing "
"and social good. Using Creative Commons makes the Noun Project’s mission "
"genuine and has generated a lot of their initial traction and credibility. "
"CC comes with a built-in community of users and fans."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4839
msgid ""
"Edward told us, “Don’t underestimate the power of a passionate community "
"around your product or your business. They are going to go to bat for you "
"when you’re getting ripped in the media. If you go down the road of choosing "
"to work with Creative Commons, you’re taking the first step to building a "
"great community and tapping into a really awesome community that comes with "
"it. But you need to continue to foster that community through other "
"initiatives and continue to nurture it.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4844
msgid ""
"The Noun Project nurtures their creators’ second motivation—promoting a "
"personal brand—by connecting every icon and symbol to the creator’s name and "
"profile page; each profile features their full collection. Users can also "
"search the icons by the creator’s name."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4852
msgid ""
"The Noun Project also builds community through Iconathons—hackathons for "
"icons.2 In partnership with a sponsoring organization, the Noun Project "
"comes up with a theme (e.g., sustainable energy, food bank, guerrilla "
"gardening, human rights) and a list of icons that are needed, which "
"designers are invited to create at the event. The results are vectorized, "
"and added to the Noun Project using CC0 so they can be used by anyone for "
"free."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4860
msgid ""
"Providing a free version of their product that satisfies a lot of their "
"customers’ needs has actually enabled the Noun Project to build the paid "
"version, using a service-oriented model. The Noun Project’s success lies in "
"creating services and content that are a strategic mix of free and paid "
"while staying true to their mission—creating, sharing, and celebrating the "
"world’s visual language. Integrating Creative Commons into their model has "
"been key to that goal."
msgstr ""

#. type: Bullet: '1.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4866
msgid ""
"www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-"
"visual-sy/description"
msgstr ""

#. type: Bullet: '2.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4866
msgid "thenounproject.com/handbook/royalties/\\#getting\\_paid"
msgstr ""

#. type: Bullet: '3.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4866
msgid "thenounproject.com/iconathon/"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4868
msgid "## Open Data Institute"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4872
msgid ""
"The Open Data Institute is an independent nonprofit that connects, equips, "
"and inspires people around the world to innovate with data.  Founded in 2012 "
"in the UK."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4874
msgid "theodi.org"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4877
msgid ""
"Revenue model: grant and government funding, charging for custom services, "
"donations"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4879
msgid "Interview date: November 11, 2015"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4881
msgid "Interviewee: Jeni Tennison, technical director"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4891
msgid ""
"Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the London-"
"based Open Data Institute (ODI) offers data-related training, events, "
"consulting services, and research. For ODI, Creative Commons licenses are "
"central to making their own business model and their customers’ open. CC BY "
"(Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the "
"public domain) all play a critical role in ODI’s mission to help people "
"around the world innovate with data."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4901
msgid ""
"Data underpins planning and decision making across all aspects of society. "
"Weather data helps farmers know when to plant their crops, flight time data "
"from airplane companies helps us plan our travel, data on local housing "
"informs city planning. When this data is not only accurate and timely, but "
"open and accessible, it opens up new possibilities. Open data can be a "
"resource businesses use to build new products and services. It can help "
"governments measure progress, improve efficiency, and target investments. It "
"can help citizens improve their lives by better understanding what is "
"happening around them."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4907
msgid ""
"The Open Data Institute’s 2012–17 business plan starts out by describing its "
"vision to establish itself as a world-leading center and to research and be "
"innovative with the opportunities created by the UK government’s open data "
"policy. (The government was an early pioneer in open policy and open-data "
"initiatives.) It goes on to say that the ODI wants to—"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4914
msgid ""
"demonstrate the commercial value of open government data and how open-data "
"policies affect this;"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4914
msgid "develop the economic benefits case and business models for open data;"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4914
msgid "help UK businesses use open data; and"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:4914
msgid "show how open data can improve public services.1"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4922
msgid ""
"ODI is very explicit about how it wants to make open business models, and "
"defining what this means. Jeni Tennison, ODI’s technical director, puts it "
"this way: “There is a whole ecosystem of open—open-source software, open "
"government, open-access research—and a whole ecosystem of data. ODI’s work "
"cuts across both, with an emphasis on where they overlap—with open data.” "
"ODI’s particular focus is to show open data’s potential for revenue."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4928
msgid ""
"As an independent nonprofit, ODI secured £10 million over five years from "
"the UK government via Innovate UK, an agency that promotes innovation in "
"science and technology. For this funding, ODI has to secure matching funds "
"from other sources, some of which were met through a \\$4.75-million "
"investment from the Omidyar Network."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4934
msgid ""
"Jeni started out as a developer and technical architect for data.gov.uk, the "
"UK government’s pioneering open-data initiative. She helped make data sets "
"from government departments available as open data. She joined ODI in 2012 "
"when it was just starting up, as one of six people. It now has a staff of "
"about sixty."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4941
msgid ""
"ODI strives to have half its annual budget come from the core UK government "
"and Omidyar grants, and the other half from project-based research and "
"commercial work. In Jeni’s view, having this balance of revenue sources "
"establishes some stability, but also keeps them motivated to go out and "
"generate these matching funds in response to market needs."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4944
msgid ""
"On the commercial side, ODI generates funding through memberships, training, "
"and advisory services."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4955
msgid ""
"You can join the ODI as an individual or commercial member. Individual "
"membership is pay-what-you-can, with options ranging from £1 to £100.  "
"Members receive a newsletter and related communications and a discount on "
"ODI training courses and the annual summit, and they can display an ODI-"
"supporter badge on their website. Commercial membership is divided into two "
"tiers: small to medium size enterprises and nonprofits at £720 a year, and "
"corporations and government organizations at £2,200 a year.  Commercial "
"members have greater opportunities to connect and collaborate, explore the "
"benefits of open data, and unlock new business opportunities. (All members "
"are listed on their website.)2"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4967
msgid ""
"ODI provides standardized open data training courses in which anyone can "
"enroll. The initial idea was to offer an intensive and academically oriented "
"diploma in open data, but it quickly became clear there was no market for "
"that. Instead, they offered a five-day-long public training course, which "
"has subsequently been reduced to three days; now the most popular course is "
"one day long. The fee, in addition to the time commitment, can be a barrier "
"for participation. Jeni says, “Most of the people who would be able to pay "
"don’t know they need it. Most who know they need it can’t pay.” Public-"
"sector organizations sometimes give vouchers to their employees so they can "
"attend as a form of professional development."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4975
msgid ""
"ODI customizes training for clients as well, for which there is more demand. "
"Custom training usually emerges through an established relationship with an "
"organization. The training program is based on a definition of open-data "
"knowledge as applicable to the organization and on the skills needed by "
"their high-level executives, management, and technical staff. The training "
"tends to generate high interest and commitment."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4982
msgid ""
"Education about open data is also a part of ODI’s annual summit event, where "
"curated presentations and speakers showcase the work of ODI and its members "
"across the entire ecosystem. Tickets to the summit are available to the "
"public, and hundreds of people and organizations attend and participate. In "
"2014, there were four thematic tracks and over 750 attendees."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4989
msgid ""
"In addition to memberships and training, ODI provides advisory services to "
"help with technical-data support, technology development, change management, "
"policies, and other areas. ODI has advised large commercial organizations, "
"small businesses, and international governments; the focus at the moment is "
"on government, but ODI is working to shift more toward commercial "
"organizations."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:4992
msgid ""
"On the commercial side, the following value propositions seem to resonate:"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5007
msgid ""
"Data-driven insights. Businesses need data from outside their business to "
"get more insight. Businesses can generate value and more effectively pursue "
"their own goals if they open up their own data too. Big data is a hot topic."
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5007
msgid ""
"Open innovation. Many large-scale enterprises are aware they don’t innovate "
"very well. One way they can innovate is to open up their data. ODI "
"encourages them to do so even if it exposes problems and challenges. The key "
"is to invite other people to help while still maintaining organizational "
"autonomy."
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5007
msgid ""
"Corporate social responsibility. While this resonates with businesses, ODI "
"cautions against having it be the sole reason for making data open. If a "
"business is just thinking about open data as a way to be transparent and "
"accountable, they can miss out on efficiencies and opportunities."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5015
msgid ""
"During their early years, ODI wanted to focus solely on the United Kingdom. "
"But in their first year, large delegations of government visitors from over "
"fifty countries wanted to learn more about the UK government’s open-data "
"practices and how ODI saw that translating into economic value. They were "
"contracted as a service provider to international governments, which "
"prompted a need to set up international ODI “nodes.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5025
msgid ""
"Nodes are franchises of the ODI at a regional or city level. Hosted by "
"existing (for-profit or not-for-profit) organizations, they operate locally "
"but are part of the global network. Each ODI node adopts the charter, a set "
"of guiding principles and rules under which ODI operates.  They develop and "
"deliver training, connect people and businesses through membership and "
"events, and communicate open-data stories from their part of the world. "
"There are twenty-seven different nodes across nineteen countries. ODI nodes "
"are charged a small fee to be part of the network and to use the brand."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5029
msgid ""
"ODI also runs programs to help start-ups in the UK and across Europe develop "
"a sustainable business around open data, offering mentoring, advice, "
"training, and even office space.3"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5037
msgid ""
"A big part of ODI’s business model revolves around community building.  "
"Memberships, training, summits, consulting services, nodes, and start-up "
"programs create an ever-growing network of open-data users and leaders.  (In "
"fact, ODI even operates something called an Open Data Leaders Network.) For "
"ODI, community is key to success. They devote significant time and effort to "
"build it, not just online but through face-to-face events."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5043
msgid ""
"ODI has created an online tool that organizations can use to assess the "
"legal, practical, technical, and social aspects of their open data. If it is "
"of high quality, the organization can earn ODI’s Open Data Certificate, a "
"globally recognized mark that signals that their open data is useful, "
"reliable, accessible, discoverable, and supported.4"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5048
msgid ""
"Separate from commercial activities, the ODI generates funding through "
"research grants. Research includes looking at evidence on the impact of open "
"data, development of open-data tools and standards, and how to deploy open "
"data at scale."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5053
msgid ""
"Creative Commons 4.0 licenses cover database rights and ODI recommends CC "
"BY, CC BY-SA, and CC0 for data releases. ODI encourages publishers of data "
"to use Creative Commons licenses rather than creating new “open licenses” of "
"their own."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5069
msgid ""
"For ODI, open is at the heart of what they do. They also release any "
"software code they produce under open-source-software licenses, and "
"publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is "
"to connect and equip people around the world so they can innovate with data. "
"Disseminating stories, research, guidance, and code under an open license is "
"essential for achieving that mission. It also demonstrates that it is "
"perfectly possible to generate sustainable revenue streams that do not rely "
"on restrictive licensing of content, data, or code. People pay to have ODI "
"experts provide training to them, not for the content of the training; "
"people pay for the advice ODI gives them, not for the methodologies they "
"use. Producing open content, data, and source code helps establish "
"credibility and creates leads for the paid services that they offer. "
"According to Jeni, “The biggest lesson we have learned is that it is "
"completely possible to be open, get customers, and make money.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5073
msgid ""
"To serve as evidence of a successful open business model and return on "
"investment, ODI has a public dashboard of key performance indicators.  Here "
"are a few metrics as of April 27, 2016:"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5085
msgid ""
"Total amount of cash investments unlocked in direct investments in ODI, "
"competition funding, direct contracts, and partnerships, and income that ODI "
"nodes and ODI start-ups have generated since joining the ODI program: £44.5 "
"million"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5085
msgid "Total number of active members and nodes across the globe: 1,350"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5085
msgid "Total sales since ODI began: £7.44 million"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5085
msgid ""
"Total number of unique people reached since ODI began, in person and online: "
"2.2 million"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5085
msgid "Total Open Data Certificates created: 151,000"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5085
msgid ""
"Total number of people trained by ODI and its nodes since ODI began: 5,0805"
msgstr ""

#. type: Bullet: '1.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5094
msgid ""
"e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-"
"business-plan-may-release.pdf"
msgstr ""

#. type: Bullet: '2.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5094
msgid "directory.theodi.org/members"
msgstr ""

#. type: Bullet: '3.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5094
msgid ""
"theodi.org/odi-startup-programme; theodi.org/open-data-incubator-for-europe"
msgstr ""

#. type: Bullet: '4.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5094
msgid "certificates.theodi.org"
msgstr ""

#. type: Bullet: '5.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5094
msgid "dashboards.theodi.org/company/all"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5096
msgid "## OpenDesk"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5100
msgid ""
"Opendesk is a for-profit company offering an online platform that connects "
"furniture designers around the world with customers and local makers who "
"bring the designs to life. Founded in 2014 in the UK."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5102
msgid "www.opendesk.cc"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5104
#: MadewithCreativeCommonsmostup-to-dateversion.md:7054
msgid "Revenue model: charging a transaction fee"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5106
msgid "Interview date: November 4, 2015"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5108
msgid "Interviewees: Nick Ierodiaconou and Joni Steiner, cofounders"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5115
msgid ""
"Opendesk is an online platform that connects furniture designers around the "
"world not just with customers but also with local registered makers who "
"bring the designs to life. Opendesk and the designer receive a portion of "
"every sale that is made by a maker."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5130
msgid ""
"Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as "
"architects together. They also made goods. Their first client was Mint "
"Digital, who had an interest in open licensing. Nick and Joni were exploring "
"digital fabrication, and Mint’s interest in open licensing got them to "
"thinking how the open-source world may interact and apply to physical goods. "
"They sought to design something for their client that was also reproducible. "
"As they put it, they decided to “ship the recipe, but not the goods.” They "
"created the design using software, put it under an open license, and had it "
"manufactured locally near the client. This was the start of the idea for "
"Opendesk. The idea for Wikihouse—another open project dedicated to "
"accessible housing for all—started as discussions around the same table. The "
"two projects ultimately went on separate paths, with Wikihouse becoming a "
"nonprofit foundation and Opendesk a for-profit company."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5136
msgid ""
"When Nick and Joni set out to create Opendesk, there were a lot of questions "
"about the viability of distributed manufacturing. No one was doing it in a "
"way that was even close to realistic or competitive. The design community "
"had the intent, but fulfilling this vision was still a long way away."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5146
msgid ""
"And now this sector is emerging, and Nick and Joni are highly interested in "
"the commercialization aspects of it. As part of coming up with a business "
"model, they began investigating intellectual property and licensing options. "
"It was a thorny space, especially for designs. Just what aspect of a design "
"is copyrightable? What is patentable? How can allowing for digital sharing "
"and distribution be balanced against the designer’s desire to still hold "
"ownership? In the end, they decided there was no need to reinvent the wheel "
"and settled on using Creative Commons."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5152
msgid ""
"When designing the Opendesk system, they had two goals. They wanted anyone, "
"anywhere in the world, to be able to download designs so that they could be "
"made locally, and they wanted a viable model that benefited designers when "
"their designs were sold. Coming up with a business model was going to be "
"complex."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5156
msgid ""
"They gave a lot of thought to three angles—the potential for social sharing, "
"allowing designers to choose their license, and the impact these choices "
"would have on the business model."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5162
msgid ""
"In support of social sharing, Opendesk actively advocates for (but doesn’t "
"demand) open licensing. And Nick and Joni are agnostic about which Creative "
"Commons license is used; it’s up to the designer. They can be proprietary or "
"choose from the full suite of Creative Commons licenses, deciding for "
"themselves how open or closed they want to be."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5167
msgid ""
"For the most part, designers love the idea of sharing content. They "
"understand that you get positive feedback when you’re attributed, what Nick "
"and Joni called “reputational glow.” And Opendesk does an awesome job "
"profiling the designers.1"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5172
msgid ""
"While designers are largely OK with personal sharing, there is a concern "
"that someone will take the design and manufacture the furniture in bulk, "
"with the designer not getting any benefits. So most Opendesk designers "
"choose the Attribution-NonCommercial license (CC BY-NC)."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5181
msgid ""
"Anyone can download a design and make it themselves, provided it’s for "
"noncommercial use — and there have been many, many downloads. Or users can "
"buy the product from Opendesk, or from a registered maker in Opendesk’s "
"network, for on-demand personal fabrication. The network of Opendesk makers "
"currently is made up of those who do digital fabrication using a computer-"
"controlled CNC (Computer Numeric Control) machining device that cuts shapes "
"out of wooden sheets according to the specifications in the design file."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5189
msgid ""
"Makers benefit from being part of Opendesk’s network. Making furniture for "
"local customers is paid work, and Opendesk generates business for them. Joni "
"said, “Finding a whole network and community of makers was pretty easy "
"because we built a site where people could write in about their "
"capabilities. Building the community by learning from the maker community is "
"how we have moved forward.” Opendesk now has relationships with hundreds of "
"makers in countries all around the world.2"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5193
msgid ""
"The makers are a critical part of the Opendesk business model. Their model "
"builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s "
"website:"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5196
msgid ""
"When customers buy an Opendesk product directly from a registered maker, "
"they pay:"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5218
msgid ""
"the manufacturing cost as set by the maker (this covers material and labour "
"costs for the product to be manufactured and any extra assembly costs "
"charged by the maker)"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5218
msgid ""
"a design fee for the designer (a design fee that is paid to the designer "
"every time their design is used)"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5218
msgid ""
"a percentage fee to the Opendesk platform (this supports the infrastructure "
"and ongoing development of the platform that helps us build out our "
"marketplace)"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5218
msgid ""
"a percentage fee to the channel through which the sale is made (at the "
"moment this is Opendesk, but in the future we aim to open this up to third-"
"party sellers who can sell Opendesk products through their own channels—this "
"covers sales and marketing fees for the relevant channel)"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5218
msgid ""
"a local delivery service charge (the delivery is typically charged by the "
"maker, but in some cases may be paid to a third-party delivery partner)"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5218
msgid ""
"charges for any additional services the customer chooses, such as on-site "
"assembly (additional services are discretionary—in many cases makers will be "
"happy to quote for assembly on-site and designers may offer bespoke design "
"options)"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5218
msgid "local sales taxes (variable by customer and maker location)3"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5220
msgid "They then go into detail how makers’ quotes are created:"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5229
msgid ""
"When a customer wants to buy an Opendesk . . . they are provided with a "
"transparent breakdown of fees including the manufacturing cost, design fee, "
"Opendesk platform fee and channel fees. If a customer opts to buy by getting "
"in touch directly with a registered local maker using a downloaded Opendesk "
"file, the maker is responsible for ensuring the design fee, Opendesk "
"platform fee and channel fees are included in any quote at the time of sale. "
"Percentage fees are always based on the underlying manufacturing cost and "
"are typically apportioned as follows:"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5237
msgid ""
"manufacturing cost: fabrication, finishing and any other costs as set by the "
"maker (excluding any services like delivery or on-site assembly)"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5237
msgid "design fee: 8 percent of the manufacturing cost"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5237
msgid "platform fee: 12 percent of the manufacturing cost"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5237
msgid "channel fee: 18 percent of the manufacturing cost"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5237
msgid "sales tax: as applicable (depends on product and location)"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5242
msgid ""
"Opendesk shares revenue with their community of designers. According to Nick "
"and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8 "
"percent is more generous, and providing a higher value to the designer."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5249
msgid ""
"The Opendesk website features stories of designers and makers. Denis Fuzii "
"published the design for the Valovi Chair from his studio in São Paulo. His "
"designs have been downloaded over five thousand times in ninety-five "
"countries. I.J. CNC Services is Ian Jinks, a professional maker based in the "
"United Kingdom. Opendesk now makes up a large proportion of his business."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5257
msgid ""
"To manage resources and remain effective, Opendesk has so far focused on a "
"very narrow niche—primarily office furniture of a certain simple aesthetic, "
"which uses only one type of material and one manufacturing technique. This "
"allows them to be more strategic and more disruptive in the market, by "
"getting things to market quickly with competitive prices.  It also reflects "
"their vision of creating reproducible and functional pieces."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5263
msgid ""
"On their website, Opendesk describes what they do as “open making”: "
"“Designers get a global distribution channel. Makers get profitable jobs and "
"new customers. You get designer products without the designer price tag, a "
"more social, eco-friendly alternative to mass-production and an affordable "
"way to buy custom-made products.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5269
msgid ""
"Nick and Joni say that customers like the fact that the furniture has a "
"known provenance. People really like that their furniture was designed by a "
"certain international designer but was made by a maker in their local "
"community; it’s a great story to tell. It certainly sets apart Opendesk "
"furniture from the usual mass-produced items from a store."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5277
msgid ""
"Nick and Joni are taking a community-based approach to define and evolve "
"Opendesk and the “open making” business model. They’re engaging thought "
"leaders and practitioners to define this new movement. They have a separate "
"Open Making site, which includes a manifesto, a field guide, and an "
"invitation to get involved in the Open Making community.4 People can submit "
"ideas and discuss the principles and business practices they’d like to see "
"used."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5283
msgid ""
"Nick and Joni talked a lot with us about intellectual property (IP) and "
"commercialization. Many of their designers fear the idea that someone could "
"take one of their design files and make and sell infinite number of pieces "
"of furniture with it. As a consequence, most Opendesk designers choose the "
"Attribution-NonCommercial license (CC BY-NC)."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5286
msgid ""
"Opendesk established a set of principles for what their community considers "
"commercial and noncommercial use. Their website states:"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5288
msgid "It is unambiguously commercial use when anyone:"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5291
msgid "charges a fee or makes a profit when making an Opendesk"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5291
msgid "sells (or bases a commercial service on) an Opendesk"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5295
msgid ""
"It follows from this that noncommercial use is when you make an Opendesk "
"yourself, with no intention to gain commercial advantage or monetary "
"compensation. For example, these qualify as noncommercial:"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5304
msgid ""
"you are an individual with your own CNC machine, or access to a shared CNC "
"machine, and will personally cut and make a few pieces of furniture yourself"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5304
msgid ""
"you are a student (or teacher) and you use the design files for educational "
"purposes or training (and do not intend to sell the resulting pieces)"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5304
msgid ""
"you work for a charity and get furniture cut by volunteers, or by employees "
"at a fab lab or maker space"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5313
msgid ""
"Whether or not people technically are doing things that implicate IP, Nick "
"and Joni have found that people tend to comply with the wishes of creators "
"out of a sense of fairness. They have found that behavioral economics can "
"replace some of the thorny legal issues. In their business model, Nick and "
"Joni are trying to suspend the focus on IP and build an open business model "
"that works for all stakeholders—designers, channels, manufacturers, and "
"customers. For them, the value Opendesk generates hangs off “open,” not IP."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5319
msgid ""
"The mission of Opendesk is about relocalizing manufacturing, which changes "
"the way we think about how goods are made. Commercialization is integral to "
"their mission, and they’ve begun to focus on success metrics that track how "
"many makers and designers are engaged through Opendesk in revenue-making "
"work."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5324
msgid ""
"As a global platform for local making, Opendesk’s business model has been "
"built on honesty, transparency, and inclusivity. As Nick and Joni describe "
"it, they put ideas out there that get traction and then have faith in people."
msgstr ""

#. type: Bullet: '1.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5331
msgid "www.opendesk.cc/designers"
msgstr ""

#. type: Bullet: '2.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5331
msgid "www.opendesk.cc/open-making/makers/"
msgstr ""

#. type: Bullet: '3.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5331
msgid "www.opendesk.cc/open-making/join"
msgstr ""

#. type: Bullet: '4.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5331
msgid "openmaking.is"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5333
msgid "## OpenStax"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5337
msgid ""
"OpenStax is a nonprofit that provides free, openly licensed textbooks for "
"high-enrollment introductory college courses and Advanced Placement courses. "
"Founded in 2012 in the U.S."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5339
msgid "www.openstaxcollege.org"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5342
msgid ""
"Revenue model: grant funding, charging for custom services, charging for "
"physical copies (textbook sales)"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5344
msgid "Interview date: December 16, 2015"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5346
msgid "Interviewee: David Harris, editor-in-chief"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5359
msgid ""
"OpenStax is an extension of a program called Connexions, which was started "
"in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of "
"Electrical and Computer Engineering at Rice University in Houston, Texas. "
"Frustrated by the limitations of traditional textbooks and courses, Dr. "
"Baraniuk wanted to provide authors and learners a way to share and freely "
"adapt educational materials such as courses, books, and reports. Today, "
"Connexions (now called OpenStax CNX) is one of the world’s best libraries of "
"customizable educational materials, all licensed with Creative Commons and "
"available to anyone, anywhere, anytime—for free."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5368
msgid ""
"In 2008, while in a senior leadership role at WebAssign and looking at ways "
"to reduce the risk that came with relying on publishers, David Harris began "
"investigating open educational resources (OER) and discovered Connexions. A "
"year and a half later, Connexions received a grant to help grow the use of "
"OER so that it could meet the needs of students who couldn’t afford "
"textbooks. David came on board to spearhead this effort. Connexions became "
"OpenStax CNX; the program to create open textbooks became OpenStax College, "
"now simply called OpenStax."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5378
msgid ""
"David brought with him a deep understanding of the best practices of "
"publishing along with where publishers have inefficiencies. In David’s view, "
"peer review and high standards for quality are critically important if you "
"want to scale easily. Books have to have logical scope and sequence, they "
"have to exist as a whole and not in pieces, and they have to be easy to "
"find. The working hypothesis for the launch of OpenStax was to "
"professionally produce a turnkey textbook by investing effort up front, with "
"the expectation that this would lead to rapid growth through easy downstream "
"adoptions by faculty and students."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5387
msgid ""
"In 2012, OpenStax College launched as a nonprofit with the aim of producing "
"high-quality, peer-reviewed full-color textbooks that would be available for "
"free for the twenty-five most heavily attended college courses in the "
"nation. Today they are fast approaching that number.  There is data that "
"proves the success of their original hypothesis on how many students they "
"could help and how much money they could help save.1 Professionally produced "
"content scales rapidly. All with no sales force!"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5395
msgid ""
"OpenStax textbooks are all Attribution (CC BY) licensed, and each textbook "
"is available as a PDF, an e-book, or web pages. Those who want a physical "
"copy can buy one for an affordable price. Given the cost of education and "
"student debt in North America, free or very low-cost textbooks are very "
"appealing. OpenStax encourages students to talk to their professor and "
"librarians about these textbooks and to advocate for their use."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5402
msgid ""
"Teachers are invited to try out a single chapter from one of the textbooks "
"with students. If that goes well, they’re encouraged to adopt the entire "
"book. They can simply paste a URL into their course syllabus, for free and "
"unlimited access. And with the CC BY license, teachers are free to delete "
"chapters, make changes, and customize any book to fit their needs."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5407
msgid ""
"Any teacher can post corrections, suggest examples for difficult concepts, "
"or volunteer as an editor or author. As many teachers also want supplemental "
"material to accompany a textbook, OpenStax also provides slide "
"presentations, test banks, answer keys, and so on."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5412
msgid ""
"Institutions can stand out by offering students a lower-cost education "
"through the use of OpenStax textbooks; there’s even a textbook-savings "
"calculator they can use to see how much students would save. OpenStax keeps "
"a running list of institutions that have adopted their textbooks.2"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5417
msgid ""
"Unlike traditional publishers’ monolithic approach of controlling "
"intellectual property, distribution, and so many other aspects, OpenStax has "
"adopted a model that embraces open licensing and relies on an extensive "
"network of partners."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5426
msgid ""
"Up-front funding of a professionally produced all-color turnkey textbook is "
"expensive. For this part of their model, OpenStax relies on philanthropy. "
"They have initially been funded by the William and Flora Hewlett Foundation, "
"the Laura and John Arnold Foundation, the Bill and Melinda Gates Foundation, "
"the 20 Million Minds Foundation, the Maxfield Foundation, the Calvin K. "
"Kazanjian Foundation, and Rice University. To develop additional titles and "
"supporting technology is probably still going to require philanthropic "
"investment."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5435
msgid ""
"However, ongoing operations will not rely on foundation grants but instead "
"on funds received through an ecosystem of over forty partners, whereby a "
"partner takes core content from OpenStax and adds features that it can "
"create revenue from. For example, WebAssign, an online homework and "
"assessment tool, takes the physics book and adds algorithmically generated "
"physics problems, with problem-specific feedback, detailed solutions, and "
"tutorial support. WebAssign resources are available to students for a fee."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5443
msgid ""
"Another example is Odigia, who has turned OpenStax books into interactive "
"learning experiences and created additional tools to measure and promote "
"student engagement. Odigia licenses its learning platform to institutions. "
"Partners like Odigia and WebAssign give a percentage of the revenue they "
"earn back to OpenStax, as mission-support fees.  OpenStax has already "
"published revisions of their titles, such as Introduction to Sociology 2e, "
"using these funds."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5453
msgid ""
"In David’s view, this approach lets the market operate at peak efficiency. "
"OpenStax’s partners don’t have to worry about developing textbook content, "
"freeing them up from those development costs and letting them focus on what "
"they do best. With OpenStax textbooks available at no cost, they can provide "
"their services at a lower cost—not free, but still saving students money. "
"OpenStax benefits not only by receiving mission-support fees but through "
"free publicity and marketing. OpenStax doesn’t have a sales force; partners "
"are out there showcasing their materials."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5459
msgid ""
"OpenStax’s cost of sales to acquire a single student is very, very low and "
"is a fraction of what traditional players in the market face. This year, "
"Tyton Partners is actually evaluating the costs of sales for an OER effort "
"like OpenStax in comparison with incumbents. David looks forward to sharing "
"these findings with the community."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5468
msgid ""
"While OpenStax books are available online for free, many students still want "
"a print copy. Through a partnership with a print and courier company, "
"OpenStax offers a complete solution that scales. OpenStax sells tens of "
"thousands of print books. The price of an OpenStax sociology textbook is "
"about twenty-eight dollars, a fraction of what sociology textbooks usually "
"cost. OpenStax keeps the prices low but does aim to earn a small margin on "
"each book sold, which also contributes to ongoing operations."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5479
msgid ""
"Campus-based bookstores are part of the OpenStax solution. OpenStax "
"collaborates with NACSCORP (the National Association of College Stores "
"Corporation) to provide print versions of their textbooks in the stores.  "
"While the overall cost of the textbook is significantly less than a "
"traditional textbook, bookstores can still make a profit on sales.  "
"Sometimes students take the savings they have from the lower-priced book and "
"use it to buy other things in the bookstore. And OpenStax is trying to break "
"the expensive behavior of excessive returns by having a no-returns policy. "
"This is working well, since the sell-through of their print titles is "
"virtually a hundred percent."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5486
msgid ""
"David thinks of the OpenStax model as “OER 2.0.” So what is OER 1.0? "
"Historically in the OER field, many OER initiatives have been locally funded "
"by institutions or government ministries. In David’s view, this results in "
"content that has high local value but is infrequently adopted nationally. "
"It’s therefore difficult to show payback over a time scale that is "
"reasonable."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5497
msgid ""
"OER 2.0 is about OER intended to be used and adopted on a national level "
"right from the start. This requires a bigger investment up front but pays "
"off through wide geographic adoption. The OER 2.0 process for OpenStax "
"involves two development models. The first is what David calls the "
"acquisition model, where OpenStax purchases the rights from a publisher or "
"author for an already published book and then extensively revises it. The "
"OpenStax physics textbook, for example, was licensed from an author after "
"the publisher released the rights back to the authors. The second model is "
"to develop a book from scratch, a good example being their biology book."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5512
msgid ""
"The process is similar for both models. First they look at the scope and "
"sequence of existing textbooks. They ask questions like what does the "
"customer need? Where are students having challenges? Then they identify "
"potential authors and put them through a rigorous evaluation—only one in ten "
"authors make it through. OpenStax selects a team of authors who come "
"together to develop a template for a chapter and collectively write the "
"first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do "
"books with just a single author as David says it risks the project going "
"longer than scheduled.) The draft is peer-reviewed with no less than three "
"reviewers per chapter. A second draft is generated, with artists producing "
"illustrations and visuals to go along with the text.  The book is then "
"copyedited to ensure grammatical correctness and a singular voice. Finally, "
"it goes into production and through a final proofread. The whole process is "
"very time-consuming."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5521
msgid ""
"All the people involved in this process are paid. OpenStax does not rely on "
"volunteers. Writers, reviewers, illustrators, and editors are all paid an up-"
"front fee—OpenStax does not use a royalty model. A best-selling author might "
"make more money under the traditional publishing model, but that is only "
"maybe 5 percent of all authors. From David’s perspective, 95 percent of all "
"authors do better under the OER 2.0 model, as there is no risk to them and "
"they earn all the money up front."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5529
msgid ""
"David thinks of the Attribution license (CC BY) as the “innovation license.” "
"It’s core to the mission of OpenStax, letting people use their textbooks in "
"innovative ways without having to ask for permission. It frees up the whole "
"market and has been central to OpenStax being able to bring on partners. "
"OpenStax sees a lot of customization of their materials. By enabling "
"frictionless remixing, CC BY gives teachers control and academic freedom."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5538
msgid ""
"Using CC BY is also a good example of using strategies that traditional "
"publishers can’t. Traditional publishers rely on copyright to prevent others "
"from making copies and heavily invest in digital rights management to ensure "
"their books aren’t shared. By using CC BY, OpenStax avoids having to deal "
"with digital rights management and its costs.  OpenStax books can be copied "
"and shared over and over again. CC BY changes the rules of engagement and "
"takes advantage of traditional market inefficiencies."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5541
msgid ""
"As of September 16, 2016, OpenStax has achieved some impressive results.  "
"From the OpenStax at a Glance fact sheet from their recent press kit:"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5550
msgid "Books published: 23"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5550
msgid "Students who have used OpenStax: 1.6 million"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5550
msgid "Money saved for students: \\$155 million"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5550
msgid "Money saved for students in the 2016/17 academic year: \\$77 million"
msgstr ""

#. type: Bullet: '-   '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5550
msgid ""
"Schools that have used OpenStax: 2,668 (This number reflects all "
"institutions using at least one OpenStax textbook. Out of 2,668 schools, 517 "
"are two-year colleges, 835 four-year colleges and universities, and 344 "
"colleges and universities outside the U.S.)"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5555
msgid ""
"While OpenStax has to date been focused on the United States, there is "
"overseas adoption especially in the science, technology, engineering, and "
"math (STEM) fields. Large scale adoption in the United States is seen as a "
"necessary precursor to international interest."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5561
msgid ""
"OpenStax has primarily focused on introductory-level college courses where "
"there is high enrollment, but they are starting to think about verticals—a "
"broad offering for a specific group or need. David thinks it would be "
"terrific if OpenStax could provide access to free textbooks through the "
"entire curriculum of a nursing degree, for example."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5571
msgid ""
"Finally, for OpenStax success is not just about the adoption of their "
"textbooks and student savings. There is a human aspect to the work that is "
"hard to quantify but incredibly important. They get emails from students "
"saying how OpenStax saved them from making difficult choices like buying "
"food or a textbook. OpenStax would also like to assess the impact their "
"books have on learning efficiency, persistence, and completion. By building "
"an open business model based on Creative Commons, OpenStax is making it "
"possible for every student who wants access to education to get it."
msgstr ""

#. type: Bullet: '1.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5576
msgid ""
"news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg"
msgstr ""

#. type: Bullet: '2.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5576
msgid "openstax.org/adopters"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5578
msgid "## Amanda Palmer"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5580
msgid "Amanda Palmer is a musician, artist, and writer. Based in the U.S."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5582
msgid "amandapalmer.net"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5586
msgid ""
"Revenue model: crowdfunding (subscription-based), pay-what-you-want, "
"charging for physical copies (book and album sales), charg-ing for in-person "
"version (performances), selling merchandise"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5588
msgid "Interview date: December 15, 2015"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5594
msgid ""
"Since the beginning of her career, Amanda Palmer has been on what she calls "
"a “journey with no roadmap,” continually experimenting to find new ways to "
"sustain her creative work. 1"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5600
msgid ""
"In her best-selling book, The Art of Asking, Amanda articulates exactly what "
"she has been and continues to strive for—“the ideal sweet spot . .  . in "
"which the artist can share freely and directly feel the reverberations of "
"their artistic gifts to the community, and make a living doing that.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5607
msgid ""
"While she seems to have successfully found that sweet spot for herself, "
"Amanda is the first to acknowledge there is no silver bullet. She thinks the "
"digital age is both an exciting and frustrating time for creators.  “On the "
"one hand, we have this beautiful shareability,” Amanda said. “On the other, "
"you’ve got a bunch of confused artists wondering how to make money to buy "
"food so we can make more art.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5619
msgid ""
"Amanda began her artistic career as a street performer. She would dress up "
"in an antique wedding gown, paint her face white, stand on a stack of milk "
"crates, and hand out flowers to strangers as part of a silent dramatic "
"performance. She collected money in a hat. Most people walked by her without "
"stopping, but an essential few stopped to watch and drop some money into her "
"hat to show their appreciation. Rather than dwelling on the majority of "
"people who ignored her, she felt thankful for those who stopped. “All I "
"needed was . . . some people,” she wrote in her book. “Enough people. Enough "
"to make it worth coming back the next day, enough people to help me make "
"rent and put food on the table. Enough so I could keep making art.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5628
msgid ""
"Amanda has come a long way from her street-performing days, but her career "
"remains dominated by that same sentiment—finding ways to reach “her crowd” "
"and feeling gratitude when she does. With her band the Dresden Dolls, Amanda "
"tried the traditional path of signing with a record label. It didn’t take "
"for a variety of reasons, but one of them was that the label had absolutely "
"no interest in Amanda’s view of success. They wanted hits, but making music "
"for the masses was never what Amanda and the Dresden Dolls set out to do."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5638
msgid ""
"After leaving the record label in 2008, she began experimenting with "
"different ways to make a living. She released music directly to the public "
"without involving a middle man, releasing digital files on a “pay what you "
"want” basis and selling CDs and vinyl. She also made money from live "
"performances and merchandise sales. Eventually, in 2012 she decided to try "
"her hand at the sort of crowdfunding we know so well today. Her Kickstarter "
"project started with a goal of \\$100,000, and she made \\$1.2 million. It "
"remains one of the most successful Kickstarter projects of all time."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5648
msgid ""
"Today, Amanda has switched gears away from crowdfunding for specific "
"projects to instead getting consistent financial support from her fan base "
"on Patreon, a crowdfunding site that allows artists to get recurring "
"donations from fans. More than eight thousand people have signed up to "
"support her so she can create music, art, and any other creative “thing” "
"that she is inspired to make. The recurring pledges are made on a “per "
"thing” basis. All of the content she makes is made freely available under an "
"Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA)."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5663
msgid ""
"Making her music and art available under Creative Commons licensing "
"undoubtedly limits her options for how she makes a living. But sharing her "
"work has been part of her model since the beginning of her career, even "
"before she discovered Creative Commons. Amanda says the Dresden Dolls used "
"to get ten emails per week from fans asking if they could use their music "
"for different projects. They said yes to all of the requests, as long as it "
"wasn’t for a completely for-profit venture. At the time, they used a short-"
"form agreement written by Amanda herself. “I made everyone sign that "
"contract so at least I wouldn’t be leaving the band vulnerable to someone "
"later going on and putting our music in a Camel cigarette ad,” Amanda said. "
"Once she discovered Creative Commons, adopting the licenses was an easy "
"decision because it gave them a more formal, standardized way of doing what "
"they had been doing all along.  The NonCommercial licenses were a natural "
"fit."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5670
msgid ""
"Amanda embraces the way her fans share and build upon her music. In The Art "
"of Asking, she wrote that some of her fans’ unofficial videos using her "
"music surpass the official videos in number of views on YouTube.  Rather "
"than seeing this sort of thing as competition, Amanda celebrates it. “We got "
"into this because we wanted to share the joy of music,” she said."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5678
msgid ""
"This is symbolic of how nearly everything she does in her career is "
"motivated by a desire to connect with her fans. At the start of her career, "
"she and the band would throw concerts at house parties. As the gatherings "
"grew, the line between fans and friends was completely blurred. “Not only "
"did most our early fans know where I lived and where we practiced, but most "
"of them had also been in my kitchen,” Amanda wrote in The Art of Asking."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5688
msgid ""
"Even though her fan base is now huge and global, she continues to seek this "
"sort of human connection with her fans. She seeks out face-to-face contact "
"with her fans every chance she can get. Her hugely successful Kickstarter "
"featured fifty concerts at house parties for backers. She spends hours in "
"the signing line after shows. It helps that Amanda has the kind of dynamic, "
"engaging personality that instantly draws people to her, but a big component "
"of her ability to connect with people is her willingness to listen. "
"“Listening fast and caring immediately is a skill unto itself,” Amanda wrote."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5697
msgid ""
"Another part of the connection fans feel with Amanda is how much they know "
"about her life. Rather than trying to craft a public persona or image, she "
"essentially lives her life as an open book. She has written openly about "
"incredibly personal events in her life, and she isn’t afraid to be "
"vulnerable. Having that kind of trust in her fans—the trust it takes to be "
"truly honest—begets trust from her fans in return. When she meets fans for "
"the first time after a show, they can legitimately feel like they know her."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5704
msgid ""
"“With social media, we’re so concerned with the picture looking palatable "
"and consumable that we forget that being human and showing the flaws and "
"exposing the vulnerability actually create a deeper connection than just "
"looking fantastic,” Amanda said. “Everything in our culture is telling us "
"otherwise. But my experience has shown me that the risk of making yourself "
"vulnerable is almost always worth it.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5712
msgid ""
"Not only does she disclose intimate details of her life to them, she sleeps "
"on their couches, listens to their stories, cries with them. In short, she "
"treats her fans like friends in nearly every possible way, even when they "
"are complete strangers. This mentality—that fans are friends—is completely "
"intertwined with Amanda’s success as an artist. It is also intertwined with "
"her use of Creative Commons licenses. Because that is what you do with your "
"friends—you share."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5720
msgid ""
"After years of investing time and energy into building trust with her fans, "
"she has a strong enough relationship with them to ask for support—through "
"pay-what-you-want donations, Kickstarter, Patreon, or even asking them to "
"lend a hand at a concert. As Amanda explains it, crowdfunding (which is "
"really what all of these different things are) is about asking for support "
"from people who know and trust you. People who feel personally invested in "
"your success."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5727
msgid ""
"“When you openly, radically trust people, they not only take care of you, "
"they become your allies, your family,” she wrote. There really is a feeling "
"of solidarity within her core fan base. From the beginning, Amanda and her "
"band encouraged people to dress up for their shows. They consciously "
"cultivated a feeling of belonging to their “weird little family.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5735
msgid ""
"This sort of intimacy with fans is not possible or even desirable for every "
"creator. “I don’t take for granted that I happen to be the type of person "
"who loves cavorting with strangers,” Amanda said. “I recognize that it’s not "
"necessarily everyone’s idea of a good time. Everyone does it differently. "
"Replicating what I have done won’t work for others if it isn’t joyful to "
"them. It’s about finding a way to channel energy in a way that is joyful to "
"you.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5746
msgid ""
"Yet while Amanda joyfully interacts with her fans and involves them in her "
"work as much as possible, she does keep one job primarily to herself—writing "
"the music. She loves the creativity with which her fans use and adapt her "
"work, but she intentionally does not involve them at the first stage of "
"creating her artistic work. And, of course, the songs and music are what "
"initially draw people to Amanda Palmer. It is only once she has connected to "
"people through her music that she can then begin to build ties with them on "
"a more personal level, both in person and online. In her book, Amanda "
"describes it as casting a net. It starts with the art and then the bond "
"strengthens with human connection."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5754
msgid ""
"For Amanda, the entire point of being an artist is to establish and maintain "
"this connection. “It sounds so corny,” she said, “but my experience in forty "
"years on this planet has pointed me to an obvious truth—that connection with "
"human beings feels so much better and more fulfilling than approaching art "
"through a capitalist lens. There is no more satisfying end goal than having "
"someone tell you that what you do is genuinely of value to them.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5762
msgid ""
"As she explains it, when a fan gives her a ten-dollar bill, usually what "
"they are saying is that the money symbolizes some deeper value the music "
"provided them. For Amanda, art is not just a product; it’s a relationship. "
"Viewed from this lens, what Amanda does today is not that different from "
"what she did as a young street performer. She shares her music and other "
"artistic gifts. She shares herself. And then rather than forcing people to "
"help her, she lets them."
msgstr ""

#. type: Bullet: '1.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:5766
msgid ""
"http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-"
"uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/"
"\\#44e20ce46d67"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5768
msgid "## PLOS (Public Library of Science)"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5772
msgid ""
"PLOS (Public Library of Science) is a nonprofit that publishes a library of "
"academic journals and other scientific literature. Founded in 2000 in the U."
"S."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5774
msgid "plos.org"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5777
msgid ""
"Revenue model: charging content creators an author processing charge to be "
"featured in the journal"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5779
msgid "Interview date: March 7, 2016"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5781
msgid "Interviewee: Louise Page, publisher"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5795
msgid ""
"The Public Library of Science (PLOS) began in 2000 when three leading "
"scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an "
"online petition. They were calling for scientists to stop submitting papers "
"to journals that didn’t make the full text of their papers freely available "
"immediately or within six months. Although tens of thousands signed the "
"petition, most did not follow through. In August 2001, Patrick and Michael "
"announced that they would start their own nonprofit publishing operation to "
"do just what the petition promised. With start-up grant support from the "
"Gordon and Betty Moore Foundation, PLOS was launched to provide new open-"
"access journals for biomedicine, with research articles being released under "
"Attribution (CC BY) licenses."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5805
msgid ""
"Traditionally, academic publishing begins with an author submitting a "
"manuscript to a publisher. After in-house technical and ethical "
"considerations, the article is then peer-reviewed to determine if the "
"quality of the work is acceptable for publishing. Once accepted, the "
"publisher takes the article through the process of copyediting, typesetting, "
"and eventual publishing in a print or online publication.  Traditional "
"journal publishers recover costs and earn profit by charging a subscription "
"fee to libraries or an access fee to users wanting to read the journal or "
"article."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5815
msgid ""
"For Louise Page, the current publisher of PLOS, this traditional model "
"results in inequity. Access is restricted to those who can pay. Most "
"research is funded through government-appointed agencies, that is, with "
"public funds. It’s unjust that the public who funded the research would be "
"required to pay again to access the results. Not everyone can afford the "
"ever-escalating subscription fees publishers charge, especially when library "
"budgets are being reduced. Restricting access to the results of scientific "
"research slows the dissemination of this research and advancement of the "
"field. It was time for a new model."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5825
msgid ""
"That new model became known as open access. That is, free and open "
"availability on the Internet. Open-access research articles are not behind a "
"paywall and do not require a login. A key benefit of open access is that it "
"allows people to freely use, copy, and distribute the articles, as they are "
"primarily published under an Attribution (CC BY)  license (which only "
"requires the user to provide appropriate attribution). And more importantly, "
"policy makers, clinicians, entrepreneurs, educators, and students around the "
"world have free and timely access to the latest research immediately on "
"publication."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5836
msgid ""
"However, open access requires rethinking the business model of research "
"publication. Rather than charge a subscription fee to access the journal, "
"PLOS decided to turn the model on its head and charge a publication fee, "
"known as an article-processing charge. This up-front fee, generally paid by "
"the funder of the research or the author’s institution, covers the expenses "
"such as editorial oversight, peer-review management, journal production, "
"online hosting, and support for discovery. Fees are per article and are "
"billed upon acceptance for publishing. There are no additional charges based "
"on word length, figures, or other elements."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5844
msgid ""
"Calculating the article-processing charge involves taking all the costs "
"associated with publishing the journal and determining a cost per article "
"that collectively recovers costs. For PLOS’s journals in biology, medicine, "
"genetics, computational biology, neglected tropical diseases, and pathogens, "
"the article-processing charge ranges from \\$2,250 to \\$2,900. Article-"
"publication charges for PLOS ONE, a journal started in 2006, are just under "
"\\$1,500."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5849
msgid ""
"PLOS believes that lack of funds should not be a barrier to publication.  "
"Since its inception, PLOS has provided fee support for individuals and "
"institutions to help authors who can’t afford the article-processing charges."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5864
msgid ""
"Louise identifies marketing as one area of big difference between PLOS and "
"traditional journal publishers. Traditional journals have to invest heavily "
"in staff, buildings, and infrastructure to market their journal and convince "
"customers to subscribe. Restricting access to subscribers means that tools "
"for managing access control are necessary. They spend millions of dollars on "
"access-control systems, staff to manage them, and sales staff. With PLOS’s "
"open-access publishing, there’s no need for these massive expenses; the "
"articles are free, open, and accessible to all upon publication. "
"Additionally, traditional publishers tend to spend more on marketing to "
"libraries, who ultimately pay the subscription fees. PLOS provides a better "
"service for authors by promoting their research directly to the research "
"community and giving the authors exposure. And this encourages other authors "
"to submit their work for publication."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5871
msgid ""
"For Louise, PLOS would not exist without the Attribution license (CC BY). "
"This makes it very clear what rights are associated with the content and "
"provides a safe way for researchers to make their work available while "
"ensuring they get recognition (appropriate attribution).  For PLOS, all of "
"this aligns with how they think research content should be published and "
"disseminated."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5875
msgid ""
"PLOS also has a broad open-data policy. To get their research paper "
"published, PLOS authors must also make their data available in a public "
"repository and provide a data-availability statement."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5883
msgid ""
"Business-operation costs associated with the open-access model still largely "
"follow the existing publishing model. PLOS journals are online only, but the "
"editorial, peer-review, production, typesetting, and publishing stages are "
"all the same as for a traditional publisher. The editorial teams must be top "
"notch. PLOS has to function as well as or better than other premier "
"journals, as researchers have a choice about where to publish."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5888
msgid ""
"Researchers are influenced by journal rankings, which reflect the place of a "
"journal within its field, the relative difficulty of being published in that "
"journal, and the prestige associated with it. PLOS journals rank high, even "
"though they are relatively new."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5896
msgid ""
"The promotion and tenure of researchers are partially based how many times "
"other researchers cite their articles. Louise says when researchers want to "
"discover and read the work of others in their field, they go to an online "
"aggregator or search engine, and not typically to a particular journal. The "
"CC BY licensing of PLOS research articles ensures easy access for readers "
"and generates more discovery and citations for authors."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5903
msgid ""
"Louise believes that open access has been a huge success, progressing from a "
"movement led by a small cadre of researchers to something that is now "
"widespread and used in some form by every journal publisher. PLOS has had a "
"big impact. In 2012 to 2014, they published more open-access articles than "
"BioMed Central, the original open-access publisher, or anyone else."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5924
msgid ""
"PLOS further disrupted the traditional journal-publishing model by "
"pioneering the concept of a megajournal. The PLOS ONE megajournal, launched "
"in 2006, is an open-access peer-reviewed academic journal that is much "
"larger than a traditional journal, publishing thousands of articles per year "
"and benefiting from economies of scale. PLOS ONE has a broad scope, covering "
"science and medicine as well as social sciences and the humanities. The "
"review and editorial process is less subjective.  Articles are accepted for "
"publication based on whether they are technically sound rather than "
"perceived importance or relevance. This is very important in the current "
"debate about the integrity and reproducibility of research because negative "
"or null results can then be published as well, which are generally rejected "
"by traditional journals.  PLOS ONE, like all the PLOS journals, is online "
"only with no print version. PLOS passes on the financial savings accrued "
"through economies of scale to researchers and the public by lowering the "
"article-processing charges, which are below that of other journals. PLOS ONE "
"is the biggest journal in the world and has really set the bar for "
"publishing academic journal articles on a large scale. Other publishers see "
"the value of the PLOS ONE model and are now offering their own "
"multidisciplinary forums for publishing all sound science."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5928
msgid ""
"Louise outlined some other aspects of the research-journal business model "
"PLOS is experimenting with, describing each as a kind of slider that could "
"be adjusted to change current practice."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5933
msgid ""
"One slider is time to publication. Time to publication may shorten as "
"journals get better at providing quicker decisions to authors. However, "
"there is always a trade-off with scale, as the bigger the volume of "
"articles, the more time the approval process inevitably takes."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5943
msgid ""
"Peer review is another part of the process that could change. It’s possible "
"to redefine what peer review actually is, when to review, and what "
"constitutes the final article for publication. Louise talked about the "
"potential to shift to an open-review process, placing the emphasis on "
"transparency rather than double-blind reviews. Louise thinks we’re moving "
"into a direction where it’s actually beneficial for an author to know who is "
"reviewing their paper and for the reviewer to know their review will be "
"public. An open-review process can also ensure everyone gets credit; right "
"now, credit is limited to the publisher and author."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5948
msgid ""
"Louise says research with negative outcomes is almost as important as "
"positive results. If journals published more research with negative "
"outcomes, we’d learn from what didn’t work. It could also reduce how much "
"the research wheel gets reinvented around the world."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5963
msgid ""
"Another adjustable practice is the sharing of articles at early preprint "
"stages. Publication of research in a peer-reviewed journal can take a long "
"time because articles must undergo extensive peer review. The need to "
"quickly circulate current results within a scientific community has led to a "
"practice of distributing pre-print documents that have not yet undergone "
"peer review. Preprints broaden the peer-review process, allowing authors to "
"receive early feedback from a wide group of peers, which can help revise and "
"prepare the article for submission. Offsetting the advantages of preprints "
"are author concerns over ensuring their primacy of being first to come up "
"with findings based on their research.  Other researches may see findings "
"the preprint author has not yet thought of. However, preprints help "
"researchers get their discoveries out early and establish precedence. A big "
"challenge is that researchers don’t have a lot of time to comment on "
"preprints."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5971
msgid ""
"What constitutes a journal article could also change. The idea of a research "
"article as printed, bound, and in a library stack is outdated.  Digital and "
"online open up new possibilities, such as a living document evolving over "
"time, inclusion of audio and video, and interactivity, like discussion and "
"recommendations. Even the size of what gets published could change. With "
"these changes the current form factor for what constitutes a research "
"article would undergo transformation."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5983
msgid ""
"As journals scale up, and new journals are introduced, more and more "
"information is being pushed out to readers, making the experience feel like "
"drinking from a fire hose. To help mitigate this, PLOS aggregates and "
"curates content from PLOS journals and their network of blogs.1 It also "
"offers something called Article-Level Metrics, which helps users assess "
"research most relevant to the field itself, based on indicators like usage, "
"citations, social bookmarking and dissemination activity, media and blog "
"coverage, discussions, and ratings.2 Louise believes that the journal model "
"could evolve to provide a more friendly and interactive user experience, "
"including a way for readers to communicate with authors."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:5992
msgid ""
"The big picture for PLOS going forward is to combine and adjust these "
"experimental practices in ways that continue to improve accessibility and "
"dissemination of research, while ensuring its integrity and reliability. The "
"ways they interlink are complex. The process of change and adjustment is not "
"linear. PLOS sees itself as a very flexible publisher interested in "
"exploring all the permutations research-publishing can take, with authors "
"and readers who are open to experimentation."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6000
msgid ""
"For PLOS, success is not about revenue. Success is about proving that "
"scientific research can be communicated rapidly and economically at scale, "
"for the benefit of researchers and society. The CC BY license makes it "
"possible for PLOS to publish in a way that is unfettered, open, and fast, "
"while ensuring that the authors get credit for their work.  More than two "
"million scientists, scholars, and clinicians visit PLOS every month, with "
"more than 135,000 quality articles to peruse for free."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6004
msgid ""
"Ultimately, for PLOS, its authors, and its readers, success is about making "
"research discoverable, available, and reproducible for the advancement of "
"science."
msgstr ""

#. type: Bullet: '1.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:6009
msgid "collections.plos.org"
msgstr ""

#. type: Bullet: '2.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:6009
msgid "plos.org/article-level-metrics"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6011
msgid "## Rijksmuseum"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6014
msgid ""
"The Rijksmuseum is a Dutch national museum dedicated to art and history.  "
"Founded in 1800 in the Netherlands"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6016
msgid "www.rijksmuseum.nl"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6020
msgid ""
"Revenue model: grants and government funding, charging for in-person version "
"(museum admission), selling merchandise"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6022
msgid "Interview date: December 11, 2015"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6025
msgid ""
"Interviewee: Lizzy Jongma, the data manager of the collections information "
"department"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6041
msgid ""
"The Rijksmuseum, a national museum in the Netherlands dedicated to art and "
"history, has been housed in its current building since 1885. The monumental "
"building enjoyed more than 125 years of intensive use before needing a "
"thorough overhaul. In 2003, the museum was closed for renovations. Asbestos "
"was found in the roof, and although the museum was scheduled to be closed "
"for only three to four years, renovations ended up taking ten years. During "
"this time, the collection was moved to a different part of Amsterdam, which "
"created a physical distance with the curators. Out of necessity, they "
"started digitally photographing the collection and creating metadata "
"(information about each object to put into a database). With the renovations "
"going on for so long, the museum became largely forgotten by the public. Out "
"of these circumstances emerged a new and more open model for the museum."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6053
msgid ""
"By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager, "
"staff were fed up with the situation the museum was in. They also realized "
"that even with the new and larger space, it still wouldn’t be able to show "
"very much of the whole collection—eight thousand of over one million works "
"representing just 1 percent. Staff began exploring ways to express "
"themselves, to have something to show for all of the work they had been "
"doing. The Rijksmuseum is primarily funded by Dutch taxpayers, so was there "
"a way for the museum provide benefit to the public while it was closed? They "
"began thinking about sharing Rijksmuseum’s collection using information "
"technology. And they put up a card-catalog like database of the entire "
"collection online."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6061
msgid ""
"It was effective but a bit boring. It was just data. A hackathon they were "
"invited to got them to start talking about events like that as having "
"potential. They liked the idea of inviting people to do cool stuff with "
"their collection. What about giving online access to digital representations "
"of the one hundred most important pieces in the Rijksmuseum collection? That "
"eventually led to why not put the whole collection online?"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6073
msgid ""
"Then, Lizzy says, Europeana came along. Europeana is Europe’s digital "
"library, museum, and archive for cultural heritage.1 As an online portal to "
"museum collections all across Europe, Europeana had become an important "
"online platform. In October 2010 Creative Commons released CC0 and its "
"public-domain mark as tools people could use to identify works as free of "
"known copyright. Europeana was the first major adopter, using CC0 to release "
"metadata about their collection and the public domain mark for millions of "
"digital works in their collection. Lizzy says the Rijksmuseum initially "
"found this change in business practice a bit scary, but at the same time it "
"stimulated even more discussion on whether the Rijksmuseum should follow "
"suit."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6084
msgid ""
"They realized that they don’t “own” the collection and couldn’t "
"realistically monitor and enforce compliance with the restrictive licensing "
"terms they currently had in place. For example, many copies and versions of "
"Vermeer’s Milkmaid (part of their collection) were already online, many of "
"them of very poor quality. They could spend time and money policing its use, "
"but it would probably be futile and wouldn’t make people stop using their "
"images online. They ended up thinking it’s an utter waste of time to hunt "
"down people who use the Rijksmuseum collection. And anyway, restricting "
"access meant the people they were frustrating the most were schoolkids."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6096
msgid ""
"In 2011 the Rijksmuseum began making their digital photos of works known to "
"be free of copyright available online, using Creative Commons CC0 to place "
"works in the public domain. A medium-resolution image was offered for free, "
"but a high-resolution version cost forty euros. People started paying, but "
"Lizzy says getting the money was frequently a nightmare, especially from "
"overseas customers. The administrative costs often offset revenue, and "
"income above costs was relatively low. In addition, having to pay for an "
"image of a work in the public domain from a collection owned by the Dutch "
"government (i.e., paid for by the public)  was contentious and frustrating "
"for some. Lizzy says they had lots of fierce debates about what to do."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6106
msgid ""
"In 2013 the Rijksmuseum changed its business model. They Creative Commons "
"licensed their highest-quality images and released them online for free. "
"Digitization still cost money, however; they decided to define discrete "
"digitization projects and find sponsors willing to fund each project. This "
"turned out to be a successful strategy, generating high interest from "
"sponsors and lower administrative effort for the Rijksmuseum. They started "
"out making 150,000 high-quality images of their collection available, with "
"the goal to eventually have the entire collection online."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6119
msgid ""
"Releasing these high-quality images for free reduced the number of poor-"
"quality images that were proliferating. The high-quality image of Vermeer’s "
"Milkmaid, for example, is downloaded two to three thousand times a month. On "
"the Internet, images from a source like the Rijksmuseum are more trusted, "
"and releasing them with a Creative Commons CC0 means they can easily be "
"found in other platforms. For example, Rijksmuseum images are now used in "
"thousands of Wikipedia articles, receiving ten to eleven million views per "
"month. This extends Rijksmuseum’s reach far beyond the scope of its website. "
"Sharing these images online creates what Lizzy calls the “Mona Lisa effect,” "
"where a work of art becomes so famous that people want to see it in real "
"life by visiting the actual museum."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6126
msgid ""
"Every museum tends to be driven by the number of physical visitors. The "
"Rijksmuseum is primarily publicly funded, receiving roughly 70 percent of "
"its operating budget from the government. But like many museums, it must "
"generate the rest of the funding through other means. The admission fee has "
"long been a way to generate revenue generation, including for the "
"Rijksmuseum."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6138
msgid ""
"As museums create a digital presence for themselves and put up digital "
"representations of their collection online, there’s frequently a worry that "
"it will lead to a drop in actual physical visits. For the Rijksmuseum, this "
"has not turned out to be the case. Lizzy told us the Rijksmuseum used to get "
"about one million visitors a year before closing and now gets more than two "
"million a year. Making the collection available online has generated "
"publicity and acts as a form of marketing. The Creative Commons mark "
"encourages reuse as well. When the image is found on protest leaflets, milk "
"cartons, and children’s toys, people also see what museum the image comes "
"from and this increases the museum’s visibility."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6145
msgid ""
"In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create "
"a new web presence that would be different from any other museum’s. In "
"addition to redesigning their main website to be mobile friendly and "
"responsive to devices like the iPad, the Rijksmuseum also created the "
"Rijksstudio, where users and artists could use and do various things with "
"the Rijksmuseum collection.2"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6154
msgid ""
"The Rijksstudio gives users access to over two hundred thousand high-quality "
"digital representations of masterworks from the collection.  Users can zoom "
"in to any work and even clip small parts of images they like. Rijksstudio is "
"a bit like Pinterest. You can “like” works and compile your personal "
"favorites, and you can share them with friends or download them free of "
"charge. All the images in the Rijksstudio are copyright and royalty free, "
"and users are encouraged to use them as they like, for private or even "
"commercial purposes."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6159
msgid ""
"Users have created over 276,000 Rijksstudios, generating their own themed "
"virtual exhibitions on a wide variety of topics ranging from tapestries to "
"ugly babies and birds. Sets of images have also been created for educational "
"purposes including use for school exams."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6169
msgid ""
"Some contemporary artists who have works in the Rijksmuseum collection "
"contacted them to ask why their works were not included in the Rijksstudio. "
"The answer was that contemporary artists’ works are still bound by "
"copyright. The Rijksmuseum does encourage contemporary artists to use a "
"Creative Commons license for their works, usually a CC BY-SA license "
"(Attribution-ShareAlike), or a CC BY-NC (Attribution-NonCommercial) if they "
"want to preclude commercial use. That way, their works can be made available "
"to the public, but within limits the artists have specified."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6179
msgid ""
"The Rijksmuseum believes that art stimulates entrepreneurial activity.  The "
"line between creative and commercial can be blurry. As Lizzy says, even "
"Rembrandt was commercial, making his livelihood from selling his paintings. "
"The Rijksmuseum encourages entrepreneurial commercial use of the images in "
"Rijksstudio. They’ve even partnered with the DIY marketplace Etsy to inspire "
"people to sell their creations. One great example you can find on Etsy is a "
"kimono designed by Angie Johnson, who used an image of an elaborate cabinet "
"along with an oil painting by Jan Asselijn called The Threatened Swan.3"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6192
msgid ""
"In 2013 the Rijksmuseum organized their first high-profile design "
"competition, known as the Rijksstudio Award.4 With the call to action Make "
"Your Own Masterpiece, the competition invites the public to use Rijksstudio "
"images to make new creative designs. A jury of renowned designers and "
"curators selects ten finalists and three winners. The final award comes with "
"a prize of €10,000. The second edition in 2015 attracted a staggering 892 "
"top-class entries. Some award winners end up with their work sold through "
"the Rijksmuseum store, such as the 2014 entry featuring makeup based on a "
"specific color scheme of a work of art.5 The Rijksmuseum has been thrilled "
"with the results. Entries range from the fun to the weird to the "
"inspirational. The third international edition of the Rijksstudio Award "
"started in September 2016."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6196
msgid ""
"For the next iteration of the Rijksstudio, the Rijksmuseum is considering an "
"upload tool, for people to upload their own works of art, and enhanced "
"social elements so users can interact with each other more."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6203
msgid ""
"Going with a more open business model generated lots of publicity for the "
"Rijksmuseum. They were one of the first museums to open up their collection "
"(that is, give free access) with high-quality images. This strategy, along "
"with the many improvements to the Rijksmuseum’s website, dramatically "
"increased visits to their website from thirty-five thousand visits per month "
"to three hundred thousand."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6214
msgid ""
"The Rijksmuseum has been experimenting with other ways to invite the public "
"to look at and interact with their collection. On an international day "
"celebrating animals, they ran a successful bird-themed event. The museum put "
"together a showing of two thousand works that featured birds and invited "
"bird-watchers to identify the birds depicted.  Lizzy notes that while museum "
"curators know a lot about the works in their collections, they may not know "
"about certain details in the paintings such as bird species. Over eight "
"hundred different birds were identified, including a specific species of "
"crane bird that was unknown to the scientific community at the time of the "
"painting."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6231
msgid ""
"For the Rijksmuseum, adopting an open business model was scary. They came up "
"with many worst-case scenarios, imagining all kinds of awful things people "
"might do with the museum’s works. But Lizzy says those fears did not come "
"true because “ninety-nine percent of people have respect for great art.” "
"Many museums think they can make a lot of money by selling things related to "
"their collection. But in Lizzy’s experience, museums are usually bad at "
"selling things, and sometimes efforts to generate a small amount of money "
"block something much bigger—the real value that the collection has. For "
"Lizzy, clinging to small amounts of revenue is being penny-wise but pound-"
"foolish. For the Rijksmuseum, a key lesson has been to never lose sight of "
"its vision for the collection. Allowing access to and use of their "
"collection has generated great promotional value—far more than the previous "
"practice of charging fees for access and use. Lizzy sums up their "
"experience: “Give away; get something in return. Generosity makes people "
"happy to join you and help out.”"
msgstr ""

#. type: Bullet: '1.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:6241
msgid "www.europeana.eu/portal/en"
msgstr ""

#. type: Bullet: '2.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:6241
msgid "www.rijksmuseum.nl/en/rijksstudio"
msgstr ""

#. type: Bullet: '3.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:6241
msgid "www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe"
msgstr ""

#. type: Bullet: '4.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:6241
msgid ""
"www.rijksmuseum.nl/en/rijksstudio-award; the 2014 award: www.rijksmuseum.nl/"
"en/rijksstudio-award-2014; the 2015 award: www.rijksmuseum.nl/en/rijksstudio-"
"award-2015"
msgstr ""

#. type: Bullet: '5.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:6241
msgid ""
"www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/"
"creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6243
msgid "## Shareable"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6246
msgid ""
"Shareable is an online magazine about sharing. Founded in 2009 in the U.S."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6248
msgid "www.shareable.net"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6251
msgid ""
"Revenue model: grant funding, crowdfunding (project-based), donations, "
"sponsorships"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6253
msgid "Interview date: February 24, 2016"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6255
msgid "Interviewee: Neal Gorenflo, cofounder and executive editor"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6266
msgid ""
"In 2013, Shareable faced an impasse. The nonprofit online publication had "
"helped start a sharing movement four years prior, but over time, they "
"watched one part of the movement stray from its ideals. As giants like Uber "
"and Airbnb gained ground, attention began to center on the “sharing economy” "
"we know now—profit-driven, transactional, and loaded with venture-capital "
"money. Leaders of corporate start-ups in this domain invited Shareable to "
"advocate for them. The magazine faced a choice: ride the wave or stand on "
"principle."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6276
msgid ""
"As an organization, Shareable decided to draw a line in the sand. In 2013, "
"the cofounder and executive editor Neal Gorenflo wrote an opinion piece in "
"the PandoDaily that charted Shareable’s new critical stance on the Silicon "
"Valley version of the sharing economy, while contrasting it with aspects of "
"the real sharing economy like open-source software, participatory budgeting "
"(where citizens decide how a public budget is spent), cooperatives, and "
"more. He wrote, “It’s not so much that collaborative consumption is dead, "
"it’s more that it risks dying as it gets absorbed by the ‘Borg.’”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6283
msgid ""
"Neal said their public critique of the corporate sharing economy defined "
"what Shareable was and is. He does not think the magazine would still be "
"around had they chosen differently. “We would have gotten another type of "
"audience, but it would have spelled the end of us,” he said. “We are a "
"small, mission-driven organization. We would never have been able to weather "
"the criticism that Airbnb and Uber are getting now.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6292
msgid ""
"Interestingly, impassioned supporters are only a small sliver of Shareable’s "
"total audience. Most are casual readers who come across a Shareable story "
"because it happens to align with a project or interest they have. But "
"choosing principles over the possibility of riding the coattails of the "
"major corporate players in the sharing space saved Shareable’s credibility. "
"Although they became detached from the corporate sharing economy, the online "
"magazine became the voice of the “real sharing economy” and continued to "
"grow their audience."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6302
msgid ""
"Shareable is a magazine, but the content they publish is a means to "
"furthering their role as a leader and catalyst of a movement. Shareable "
"became a leader in the movement in 2009. “At that time, there was a sharing "
"movement bubbling beneath the surface, but no one was connecting the dots,” "
"Neal said. “We decided to step into that space and take on that role.” The "
"small team behind the nonprofit publication truly believed sharing could be "
"central to solving some of the major problems human beings face—resource "
"inequality, social isolation, and global warming."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6311
msgid ""
"They have worked hard to find ways to tell stories that show different "
"metrics for success. “We wanted to change the notion of what constitutes the "
"good life,” Neal said. While they started out with a very broad focus on "
"sharing generally, today they emphasize stories about the physical commons "
"like “sharing cities” (i.e., urban areas managed in a sustainable, "
"cooperative way), as well as digital platforms that are run democratically. "
"They particularly focus on how-to content that help their readers make "
"changes in their own lives and communities."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6323
msgid ""
"More than half of Shareable’s stories are written by paid journalists that "
"are contracted by the magazine. “Particularly in content areas that are a "
"priority for us, we really want to go deep and control the quality,” Neal "
"said. The rest of the content is either contributed by guest writers, often "
"for free, or written by other publications from their network of content "
"publishers. Shareable is a member of the Post Growth Alliance, which "
"facilitates the sharing of content and audiences among a large and growing "
"group of mostly nonprofits. Each organization gets a chance to present "
"stories to the group, and the organizations can use and promote each other’s "
"stories. Much of the content created by the network is licensed with "
"Creative Commons."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6335
msgid ""
"All of Shareable’s original content is published under the Attribution "
"license (CC BY), meaning it can be used for any purpose as long as credit is "
"given to Shareable. Creative Commons licensing is aligned with Shareable’s "
"vision, mission, and identity. That alone explains the organization’s "
"embrace of the licenses for their content, but Neal also believes CC "
"licensing helps them increase their reach. “By using CC licensing,” he said, "
"“we realized we could reach far more people through a formal and informal "
"network of republishers or affiliates. That has definitely been the case. "
"It’s hard for us to measure the reach of other media properties, but most of "
"the outlets who republish our work have much bigger audiences than we do.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6343
msgid ""
"In addition to their regular news and commentary online, Shareable has also "
"experimented with book publishing. In 2012, they worked with a traditional "
"publisher to release Share or Die: Voices of the Get Lost Generation in an "
"Age of Crisis. The CC-licensed book was available in print form for purchase "
"or online for free. To this day, the book—along with their CC-licensed guide "
"Policies for Shareable Cities—are two of the biggest generators of traffic "
"on their website."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6348
msgid ""
"In 2016, Shareable self-published a book of curated Shareable stories called "
"How to: Share, Save Money and Have Fun. The book was available for sale, but "
"a PDF version of the book was available for free.  Shareable plans to offer "
"the book in upcoming fund-raising campaigns."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6356
msgid ""
"This recent book is one of many fund-raising experiments Shareable has "
"conducted in recent years. Currently, Shareable is primarily funded by "
"grants from foundations, but they are actively moving toward a more "
"diversified model. They have organizational sponsors and are working to "
"expand their base of individual donors. Ideally, they will eventually be a "
"hundred percent funded by their audience. Neal believes being fully "
"community-supported will better represent their vision of the world."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6366
msgid ""
"For Shareable, success is very much about their impact on the world.  This "
"is true for Neal, but also for everyone who works for Shareable.  “We "
"attract passionate people,” Neal said. At times, that means employees work "
"so hard they burn out. Neal tries to stress to the Shareable team that "
"another part of success is having fun and taking care of yourself while you "
"do something you love. “A central part of human beings is that we long to be "
"on a great adventure with people we love,” he said. “We are a species who "
"look over the horizon and imagine and create new worlds, but we also seek "
"the comfort of hearth and home.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6375
msgid ""
"In 2013, Shareable ran its first crowdfunding campaign to launch their "
"Sharing Cities Network. Neal said at first they were on pace to fail "
"spectacularly. They called in their advisers in a panic and asked for help. "
"The advice they received was simple—“Sit your ass in a chair and start "
"making calls.” That’s exactly what they did, and they ended up reaching "
"their \\$50,000 goal. Neal said the campaign helped them reach new people, "
"but the vast majority of backers were people in their existing base."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6381
msgid ""
"For Neal, this symbolized how so much of success comes down to "
"relationships. Over time, Shareable has invested time and energy into the "
"relationships they have forged with their readers and supporters.  They have "
"also invested resources into building relationships between their readers "
"and supporters."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6395
msgid ""
"Shareable began hosting events in 2010. These events were designed to bring "
"the sharing community together. But over time they realized they could reach "
"far more people if they helped their readers to host their own events. “If "
"we wanted to go big on a conference, there was a huge risk and huge staffing "
"needs, plus only a fraction of our community could travel to the event,” "
"Neal said. Enabling others to create their own events around the globe "
"allowed them to scale up their work more effectively and reach far more "
"people. Shareable has catalyzed three hundred different events reaching over "
"twenty thousand people since implementing this strategy three years ago. "
"Going forward, Shareable is focusing the network on creating and "
"distributing content meant to spur local action. For instance, Shareable "
"will publish a new CC-licensed book in 2017 filled with ideas for their "
"network to implement."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6400
msgid ""
"Neal says Shareable stumbled upon this strategy, but it seems to perfectly "
"encapsulate just how the commons is supposed to work. Rather than a one-size-"
"fits-all approach, Shareable puts the tools out there for people take the "
"ideas and adapt them to their own communities."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6402
msgid "## Siyavula"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6406
msgid ""
"Siyavula is a for-profit educational-technology company that creates "
"textbooks and integrated learning experiences. Founded in 2012 in South "
"Africa."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6408
msgid "www.siyavula.com"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6410
msgid "Revenue model: charging for custom services, sponsorships"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6412
msgid "Interview date: April 5, 2016"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6414
msgid "Interviewee: Mark Horner, CEO"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6422
msgid ""
"Openness is a key principle for Siyavula. They believe that every learner "
"and teacher should have access to high-quality educational resources, as "
"this forms the basis for long-term growth and development.  Siyavula has "
"been a pioneer in creating high-quality open textbooks on mathematics and "
"science subjects for grades 4 to 12 in South Africa."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6427
msgid ""
"In terms of creating an open business model that involves Creative Commons, "
"Siyavula—and its founder, Mark Horner—have been around the block a few "
"times. Siyavula has significantly shifted directions and strategies to "
"survive and prosper. Mark says it’s been very organic."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6434
msgid ""
"It all started in 2002, when Mark and several other colleagues at the "
"University of Cape Town in South Africa founded the Free High School Science "
"Texts project. Most students in South Africa high schools didn’t have access "
"to high-quality, comprehensive science and math textbooks, so Mark and his "
"colleagues set out to write them and make them freely available."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6442
msgid ""
"As physicists, Mark and his colleagues were advocates of open-source "
"software. To make the books open and free, they adopted the Free Software "
"Foundation’s GNU Free Documentation License.1 They chose LaTeX, a "
"typesetting program used to publish scientific documents, to author the "
"books. Over a period of five years, the Free High School Science Texts "
"project produced math and physical-science textbooks for grades 10 to 12."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6449
msgid ""
"In 2007, the Shuttleworth Foundation offered funding support to make the "
"textbooks available for trial use at more schools. Surveys before and after "
"the textbooks were adopted showed there were no substantial criticisms of "
"the textbooks’ pedagogical content. This pleased both the authors and "
"Shuttleworth; Mark remains incredibly proud of this accomplishment."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6454
msgid ""
"But the development of new textbooks froze at this stage. Mark shifted his "
"focus to rural schools, which didn’t have textbooks at all, and looked into "
"the printing and distribution options. A few sponsors came on board but not "
"enough to meet the need."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6462
msgid ""
"In 2007, Shuttleworth and the Open Society Institute convened a group of "
"open-education activists for a small but lively meeting in Cape Town.  One "
"result was the Cape Town Open Education Declaration, a statement of "
"principles, strategies, and commitment to help the open-education movement "
"grow.2 Shuttleworth also invited Mark to run a project writing open content "
"for all subjects for K–12 in English. That project became Siyavula."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6469
msgid ""
"They wrote six original textbooks. A small publishing company offered "
"Shuttleworth the option to buy out the publisher’s existing K–9 content for "
"every subject in South African schools in both English and Afrikaans. A deal "
"was struck, and all the acquired content was licensed with Creative Commons, "
"significantly expanding the collection beyond the six original books."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6482
msgid ""
"Mark wanted to build out the remaining curricula collaboratively through "
"communities of practice—that is, with fellow educators and writers.  "
"Although sharing is fundamental to teaching, there can be a few challenges "
"when you create educational resources collectively. One concern is legal. It "
"is standard practice in education to copy diagrams and snippets of text, but "
"of course this doesn’t always comply with copyright law. Another concern is "
"transparency. Sharing what you’ve authored means everyone can see it and "
"opens you up to criticism. To alleviate these concerns, Mark adopted a team-"
"based approach to authoring and insisted the curricula be based entirely on "
"resources with Creative Commons licenses, thereby ensuring they were safe to "
"share and free from legal repercussions."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6490
msgid ""
"Not only did Mark want the resources to be shareable, he wanted all teachers "
"to be able to remix and edit the content. Mark and his team had to come up "
"with an open editable format and provide tools for editing.  They ended up "
"putting all the books they’d acquired and authored on a platform called "
"Connexions.3 Siyavula trained many teachers to use Connexions, but it proved "
"to be too complex and the textbooks were rarely edited."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6496
msgid ""
"Then the Shuttleworth Foundation decided to completely restructure its work "
"as a foundation into a fellowship model (for reasons completely unrelated to "
"Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as "
"an independent entity and took ownership over it as a Shuttleworth fellow."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6503
msgid ""
"Mark and his team experimented with several different strategies. They tried "
"creating an authoring and hosting platform called Full Marks so that "
"teachers could share assessment items. They tried creating a service called "
"Open Press, where teachers could ask for open educational resources to be "
"aggregated into a package and printed for them. These services never really "
"panned out."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6510
msgid ""
"Then the South African government approached Siyavula with an interest in "
"printing out the original six Free High School Science Texts (math and "
"physical-science textbooks for grades 10 to 12) for all high school students "
"in South Africa. Although at this point Siyavula was a bit discouraged by "
"open educational resources, they saw this as a big opportunity."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6518
msgid ""
"They began to conceive of the six books as having massive marketing "
"potential for Siyavula. Printing Siyavula books for every kid in South "
"Africa would give their brand huge exposure and could drive vast amounts of "
"traffic to their website. In addition to print books, Siyavula could also "
"make the books available on their website, making it possible for learners "
"to access them using any device—computer, tablet, or mobile phone."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6529
msgid ""
"Mark and his team began imagining what they could develop beyond what was in "
"the textbooks as a service they charge for. One key thing you can’t do well "
"in a printed textbook is demonstrate solutions. Typically, a one-line answer "
"is given at the end of the book but nothing on the process for arriving at "
"that solution. Mark and his team developed practice items and detailed "
"solutions, giving learners plenty of opportunity to test out what they’ve "
"learned. Furthermore, an algorithm could adapt these practice items to the "
"individual needs of each learner. They called this service Intelligent "
"Practice and embedded links to it in the open textbooks."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6534
msgid ""
"The costs for using Intelligent Practice were set very low, making it "
"accessible even to those with limited financial means. Siyavula was going "
"for large volumes and wide-scale use rather than an expensive product "
"targeting only the high end of the market."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6542
msgid ""
"The government distributed the books to 1.5 million students, but there was "
"an unexpected wrinkle: the books were delivered late. Rather than wait, "
"schools who could afford it provided students with a different textbook. The "
"Siyavula books were eventually distributed, but with well-off schools mainly "
"using a different book, the primary market for Siyavula’s Intelligent "
"Practice service inadvertently became low-income learners."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6550
msgid ""
"Siyavula’s site did see a dramatic increase in traffic. They got five "
"hundred thousand visitors per month to their math site and the same number "
"to their science site. Two-fifths of the traffic was reading on a “feature "
"phone” (a nonsmartphone with no apps). People on basic phones were reading "
"math and science on a two-inch screen at all hours of the day. To Mark, it "
"was quite amazing and spoke to a need they were servicing."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6557
msgid ""
"At first, the Intelligent Practice services could only be paid using a "
"credit card. This proved problematic, especially for those in the low-income "
"demographic, as credit cards were not prevalent. Mark says Siyavula got a "
"harsh business-model lesson early on. As he describes it, it’s not just "
"about product, but how you sell it, who the market is, what the price is, "
"and what the barriers to entry are."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6562
msgid ""
"Mark describes this as the first version of Siyavula’s business model: open "
"textbooks serving as marketing material and driving traffic to your site, "
"where you can offer a related service and convert some people into a paid "
"customer."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6569
msgid ""
"For Mark a key decision for Siyavula’s business was to focus on how they can "
"add value on top of their basic service. They’ll charge only if they are "
"adding unique value. The actual content of the textbook isn’t unique at all, "
"so Siyavula sees no value in locking it down and charging for it. Mark "
"contrasts this with traditional publishers who charge over and over again "
"for the same content without adding value."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6579
msgid ""
"Version two of Siyavula’s business model was a big, ambitious idea—scale up. "
"They also decided to sell the Intelligent Practice service to schools "
"directly. Schools can subscribe on a per-student, per-subject basis. A "
"single subscription gives a learner access to a single subject, including "
"practice content from every grade available for that subject.  Lower "
"subscription rates are provided when there are over two hundred students, "
"and big schools have a price cap. A 40 percent discount is offered to "
"schools where both the science and math departments subscribe."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6587
msgid ""
"Teachers get a dashboard that allows them to monitor the progress of an "
"entire class or view an individual learner’s results. They can see the "
"questions that learners are working on, identify areas of difficulty, and be "
"more strategic in their teaching. Students also have their own personalized "
"dashboard, where they can view the sections they’ve practiced, how many "
"points they’ve earned, and how their performance is improving."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6593
msgid ""
"Based on the success of this effort, Siyavula decided to substantially "
"increase the production of open educational resources so they could provide "
"the Intelligent Practice service for a wider range of books.  Grades 10 to "
"12 math and science books were reworked each year, and new books created for "
"grades 4 to 6 and later grades 7 to 9."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6599
msgid ""
"In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula "
"produced a series of natural sciences and technology workbooks for grades 4 "
"to 6 called Thunderbolt Kids that uses a fun comic-book style.4 It’s a "
"complete curriculum that also comes with teacher’s guides and other "
"resources."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6607
msgid ""
"Through this experience, Siyavula learned they could get sponsors to help "
"fund openly licensed textbooks. It helped that Siyavula had by this time "
"nailed the production model. It cost roughly \\$150,000 to produce a book in "
"two languages. Sponsors liked the social-benefit aspect of textbooks "
"unlocked via a Creative Commons license. They also liked the exposure their "
"brand got. For roughly \\$150,000, their logo would be visible on books "
"distributed to over one million students."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6614
msgid ""
"The Siyavula books that are reviewed, approved, and branded by the "
"government are freely and openly available on Siyavula’s website under an "
"Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books "
"cannot be modified. Non-government-branded books are available under an "
"Attribution license (CC BY), allowing others to modify and redistribute the "
"books."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6623
msgid ""
"Although the South African government paid to print and distribute hard "
"copies of the books to schoolkids, Siyavula itself received no funding from "
"the government. Siyavula initially tried to convince the government to "
"provide them with five rand per book (about US35¢). With those funds, Mark "
"says that Siyavula could have run its entire operation, built a community-"
"based model for producing more books, and provide Intelligent Practice for "
"free to every child in the country. But after a lengthy negotiation, the "
"government said no."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6631
msgid ""
"Using Siyavula books generated huge savings for the government.  Providing "
"students with a traditionally published grade 12 science or math textbook "
"costs around 250 rand per book (about US\\$18). Providing the Siyavula "
"version cost around 36 rand (about \\$2.60), a savings of over 200 rand per "
"book. But none of those savings were passed on to Siyavula. In retrospect, "
"Mark thinks this may have turned out in their favor as it allowed them to "
"remain independent from the government."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6638
msgid ""
"Just as Siyavula was planning to scale up the production of open textbooks "
"even more, the South African government changed its textbook policy. To save "
"costs, the government declared there would be only one authorized textbook "
"for each grade and each subject. There was no guarantee that Siyavula’s "
"would be chosen. This scared away potential sponsors."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6647
msgid ""
"Rather than producing more textbooks, Siyavula focused on improving its "
"Intelligent Practice technology for its existing books. Mark calls this "
"version three of Siyavula’s business model—focusing on the technology that "
"provides the revenue-generating service and generating more users of this "
"service. Version three got a significant boost in 2014 with an investment by "
"the Omidyar Network (the philanthropic venture started by eBay founder "
"Pierre Omidyar and his spouse), and continues to be the model Siyavula uses "
"today."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6652
msgid ""
"Mark says sales are way up, and they are really nailing Intelligent "
"Practice. Schools continue to use their open textbooks. The government-"
"announced policy that there would be only one textbook per subject turned "
"out to be highly contentious and is in limbo."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6659
msgid ""
"Siyavula is exploring a range of enhancements to their business model.  "
"These include charging a small amount for assessment services provided over "
"the phone, diversifying their market to all English-speaking countries in "
"Africa, and setting up a consortium that makes Intelligent Practice free to "
"all kids by selling the nonpersonal data Intelligent Practice collects."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6672
msgid ""
"Siyavula is a for-profit business but one with a social mission. Their "
"shareholders’ agreement lists lots of requirements around openness for "
"Siyavula, including stipulations that content always be put under an open "
"license and that they can’t charge for something that people volunteered to "
"do for them. They believe each individual should have access to the "
"resources and support they need to achieve the education they deserve. "
"Having educational resources openly licensed with Creative Commons means "
"they can fulfill their social mission, on top of which they can build "
"revenue-generating services to sustain the ongoing operation of Siyavula. In "
"terms of open business models, Mark and Siyavula may have been around the "
"block a few times, but both he and the company are stronger for it."
msgstr ""

#. type: Bullet: '1.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:6679
msgid "www.gnu.org/licenses/fdl"
msgstr ""

#. type: Bullet: '2.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:6679
msgid "www.capetowndeclaration.org"
msgstr ""

#. type: Bullet: '3.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:6679
msgid "cnx.org"
msgstr ""

#. type: Bullet: '4.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:6679
msgid "www.siyavula.com/products-primary-school.html"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6681
msgid "## SparkFun"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6684
msgid ""
"SparkFun is an online electronics retailer specializing in open hardware. "
"Founded in 2003 in the U.S."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6686
msgid "www.sparkfun.com"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6688
msgid "Revenue model: charging for physical copies (electronics sales)"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6690
msgid "Interview date: February 29, 2016"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6692
msgid "Interviewee: Nathan Seidle, founder"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6700
msgid ""
"SparkFun founder and former CEO Nathan Seidle has a picture of himself "
"holding up a clone of a SparkFun product in an electronics market in China, "
"with a huge grin on his face. He was traveling in China when he came across "
"their LilyPad wearable technology being made by someone else. His reaction "
"was glee."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6705
msgid ""
"“Being copied is the greatest earmark of flattery and success,” Nathan said. "
"“I thought it was so cool that they were selling to a market we were never "
"going to get access to otherwise. It was evidence of our impact on the "
"world.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6713
msgid ""
"This worldview runs through everything SparkFun does. SparkFun is an "
"electronics manufacturer. The company sells its products directly to the "
"public online, and it bundles them with educational tools to sell to schools "
"and teachers. SparkFun applies Creative Commons licenses to all of its "
"schematics, images, tutorial content, and curricula, so anyone can make "
"their products on their own. Being copied is part of the design."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6721
msgid ""
"Nathan believes open licensing is good for the world. “It touches on our "
"natural human instinct to share,” he said. But he also strongly believes it "
"makes SparkFun better at what they do. They encourage copying, and their "
"products are copied at a very fast rate, often within ten to twelve weeks of "
"release. This forces the company to compete on something other than product "
"design, or what most commonly consider their intellectual property."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6725
msgid ""
"“We compete on business principles,” Nathan said. “Claiming your territory "
"with intellectual property allows you to get comfy and rest on your laurels. "
"It gives you a safety net. We took away that safety net.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6733
msgid ""
"The result is an intense company-wide focus on product development and "
"improvement. “Our products are so much better than they were five years "
"ago,” Nathan said. “We used to just sell products. Now it’s a product plus a "
"video, a seventeen-page hookup guide, and example firmware on three "
"different platforms to get you up and running faster. We have gotten better "
"because we had to in order to compete. As painful as it is for us, it’s "
"better for the customers.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6741
msgid ""
"SparkFun parts are available on eBay for lower prices. But people come "
"directly to SparkFun because SparkFun makes their lives easier. The example "
"code works; there is a service number to call; they ship replacement parts "
"the day they get a service call. They invest heavily in service and support. "
"“I don’t believe businesses should be competing with IP \\[intellectual "
"property\\] barriers,” Nathan said. “This is the stuff they should be "
"competing on.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6750
msgid ""
"SparkFun’s company history began in Nathan’s college dorm room. He spent a "
"lot of time experimenting with and building electronics, and he realized "
"there was a void in the market. “If you wanted to place an order for "
"something,” he said, “you first had to search far and wide to find it, and "
"then you had to call or fax someone.” In 2003, during his third year of "
"college, he registered sparkfun.com and started reselling products out of "
"his bedroom. After he graduated, he started making and selling his own "
"products."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6757
msgid ""
"Once he started designing his own products, he began putting the software "
"and schematics online to help with technical support. After doing some "
"research on licensing options, he chose Creative Commons licenses because he "
"was drawn to the “human-readable deeds” that explain the licensing terms in "
"simple terms. SparkFun still uses CC licenses for all of the schematics and "
"firmware for the products they create."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6764
msgid ""
"The company has grown from a solo project to a corporation with 140 "
"employees. In 2015, SparkFun earned \\$33 million in revenue. Selling "
"components and widgets to hobbyists, professionals, and artists remains a "
"major part of SparkFun’s business. They sell their own products, but they "
"also partner with Arduino (also profiled in this book) by manufacturing "
"boards for resale using Arduino’s brand."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6771
msgid ""
"SparkFun also has an educational department dedicated to creating a hands-on "
"curriculum to teach students about electronics using prototyping parts. "
"Because SparkFun has always been dedicated to enabling others to re-create "
"and fix their products on their own, the more recent focus on introducing "
"young people to technology is a natural extension of their core business."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6775
msgid ""
"“We have the burden and opportunity to educate the next generation of "
"technical citizens,” Nathan said. “Our goal is to affect the lives of three "
"hundred and fifty thousand high school students by 2020.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6784
msgid ""
"The Creative Commons license underlying all of SparkFun’s products is "
"central to this mission. The license not only signals a willingness to "
"share, but it also expresses a desire for others to get in and tinker with "
"their products, both to learn and to make their products better.  SparkFun "
"uses the Attribution-ShareAlike license (CC BY-SA), which is a “copyleft” "
"license that allows people to do anything with the content as long as they "
"provide credit and make any adaptations available under the same licensing "
"terms."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6793
msgid ""
"From the beginning, Nathan has tried to create a work environment at "
"SparkFun that he himself would want to work in. The result is what appears "
"to be a pretty fun workplace. The U.S. company is based in Boulder, "
"Colorado. They have an eighty-thousand-square-foot facility (approximately "
"seventy-four-hundred square meters), where they design and manufacture their "
"products. They offer public tours of the space several times a week, and "
"they open their doors to the public for a competition once a year."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6804
msgid ""
"The public event, called the Autonomous Vehicle Competition, brings in a "
"thousand to two thousand customers and other technology enthusiasts from "
"around the area to race their own self-created bots against each other, "
"participate in training workshops, and socialize. From a business "
"perspective, Nathan says it’s a terrible idea. But they don’t hold the event "
"for business reasons. “The reason we do it is because I get to travel and "
"have interactions with our customers all the time, but most of our employees "
"don’t,” he said. “This event gives our employees the opportunity to get face-"
"to-face contact with our customers.” The event infuses their work with a "
"human element, which makes it more meaningful."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6812
msgid ""
"Nathan has worked hard to imbue a deeper meaning into the work SparkFun "
"does. The company is, of course, focused on being fiscally responsible, but "
"they are ultimately driven by something other than money. “Profit is not the "
"goal; it is the outcome of a well-executed plan,” Nathan said.  “We focus on "
"having a bigger impact on the world.” Nathan believes they get some of the "
"brightest and most amazing employees because they aren’t singularly focused "
"on the bottom line."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6818
msgid ""
"The company is committed to transparency and shares all of its financials "
"with its employees. They also generally strive to avoid being another "
"soulless corporation. They actively try to reveal the humans behind the "
"company, and they work to ensure people coming to their site don’t find only "
"unchanging content."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6828
msgid ""
"SparkFun’s customer base is largely made up of industrious electronics "
"enthusiasts. They have customers who are regularly involved in the company’s "
"customer support, independently responding to questions in forums and "
"product-comment sections. Customers also bring product ideas to the company. "
"SparkFun regularly sifts through suggestions from customers and tries to "
"build on them where they can. “From the beginning, we have been listening to "
"the community,” Nathan said.  “Customers would identify a pain point, and we "
"would design something to address it.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6836
msgid ""
"However, this sort of customer engagement does not always translate to "
"people actively contributing to SparkFun’s projects. The company has a "
"public repository of software code for each of its devices online. On a "
"particularly active project, there will only be about two dozen people "
"contributing significant improvements. The vast majority of projects are "
"relatively untouched by the public. “There is a theory that if you open-"
"source it, they will come,” Nathan said. “That’s not really true.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6844
msgid ""
"Rather than focusing on cocreation with their customers, SparkFun instead "
"focuses on enabling people to copy, tinker, and improve products on their "
"own. They heavily invest in tutorials and other material designed to help "
"people understand how the products work so they can fix and improve things "
"independently. “What gives me joy is when people take open-source layouts "
"and then build their own circuit boards from our designs,” Nathan said."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6856
msgid ""
"Obviously, opening up the design of their products is a necessary step if "
"their goal is to empower the public. Nathan also firmly believes it makes "
"them more money because it requires them to focus on how to provide maximum "
"value. Rather than designing a new product and protecting it in order to "
"extract as much money as possible from it, they release the keys necessary "
"for others to build it themselves and then spend company time and resources "
"on innovation and service. From a short-term perspective, SparkFun may lose "
"a few dollars when others copy their products. But in the long run, it makes "
"them a more nimble, innovative business. In other words, it makes them the "
"kind of company they set out to be."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6858
msgid "## TeachAIDS"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6862
msgid ""
"TeachAIDS is a nonprofit that creates educational materials designed to "
"teach people around the world about HIV and AIDS. Founded in 2005 in the U.S."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6864
msgid "teachaids.org"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6866
msgid "Revenue model: sponsorships"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6868
msgid "Interview date: March 24, 2016"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6870
msgid "Interviewees: Piya Sorcar, the CEO, and Shuman Ghosemajumder, the chair"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6877
msgid ""
"TeachAIDS is an unconventional media company with a conventional revenue "
"model. Like most media companies, they are subsidized by advertising.  "
"Corporations pay to have their logos appear on the educational materials "
"TeachAIDS distributes."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6888
msgid ""
"But unlike most media companies, Teach-AIDS is a nonprofit organization with "
"a purely social mission. TeachAIDS is dedicated to educating the global "
"population about HIV and AIDS, particularly in parts of the world where "
"education efforts have been historically unsuccessful. Their educational "
"content is conveyed through interactive software, using methods based on the "
"latest research about how people learn. TeachAIDS serves content in more "
"than eighty countries around the world. In each instance, the content is "
"translated to the local language and adjusted to conform to local norms and "
"customs. All content is free and made available under a Creative Commons "
"license."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6906
msgid ""
"TeachAIDS is a labor of love for founder and CEO Piya Sorcar, who earns a "
"salary of one dollar per year from the nonprofit. The project grew out of "
"research she was doing while pursuing her doctorate at Stanford University. "
"She was reading reports about India, noting it would be the next hot zone of "
"people living with HIV. Despite international and national entities pouring "
"in hundreds of millions of dollars on HIV-prevention efforts, the reports "
"showed knowledge levels were still low. People were unaware of whether the "
"virus could be transmitted through coughing and sneezing, for instance. "
"Supported by an interdisciplinary team of experts at Stanford, Piya "
"conducted similar studies, which corroborated the previous research. They "
"found that the primary cause of the limited understanding was that HIV, and "
"issues relating to it, were often considered too taboo to discuss "
"comprehensively. The other major problem was that most of the education on "
"this topic was being taught through television advertising, billboards, and "
"other mass-media campaigns, which meant people were only receiving bits and "
"pieces of information."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6916
msgid ""
"In late 2005, Piya and her team used research-based design to create new "
"educational materials and worked with local partners in India to help "
"distribute them. As soon as the animated software was posted online, Piya’s "
"team started receiving requests from individuals and governments who were "
"interested in bringing this model to more countries. “We realized fairly "
"quickly that educating large populations about a topic that was considered "
"taboo would be challenging. We began by identifying optimal local partners "
"and worked toward creating an effective, culturally appropriate education,” "
"Piya said."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6920
msgid ""
"Very shortly after the initial release, Piya’s team decided to spin the "
"endeavor into an independent nonprofit out of Stanford University. They also "
"decided to use Creative Commons licenses on the materials."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6933
msgid ""
"Given their educational mission, TeachAIDS had an obvious interest in seeing "
"the materials as widely shared as possible. But they also needed to preserve "
"the integrity of the medical information in the content.  They chose the "
"Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which essentially "
"gives the public the right to distribute only verbatim copies of the "
"content, and for noncommercial purposes. “We wanted attribution for "
"TeachAIDS, and we couldn’t stand by derivatives without vetting them,” the "
"cofounder and chair Shuman Ghosemajumder said. “It was almost a no-brainer "
"to go with a CC license because it was a plug-and-play solution to this "
"exact problem. It has allowed us to scale our materials safely and quickly "
"worldwide while preserving our content and protecting us at the same time.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6940
msgid ""
"Choosing a license that does not allow adaptation of the content was an "
"outgrowth of the careful precision with which TeachAIDS crafts their "
"content. The organization invests heavily in research and testing to "
"determine the best method of conveying the information. “Creating high-"
"quality content is what matters most to us,” Piya said. “Research drives "
"everything we do.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6947
msgid ""
"One important finding was that people accept the message best when it comes "
"from familiar voices they trust and admire. To achieve this, TeachAIDS "
"researches cultural icons that would best resonate with their target "
"audiences and recruits them to donate their likenesses and voices for use in "
"the animated software. The celebrities involved vary for each localized "
"version of the materials."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6960
msgid ""
"Localization is probably the single-most important aspect of the way "
"TeachAIDS creates its content. While each regional version builds from the "
"same core scientific materials, they pour a lot of resources into "
"customizing the content for a particular population. Because they use a CC "
"license that does not allow the public to adapt the content, TeachAIDS "
"retains careful control over the localization process. The content is "
"translated into the local language, but there are also changes in substance "
"and format to reflect cultural differences. This process results in minor "
"changes, like choosing different idioms based on the local language, and "
"significant changes, like creating gendered versions for places where people "
"are more likely to accept information from someone of the same gender."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6974
msgid ""
"The localization process relies heavily on volunteers. Their volunteer base "
"is deeply committed to the cause, and the organization has had better luck "
"controlling the quality of the materials when they tap volunteers instead of "
"using paid translators. For quality control, TeachAIDS has three separate "
"volunteer teams translate the materials from English to the local language "
"and customize the content based on local customs and norms. Those three "
"versions are then analyzed and combined into a single master translation. "
"TeachAIDS has additional teams of volunteers then translate that version "
"back into English to see how well it lines up with the original materials. "
"They repeat this process until they reach a translated version that meets "
"their standards. For the Tibetan version, they went through this cycle "
"eleven times."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:6991
msgid ""
"TeachAIDS employs full-time employees, contractors, and volunteers, all in "
"different capacities and organizational configurations. They are careful to "
"use people from diverse backgrounds to create the materials, including "
"teachers, students, and doctors, as well as individuals experienced in "
"working in the NGO space. This diversity and breadth of knowledge help "
"ensure their materials resonate with people from all walks of life. "
"Additionally, TeachAIDS works closely with film writers and directors to "
"help keep the concepts entertaining and easy to understand. The inclusive, "
"but highly controlled, creative process is undertaken entirely by people who "
"are specifically brought on to help with a particular project, rather than "
"ongoing staff. The final product they create is designed to require zero "
"training for people to implement in practice. “In our research, we found we "
"can’t depend on people passing on the information correctly, even if they "
"have the best of intentions,” Piya said. “We need materials where you can "
"push play and they will work.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7002
msgid ""
"Piya’s team was able to produce all of these versions over several years "
"with a head count that never exceeded eight full-time employees. The "
"organization is able to reduce costs by relying heavily on volunteers and in-"
"kind donations. Nevertheless, the nonprofit needed a sustainable revenue "
"model to subsidize content creation and physical distribution of the "
"materials. Charging even a low price was simply not an option.  “Educators "
"from various nonprofits around the world were just creating their own "
"materials using whatever they could find for free online,” Shuman said. “The "
"only way to persuade them to use our highly effective model was to make it "
"completely free.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7011
msgid ""
"Like many content creators offering their work for free, they settled on "
"advertising as a funding model. But they were extremely careful not to let "
"the advertising compromise their credibility or undermine the heavy "
"investment they put into creating quality content. Sponsors of the content "
"have no ability to influence the substance of the content, and they cannot "
"even create advertising content. Sponsors only get the right to have their "
"logo appear before and after the educational content. All of the content "
"remains branded as TeachAIDS."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7019
msgid ""
"TeachAIDS is careful not to seek funding to cover the costs of a specific "
"project. Instead, sponsorships are structured as unrestricted donations to "
"the nonprofit. This gives the nonprofit more stability, but even more "
"importantly, it enables them to subsidize projects being localized for an "
"area with no sponsors. “If we just created versions based on where we could "
"get sponsorships, we would only have materials for wealthier countries,” "
"Shuman said."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7030
msgid ""
"As of 2016, TeachAIDS has dozens of sponsors. “When we go into a new "
"country, various companies hear about us and reach out to us,” Piya said. "
"“We don’t have to do much to find or attract them.” They believe the "
"sponsorships are easy to sell because they offer so much value to sponsors. "
"TeachAIDS sponsorships give corporations the chance to reach new eyeballs "
"with their brand, but at a much lower cost than other advertising channels. "
"The audience for TeachAIDS content also tends to skew young, which is often "
"a desirable demographic for brands. Unlike traditional advertising, the "
"content is not time-sensitive, so an investment in a sponsorship can benefit "
"a brand for many years to come."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7037
msgid ""
"Importantly, the value to corporate sponsors goes beyond commercial "
"considerations. As a nonprofit with a clearly articulated social mission, "
"corporate sponsorships are donations to a cause. “This is something "
"companies can be proud of internally,” Shuman said. Some companies have even "
"built publicity campaigns around the fact that they have sponsored these "
"initiatives."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7044
msgid ""
"The core mission of TeachAIDS—ensuring global access to life-saving education"
"—is at the root of everything the organization does. It underpins the work; "
"it motivates the funders. The CC license on the materials they create "
"furthers that mission, allowing them to safely and quickly scale their "
"materials worldwide. “The Creative Commons license has been a game changer "
"for TeachAIDS,” Piya said."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7046
msgid "## Tribe of Noise"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7050
msgid ""
"Tribe of Noise is a for-profit online music platform serving the film, TV, "
"video, gaming, and in-store-media industries. Founded in 2008 in the "
"Netherlands."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7052
msgid "www.tribeofnoise.com"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7056
msgid "Interview date: January 26, 2016"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7058
msgid "Interviewee: Hessel van Oorschot, cofounder"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7068
msgid ""
"In the early 2000s, Hessel van Oorschot was an entrepreneur running a "
"business where he coached other midsize entrepreneurs how to create an "
"online business. He also coauthored a number of workbooks for small- to "
"medium-size enterprises to use to optimize their business for the Web.  "
"Through this early work, Hessel became familiar with the principles of open "
"licensing, including the use of open-source software and Creative Commons."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7076
msgid ""
"In 2005, Hessel and Sandra Brandenburg launched a niche video-production "
"initiative. Almost immediately, they ran into issues around finding and "
"licensing music tracks. All they could find was standard, cold stock-music. "
"They thought of looking up websites where you could license music directly "
"from the musician without going through record labels or agents. But in "
"2005, the ability to directly license music from a rights holder was not "
"readily available."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7084
msgid ""
"They hired two lawyers to investigate further, and while they uncovered five "
"or six examples, Hessel found the business models lacking. The lawyers "
"expressed interest in being their legal team should they decide to pursue "
"this as an entrepreneurial opportunity. Hessel says, “When lawyers are "
"interested in a venture like this, you might have something special.” So "
"after some more research, in early 2008, Hessel and Sandra decided to build "
"a platform."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7090
msgid ""
"Building a platform posed a real chicken-and-egg problem. The platform had "
"to build an online community of music-rights holders and, at the same time, "
"provide the community with information and ideas about how the new economy "
"works. Community willingness to try new music business models requires a "
"trust relationship."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7097
msgid ""
"In July 2008, Tribe of Noise opened its virtual doors with a couple hundred "
"musicians willing to use the CC BY-SA license (Attribution-ShareAlike) for a "
"limited part of their repertoire. The two entrepreneurs wanted to take the "
"pain away for media makers who wanted to license music and solve the "
"problems the two had personally experienced finding this music."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7105
msgid ""
"As they were growing the community, Hessel got a phone call from a company "
"that made in-store music playlists asking if they had enough music licensed "
"with Creative Commons that they could use. Stores need quality, good-"
"listening music but not necessarily hits, a bit like a radio show without "
"the DJ. This opened a new opportunity for Tribe of Noise. They started their "
"In-store Music Service, using music (licensed with CC BY-SA) uploaded by the "
"Tribe of Noise community of musicians.1"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7123
msgid ""
"In most countries, artists, authors, and musicians join a collecting society "
"that manages the licensing and helps collect the royalties.  Copyright "
"collecting societies in the European Union usually hold monopolies in their "
"respective national markets. In addition, they require their members to "
"transfer exclusive administration rights to them of all of their works. This "
"complicates the picture for Tribe of Noise, who wants to represent artists, "
"or at least a portion of their repertoire. Hessel and his legal team reached "
"out to collecting societies, starting with those in the Netherlands. What "
"would be the best legal way forward that would respect the wishes of "
"composers and musicians who’d be interested in trying out new models like "
"the In-store Music Service? Collecting societies at first were hesitant and "
"said no, but Tribe of Noise persisted arguing that they primarily work with "
"unknown artists and provide them exposure in parts of the world where they "
"don’t get airtime normally and a source of revenue—and this convinced them "
"that it was OK. However, Hessel says, “We are still fighting for a good "
"cause every single day.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7134
msgid ""
"Instead of building a large sales force, Tribe of Noise partnered with big "
"organizations who have lots of clients and can act as a kind of Tribe of "
"Noise reseller. The largest telecom network in the Netherlands, for example, "
"sells Tribe’s In-store Music Service subscriptions to their business "
"clients, which include fashion retailers and fitness centers.  They have a "
"similar deal with the leading trade association representing hotels and "
"restaurants in the country. Hessel hopes to “copy and paste” this service "
"into other countries where collecting societies understand what you can do "
"with Creative Commons. Outside of the Netherlands, early adoptions have "
"happened in Scandinavia, Belgium, and the U.S."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7141
msgid ""
"Tribe of Noise doesn’t pay the musicians up front; they get paid when their "
"music ends up in Tribe of Noise’s in-store music channels. The musicians’ "
"share is 42.5 percent. It’s not uncommon in a traditional model for the "
"artist to get only 5 to 10 percent, so a share of over 40 percent is a "
"significantly better deal. Here’s how they give an example on their website:"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7150
msgid ""
"A few of your songs \\[licensed with CC BY-SA\\], for example five in total, "
"are selected for a bespoke in-store music channel broadcasting at a large "
"retailer with 1,000 stores nationwide. In this case the overall playlist "
"contains 350 songs so the musician’s share is 5/350 = 1.43%.  The license "
"fee agreed with this retailer is US\\$12 per month per play-out. So if 42.5% "
"is shared with the Tribe musicians in this playlist and your share is 1.43%, "
"you end up with US\\$12 \\* 1000 stores \\* 0.425 \\* 0.0143 = US\\$73 per "
"month.2"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7159
msgid ""
"Tribe of Noise has another model that does not involve Creative Commons.  In "
"a survey with members, most said they liked the exposure using Creative "
"Commons gets them and the way it lets them reach out to others to share and "
"remix. However, they had a bit of a mental struggle with Creative Commons "
"licenses being perpetual. A lot of musicians have the mind-set that one day "
"one of their songs may become an overnight hit. If that happened the CC BY-"
"SA license would preclude them getting rich off the sale of that song."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7168
msgid ""
"Hessel’s legal team took this feedback and created a second model and "
"separate area of the platform called Tribe of Noise Pro. Songs uploaded to "
"Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has "
"instead created a “nonexclusive exploitation” contract, similar to a "
"Creative Commons license but allowing musicians to opt out whenever they "
"want. When you opt out, Tribe of Noise agrees to take your music off the "
"Tribe of Noise platform within one to two months. This lets the musician "
"reuse their song for a better deal."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7175
msgid ""
"Tribe of Noise Pro is primarily geared toward media makers who are looking "
"for music. If they buy a license from this catalog, they don’t have to state "
"the name of the creator; they just license the song for a specific amount. "
"This is a big plus for media makers. And musicians can pull their repertoire "
"at any time. Hessel sees this as a more direct and clean deal."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7180
msgid ""
"Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and "
"the community area of Tribe of Noises. There aren’t that many artists who "
"upload only to Tribe of Noise Pro, which has a smaller repertoire of music "
"than the community area."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7187
msgid ""
"Hessel sees the two as complementary. Both are needed for the model to work. "
"With a whole generation of musicians interested in the sharing economy, the "
"community area of Tribe of Noise is where they can build trust, create "
"exposure, and generate money. And after that, musicians may become more "
"interested in exploring other models like Tribe of Noise Pro."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7196
msgid ""
"Every musician who joins Tribe of Noise gets their own home page and free "
"unlimited Web space to upload as much of their own music as they like. Tribe "
"of Noise is also a social network; fellow musicians and professionals can "
"vote for, comment on, and like your music. Community managers interact with "
"and support members, and music supervisors pick and choose from the uploaded "
"songs for in-store play or to promote them to media producers. Members "
"really like having people working for the platform who truly engage with "
"them."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7204
msgid ""
"Another way Tribe of Noise creates community and interest is with contests, "
"which are organized in partnership with Tribe of Noise clients. The client "
"specifies what they want, and any member can submit a song. Contests usually "
"involve prizes, exposure, and money. In addition to building member "
"engagement, contests help members learn how to work with clients: listening "
"to them, understanding what they want, and creating a song to meet that need."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7215
msgid ""
"Tribe of Noise now has twenty-seven thousand members from 192 countries, and "
"many are exploring do-it-yourself models for generating revenue.  Some came "
"from music labels and publishers, having gone through the traditional way of "
"music licensing and now seeing if this new model makes sense for them. "
"Others are young musicians, who grew up with a DIY mentality and see little "
"reason to sign with a third party or hand over some of the control. Still a "
"small but growing group of Tribe members are pursuing a hybrid model by "
"licensing some of their songs under CC BY-SA and opting in others with "
"collecting societies like ASCAP or BMI."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7230
msgid ""
"It’s not uncommon for performance-rights organizations, record labels, or "
"music publishers to sign contracts with musicians based on exclusivity. Such "
"an arrangement prevents those musicians from uploading their music to Tribe "
"of Noise. In the United States, you can have a collecting society handle "
"only some of your tracks, whereas in many countries in Europe, a collecting "
"society prefers to represent your entire repertoire (although the European "
"Commission is making some changes). Tribe of Noise deals with this issue all "
"the time and gives you a warning whenever you upload a song. If collecting "
"societies are willing to be open and flexible and do the most they can for "
"their members, then they can consider organizations like Tribe of Noise as a "
"nice add-on, generating more exposure and revenue for the musicians they "
"represent. So far, Tribe of Noise has been able to make all this work "
"without litigation."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7239
msgid ""
"For Hessel the key to Tribe of Noise’s success is trust. The fact that "
"Creative Commons licenses work the same way all over the world and have been "
"translated into all languages really helps build that trust. Tribe of Noise "
"believes in creating a model where they work together with musicians. They "
"can only do that if they have a live and kicking community, with people who "
"think that the Tribe of Noise team has their best interests in mind. "
"Creative Commons makes it possible to create a new business model for music, "
"a model that’s based on trust."
msgstr ""

#. type: Bullet: '1.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:7244
msgid "www.instoremusicservice.com"
msgstr ""

#. type: Bullet: '2.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:7244
msgid "www.tribeofnoise.com/info\\_instoremusic.php"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7246
msgid "## Wikimedia Foundation"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7249
msgid ""
"The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia "
"and its sister projects. Founded in 2003 in the U.S."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7251
msgid "wikimediafoundation.org"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7253
msgid "Revenue model: donations"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7255
msgid "Interview date: December 18, 2015"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7258
msgid ""
"Interviewees: Luis Villa, former Chief Officer of Community Engagement, and "
"Stephen LaPorte, legal counsel"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7262
msgid "Nearly every person with an online presence knows Wikipedia."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7268
msgid ""
"In many ways, it is the preeminent open project: The online encyclopedia is "
"created entirely by volunteers. Anyone in the world can edit the articles. "
"All of the content is available for free to anyone online. All of the "
"content is released under a Creative Commons license that enables people to "
"reuse and adapt it for any purpose."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7272
msgid ""
"As of December 2016, there were more than forty-two million articles in the "
"295 language editions of the online encyclopedia, according to—what else?—"
"the Wikipedia article about Wikipedia."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7284
msgid ""
"The Wikimedia Foundation is a U.S.-based nonprofit organization that owns "
"the Wikipedia domain name and hosts the site, along with many other related "
"sites like Wikidata and Wikimedia Commons. The foundation employs about two "
"hundred and eighty people, who all work to support the projects it hosts. "
"But the true heart of Wikipedia and its sister projects is its community. "
"The numbers of people in the community are variable, but about seventy-five "
"thousand volunteers edit and improve Wikipedia articles every month. "
"Volunteers are organized in a variety of ways across the globe, including "
"formal Wikimedia chapters (mostly national), groups focused on a particular "
"theme, user groups, and many thousands who are not connected to a particular "
"organization."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7289
msgid ""
"As Wikimedia legal counsel Stephen LaPorte told us, “There is a common "
"saying that Wikipedia works in practice but not in theory.” While it "
"undoubtedly has its challenges and flaws, Wikipedia and its sister projects "
"are a striking testament to the power of human collaboration."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7296
msgid ""
"Because of its extraordinary breadth and scope, it does feel a bit like a "
"unicorn. Indeed, there is nothing else like Wikipedia. Still, much of what "
"makes the projects successful—community, transparency, a strong mission, "
"trust—are consistent with what it takes to be successfully Made with "
"Creative Commons more generally. With Wikipedia, everything just happens at "
"an unprecedented scale."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7306
msgid ""
"The story of Wikipedia has been told many times. For our purposes, it is "
"enough to know the experiment started in 2001 at a small scale, inspired by "
"the crazy notion that perhaps a truly open, collaborative project could "
"create something meaningful. At this point, Wikipedia is so ubiquitous and "
"ingrained in our digital lives that the fact of its existence seems less "
"remarkable. But outside of software, Wikipedia is perhaps the single most "
"stunning example of successful community cocreation. Every day, seven "
"thousand new articles are created on Wikipedia, and nearly fifteen thousand "
"edits are made every hour."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7326
msgid ""
"The nature of the content the community creates is ideal for asynchronous "
"cocreation. “An encyclopedia is something where incremental community "
"improvement really works,” Luis Villa, former Chief Officer of Community "
"Engagement, told us. The rules and processes that govern cocreation on "
"Wikipedia and its sister projects are all community-driven and vary by "
"language edition. There are entire books written on the intricacies of their "
"systems, but generally speaking, there are very few exceptions to the rule "
"that anyone can edit any article, even without an account on their system. "
"The extensive peer-review process includes elaborate systems to resolve "
"disputes, methods for managing particularly controversial subject areas, "
"talk pages explaining decisions, and much, much more. The Wikimedia "
"Foundation’s decision to leave governance of the projects to the community "
"is very deliberate. “We look at the things that the community can do well, "
"and we want to let them do those things,” Stephen told us. Instead, the "
"foundation focuses its time and resources on what the community cannot do as "
"effectively, like the software engineering that supports the technical "
"infrastructure of the sites. In 2015-16, about half of the foundation’s "
"budget went to direct support for the Wikimedia sites."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7339
msgid ""
"Some of that is directed at servers and general IT support, but the "
"foundation also invests a significant amount on architecture designed to "
"help the site function as effectively as possible. “There is a constantly "
"evolving system to keep the balance in place to avoid Wikipedia becoming the "
"world’s biggest graffiti wall,” Luis said.  Depending on how you measure it, "
"somewhere between 90 to 98 percent of edits to Wikipedia are positive. Some "
"portion of that success is attributable to the tools Wikimedia has in place "
"to try to incentivize good actors. “The secret to having any healthy "
"community is bringing back the right people,” Luis said. “Vandals tend to "
"get bored and go away. That is partially our model working, and partially "
"just human nature.” Most of the time, people want to do the right thing."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7350
msgid ""
"Wikipedia not only relies on good behavior within its community and on its "
"sites, but also by everyone else once the content leaves Wikipedia.  All of "
"the text of Wikipedia is available under an Attribution-ShareAlike license "
"(CC BY-SA), which means it can be used for any purpose and modified so long "
"as credit is given and anything new is shared back with the public under the "
"same license. In theory, that means anyone can copy the content and start a "
"new Wikipedia. But as Stephen explained, “Being open has only made Wikipedia "
"bigger and stronger. The desire to protect is not always what is best for "
"everyone.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7366
msgid ""
"Of course, the primary reason no one has successfully co-opted Wikipedia is "
"that copycat efforts do not have the Wikipedia community to sustain what "
"they do. Wikipedia is not simply a source of up-to-the-minute content on "
"every given topic—it is also a global patchwork of humans working together "
"in a million different ways, in a million different capacities, for a "
"million different reasons. While many have tried to guess what makes "
"Wikipedia work as well it does, the fact is there is no single explanation. "
"“In a movement as large as ours, there is an incredible diversity of "
"motivations,” Stephen said. For example, there is one editor of the English "
"Wikipedia edition who has corrected a single grammatical error in articles "
"more than forty-eight thousand times.1 Only a fraction of Wikipedia users "
"are also editors. But editing is not the only way to contribute to "
"Wikipedia. “Some donate text, some donate images, some donate financially,” "
"Stephen told us. “They are all contributors.”"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7374
msgid ""
"But the vast majority of us who use Wikipedia are not contributors; we are "
"passive readers. The Wikimedia Foundation survives primarily on individual "
"donations, with about \\$15 as the average. Because Wikipedia is one of the "
"ten most popular websites in terms of total page views, donations from a "
"small portion of that audience can translate into a lot of money. In the "
"2015-16 fiscal year, they received more than \\$77 million from more than "
"five million donors."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7383
msgid ""
"The foundation has a fund-raising team that works year-round to raise money, "
"but the bulk of their revenue comes in during the December campaign in "
"Australia, Canada, Ireland, New Zealand, the United Kingdom, and the United "
"States. They engage in extensive user testing and research to maximize the "
"reach of their fund-raising campaigns. Their basic fund-raising message is "
"simple: We provide our readers and the world immense value, so give back. "
"Every little bit helps. With enough eyeballs, they are right."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7391
msgid ""
"The vision of the Wikimedia Foundation is a world in which every single "
"human being can freely share in the sum of all knowledge. They work to "
"realize this vision by empowering people around the globe to create "
"educational content made freely available under an open license or in the "
"public domain. Stephen and Luis said the mission, which is rooted in the "
"same philosophy behind Creative Commons, drives everything the foundation "
"does."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7396
msgid ""
"The philosophy behind the endeavor also enables the foundation to be "
"financially sustainable. It instills trust in their readership, which is "
"critical for a revenue strategy that relies on reader donations. It also "
"instills trust in their community."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7401
msgid ""
"Any given edit on Wikipedia could be motivated by nearly an infinite number "
"of reasons. But the social mission of the project is what binds the global "
"community together. “Wikipedia is an example of how a mission can motivate "
"an entire movement,” Stephen told us."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7407
msgid ""
"Of course, what results from that movement is one of the Internet’s great "
"public resources. “The Internet has a lot of businesses and stores, but it "
"is missing the digital equivalent of parks and open public spaces,” Stephen "
"said. “Wikipedia has found a way to be that open public space.”"
msgstr ""

#. type: Bullet: '1.  '
#: MadewithCreativeCommonsmostup-to-dateversion.md:7411
msgid "gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7413
msgid "## Bibliography"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7418
msgid ""
"Alperovitz, Gar. What Then Must We Do? Straight Talk about the Next American "
"Revolution; Democratizing Wealth and Building a Community-Sustaining Economy "
"from the Ground Up. White River Junction, VT: Chelsea Green, 2013."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7422
msgid ""
"Anderson, Chris. Free: How Today’s Smartest Businesses Profit by Giving "
"Something for Nothing, reprint with new preface. New York: Hyperion, 2010."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7424
msgid "———. Makers: The New Industrial Revolution. New York: Signal, 2012."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7427
msgid ""
"Ariely, Dan. Predictably Irrational: The Hidden Forces That Shape Our "
"Decisions. Rev. ed. New York: Harper Perennial, 2010."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7430
msgid ""
"Bacon, Jono. The Art of Community. 2nd ed. Sebastopol, CA: O’Reilly Media, "
"2012."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7435
msgid ""
"Benkler, Yochai. The Wealth of Networks: How Social Production Transforms "
"Markets and Freedom. New Haven: Yale University Press, 2006.  www.benkler."
"org/Benkler\\_Wealth\\_Of\\_Networks.pdf (licensed under CC BY-NC-SA)."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7440
msgid ""
"Benyayer, Louis-David, ed. Open Models: Business Models of the Open Economy. "
"Cachan, France: Without Model, 2016.  www.slideshare.net/WithoutModel/open-"
"models-book-64463892 (licensed under CC BY-SA)."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7445
msgid ""
"Bollier, David. Commoning as a Transformative Social Paradigm. Paper "
"commissioned by the Next Systems Project. Washington, DC: Democracy "
"Collaborative, 2016.  thenextsystem.org/commoning-as-a-transformative-social-"
"paradigm/."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7448
msgid ""
"———. Think Like a Commoner: A Short Introduction to the Life of the Commons. "
"Gabriola Island, BC: New Society, 2014."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7456
msgid ""
"Bollier, David, and Pat Conaty. Democratic Money and Capital for the "
"Commons: Strategies for Transforming Neoliberal Finance through Commons-"
"Based Alternatives. A report on a Commons Strategies Group Workshop in "
"cooperation with the Heinrich Böll Foundation, Berlin, Germany, 2015.  "
"bollier.org/democratic-money-and-capital-commons-report-pdf. For more "
"information, see bollier.org/blog/democratic-money-and-capital-commons."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7459
msgid ""
"Bollier, David, and Silke Helfrich, eds. The Wealth of the Commons: A World "
"Beyond Market and State. Amherst, MA: Levellers Press, 2012."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7462
msgid ""
"Botsman, Rachel, and Roo Rogers. What’s Mine Is Yours: The Rise of "
"Collaborative Consumption. New York: Harper Business, 2010."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7465
msgid ""
"Boyle, James. The Public Domain: Enclosing the Commons of the Mind. New "
"Haven: Yale University Press, 2008."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7467
msgid "www.thepublicdomain.org/download/ (licensed under CC BY-NC-SA)."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7471
msgid ""
"Capra, Fritjof, and Ugo Mattei. The Ecology of Law: Toward a Legal System in "
"Tune with Nature and Community. Oakland, CA: Berrett-Koehler, 2015."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7474
msgid ""
"Chesbrough, Henry. Open Business Models: How to Thrive in the New Innovation "
"Landscape. Boston: Harvard Business School Press, 2006."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7477
msgid ""
"———. Open Innovation: The New Imperative for Creating and Profiting from "
"Technology. Boston: Harvard Business Review Press, 2006."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7483
msgid ""
"City of Bologna. Regulation on Collaboration between Citizens and the City "
"for the Care and Regeneration of Urban Commons. Translated by LabGov "
"(LABoratory for the GOVernance of Commons). Bologna, Italy: City of Bologna, "
"2014).  www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-"
"collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-"
"urban-commons1.pdf."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7487
msgid ""
"Cole, Daniel H. “Learning from Lin: Lessons and Cautions from the Natural "
"Commons for the Knowledge Commons.” Chap. 2 in Frischmann, Madison, and "
"Strandburg, Governing Knowledge Commons."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7490
msgid ""
"Creative Commons. 2015 State of the Commons. Mountain View, CA: Creative "
"Commons, 2015. stateof.creativecommons.org/2015/."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7493
msgid ""
"Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the Internet "
"Age. San Francisco: McSweeney’s, 2014."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7497
msgid ""
"Eckhardt, Giana, and Fleura Bardhi. “The Sharing Economy Isn’t about Sharing "
"at All.” Harvard Business Review, January 28, 2015.  hbr.org/2015/01/the-"
"sharing-economy-isnt-about-sharing-at-all."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7502
msgid ""
"Elliott, Patricia W., and Daryl H. Hepting, eds. (2015). Free Knowledge: "
"Confronting the Commodification of Human Discovery. Regina, SK: University "
"of Regina Press, 2015.  uofrpress.ca/publications/Free-Knowledge (licensed "
"under CC BY-NC-ND)."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7505
msgid ""
"Eyal, Nir. Hooked: How to Build Habit-Forming Products. With Ryan Hoover. "
"New York: Portfolio, 2014."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7508
msgid ""
"Farley, Joshua, and Ida Kubiszewski. “The Economics of Information in a Post-"
"Carbon Economy.” Chap. 11 in Elliott and Hepting, Free Knowledge."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7512
msgid ""
"Foster, William Landes, Peter Kim, and Barbara Christiansen. “Ten Nonprofit "
"Funding Models.” Stanford Social Innovation Review, Spring 2009. ssir.org/"
"articles/entry/ten\\_nonprofit\\_funding\\_models."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7515
msgid ""
"Frischmann, Brett M. Infrastructure: The Social Value of Shared Resources. "
"New York: Oxford University Press, 2012."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7519
msgid ""
"Frischmann, Brett M., Michael J. Madison, and Katherine J. Strandburg, eds. "
"Governing Knowledge Commons. New York: Oxford University Press, 2014."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7523
msgid ""
"Frischmann, Brett M., Michael J. Madison, and Katherine J. Strandburg.  "
"“Governing Knowledge Commons.” Chap. 1 in Frischmann, Madison, and "
"Strandburg, Governing Knowledge Commons."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7526
msgid ""
"Gansky, Lisa. The Mesh: Why the Future of Business Is Sharing. Reprint with "
"new epilogue. New York: Portfolio, 2012."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7529
msgid ""
"Grant, Adam. Give and Take: Why Helping Others Drives Our Success. New York: "
"Viking, 2013."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7532
msgid ""
"Haiven, Max. Crises of Imagination, Crises of Power: Capitalism, Creativity "
"and the Commons. New York: Zed Books, 2014."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7536
msgid ""
"Harris, Malcom, ed. Share or Die: Voices of the Get Lost Generation in the "
"Age of Crisis. With Neal Gorenflo. Gabriola Island, BC: New Society, 2012."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7539
msgid ""
"Hermida, Alfred. Tell Everyone: Why We Share and Why It Matters.  Toronto: "
"Doubleday Canada, 2014."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7542
msgid ""
"Hyde, Lewis. Common as Air: Revolution, Art, and Ownership. New York: "
"Farrar, Straus and Giroux, 2010."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7545
msgid ""
"———. The Gift: Creativity and the Artist in the Modern World. 2nd Vintage "
"Books edition. New York: Vintage Books, 2007."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7548
msgid ""
"Kelley, Tom, and David Kelley. Creative Confidence: Unleashing the Potential "
"within Us All. New York: Crown, 2013."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7551
msgid ""
"Kelly, Marjorie. Owning Our Future: The Emerging Ownership Revolution; "
"Journeys to a Generative Economy. San Francisco:"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7553
msgid "Berrett-Koehler, 2012."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7556
msgid ""
"Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and Get "
"Discovered. New York: Workman, 2014."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7559
msgid ""
"———. Steal Like an Artist: 10 Things Nobody Told You about Being Creative. "
"New York: Workman, 2012."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7562
msgid ""
"Kramer, Bryan. Shareology: How Sharing Is Powering the Human Economy.  New "
"York: Morgan James, 2016."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7565
msgid ""
"Lee, David. “Inside Medium: An Attempt to Bring Civility to the Internet.” "
"BBC News, March 3, 2016. www.bbc.com/news/technology-35709680"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7568
msgid ""
"Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid "
"Economy. New York: Penguin Press, 2008."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7571
msgid ""
"Menzies, Heather. Reclaiming the Commons for the Common Good: A Memoir and "
"Manifesto. Gabriola Island, BC: New Society, 2014."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7574
msgid ""
"Mason, Paul. Postcapitalism: A Guide to Our Future. New York: Farrar, Straus "
"and Giroux, 2015."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7578
msgid ""
"New York Times Customer Insight Group. The Psychology of Sharing: Why Do "
"People Share Online? New York: New York Times Customer Insight Group, 2011. "
"www.iab.net/media/file/POSWhitePaper.pdf."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7582
msgid ""
"Osterwalder, Alex, and Yves Pigneur. Business Model Generation. Hoboken, NJ: "
"John Wiley and Sons, 2010. A preview of the book is available at strategyzer."
"com/books/business-model-generation."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7586
msgid ""
"Osterwalder, Alex, Yves Pigneur, Greg Bernarda, and Adam Smith. Value "
"Proposition Design. Hoboken, NJ: John Wiley and Sons, 2014. A preview of the "
"book is available at strategyzer.com/books/value-proposition-design."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7589
msgid ""
"Palmer, Amanda. The Art of Asking: Or How I Learned to Stop Worrying and Let "
"People Help. New York: Grand Central, 2014."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7595
msgid ""
"Pekel, Joris. Democratising the Rijksmuseum: Why Did the Rijksmuseum Make "
"Available Their Highest Quality Material without Restrictions, and What Are "
"the Results? The Hague, Netherlands: Europeana Foundation, 2014. pro."
"europeana.eu/publication/democratising-the-rijksmuseum (licensed under CC BY-"
"SA)."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7600
msgid ""
"Ramos, José Maria, ed. The City as Commons: A Policy Reader. Melbourne, "
"Australia: Commons Transition Coalition, 2016.  www.academia.edu/27143172/The"
"\\_City\\_as\\_Commons\\_a\\_Policy\\_Reader (licensed under CC BY-NC-ND)."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7605
msgid ""
"Raymond, Eric S. The Cathedral and the Bazaar: Musings on Linux and Open "
"Source by an Accidental Revolutionary. Rev. ed. Sebastopol, CA: O’Reilly "
"Media, 2001. See esp. “The Magic Cauldron.” www.catb.org/esr/writings/"
"cathedral-bazaar/."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7609
msgid ""
"Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous "
"Innovation to Create Radically Successful Businesses. New York: Crown "
"Business, 2011."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7613
msgid ""
"Rifkin, Jeremy. The Zero Marginal Cost Society: The Internet of Things, the "
"Collaborative Commons, and the Eclipse of Capitalism. New York: Palgrave "
"Macmillan, 2014."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7615
msgid ""
"Rowe, Jonathan. Our Common Wealth. San Francisco: Berrett-Koehler, 2013."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7618
msgid ""
"Rushkoff, Douglas. Throwing Rocks at the Google Bus: How Growth Became the "
"Enemy of Prosperity. New York: Portfolio, 2016."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7621
msgid ""
"Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets.  New "
"York: Farrar, Straus and Giroux, 2012."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7624
msgid ""
"Shirky, Clay. Cognitive Surplus: How Technology Makes Consumers into "
"Collaborators. London, England: Penguin Books, 2010."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7627
msgid ""
"Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York: OR "
"Books, 2015."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7630
msgid ""
"Stephany, Alex. The Business of Sharing: Making in the New Sharing Economy. "
"New York: Palgrave Macmillan, 2015."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7633
msgid ""
"Stepper, John. Working Out Loud: For a Better Career and Life. New York: "
"Ikigai Press, 2015."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7636
msgid ""
"Sull, Donald, and Kathleen M. Eisenhardt. Simple Rules: How to Thrive in a "
"Complex World. Boston: Houghton Mifflin Harcourt, 2015."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7639
msgid ""
"Sundararajan, Arun. The Sharing Economy: The End of Employment and the Rise "
"of Crowd-Based Capitalism. Cambridge, MA: MIT Press, 2016."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7641
msgid "Surowiecki, James. The Wisdom of Crowds. New York: Anchor Books, 2005."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7645
msgid ""
"Tapscott, Don, and Alex Tapscott. Blockchain Revolution: How the Technology "
"Behind Bitcoin Is Changing Money, Business, and the World.  Toronto: "
"Portfolio, 2016."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7648
msgid ""
"Tharp, Twyla. The Creative Habit: Learn It and Use It for Life. With Mark "
"Reiter. New York: Simon and Schuster, 2006."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7651
msgid ""
"Tkacz, Nathaniel. Wikipedia and the Politics of Openness. Chicago: "
"University of Chicago Press, 2015."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7657
msgid ""
"Van Abel, Bass, Lucas Evers, Roel Klaassen, and Peter Troxler, eds. Open "
"Design Now: Why Design Cannot Remain Exclusive. Amsterdam: BIS Publishers, "
"with Creative Commons Netherlands; Premsela, the Netherlands Institute for "
"Design and Fashion; and the Waag Society, 2011.  opendesignnow.org (licensed "
"under CC BY-NC-SA)."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7661
msgid ""
"Van den Hoff, Ronald. Mastering the Global Transition on Our Way to Society "
"3.0. Utrecht, the Netherlands: Society 3.0 Foundation, 2014.  society30.com/"
"get-the-book/ (licensed under CC BY-NC-ND)."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7664
msgid ""
"Von Hippel, Eric. Democratizing Innovation. London: MIT Press, 2005.  web."
"mit.edu/evhippel/www/democ1.htm (licensed under CC BY-NC-ND)."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7667
msgid ""
"Whitehurst, Jim. The Open Organization: Igniting Passion and Performance. "
"Boston: Harvard Business Review Press, 2015."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7669
msgid "## Acknowledgments"
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7675
msgid ""
"We extend special thanks to Creative Commons CEO Ryan Merkley, the Creative "
"Commons Board, and all of our Creative Commons colleagues for "
"enthusiastically supporting our work. Special gratitude to the William and "
"Flora Hewlett Foundation for the initial seed funding that got us started on "
"this project."
msgstr ""

#. type: Plain text
#: MadewithCreativeCommonsmostup-to-dateversion.md:7679
msgid ""
"Huge appreciation to all the Made with Creative Commons interviewees for "
"sharing their stories with us. You make the commons come alive. Thanks for "
"the inspiration."
msgstr ""

#. type: Plain text
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"We interviewed more than the twenty-four organizations profiled in this "
"book. We extend special thanks to Gooru, OERu, Sage Bionetworks, and Medium "
"for sharing their stories with us. While not featured as case studies in "
"this book, you all are equally interesting, and we encourage our readers to "
"visit your sites and explore your work."
msgstr ""

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"This book was made possible by the generous support of 1,687 Kickstarter "
"backers listed below. We especially acknowledge our many Kickstarter co-"
"editors who read early drafts of our work and provided invaluable feedback. "
"Heartfelt thanks to all of you."
msgstr ""

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"Co-editor Kickstarter backers (alphabetically by first name): Abraham "
"Taherivand, Alan Graham, Alfredo Louro, Anatoly Volynets, Aurora Thornton, "
"Austin Tolentino, Ben Sheridan, Benedikt Foit, Benjamin Costantini, Bernd "
"Nurnberger, Bernhard Seefeld, Bethanye Blount, Bradford Benn, Bryan Mock, "
"Carmen Garcia Wiedenhoeft, Carolyn Hinchliff, Casey Milford, Cat Cooper, "
"Chip McIntosh, Chris Thorne, Chris Weber, Chutika Udomsinn, Claire Wardle, "
"Claudia Cristiani, Cody Allard, Colleen Cressman, Craig Thomler, Creative "
"Commons Uruguay, Curt McNamara, Dan Parson, Daniel Dominguez, Daniel Morado, "
"Darius Irvin, Dave Taillefer, David Lewis, David Mikula, David Varnes, David "
"Wiley, Deborah Nas, Diderik van Wingerden, Dirk Kiefer, Dom Lane, Domi "
"Enders, Douglas Van Houweling, Dylan Field, Einar Joergensen, Elad Wieder, "
"Elie Calhoun, Erika Reid, Evtim Papushev, Fauxton Software, Felix "
"Maximiliano Obes, Ferdies Food Lab, Gatien de Broucker, Gaurav Kapil, Gavin "
"Romig-Koch, George Baier IV, George De Bruin, Gianpaolo Rando, Glenn Otis "
"Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan, "
"Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie "
"Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M "
"Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme "
"Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty, "
"Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John "
"Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos "
"Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie "
"Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen, "
"Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos "
"Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi "
"Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley, "
"MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black, "
"Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem "
"Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike "
"Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall "
"McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman, "
"Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter, "
"Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny "
"Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv "
"Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones, "
"Robert Thompson, Ronald van den Hoff, Rusi Popov, Ryan Merkley, S Searle, "
"Salomon Riedo, Samuel A. Rebelsky, Samuel Tait, Sarah McGovern, Scott "
"Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio, "
"Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun, "
"Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent, "
"Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue, "
"Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh, "
"William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque, "
"Yancey Strickler"
msgstr ""
"Medredaktør-støttespillere fra Kickstarter (alfabetisk på fornavn): Abraham "
"Taherivand, Alan Graham, Alfredo Louro, Anatoly Volynets, Aurora Thornton, "
"Austin Tolentino, Ben Sheridan, Benedikt Foit, Benjamin Costantini, Bernd "
"Nurnberger, Bernhard Seefeld, Bethanye Blount, Bradford Benn, Bryan Mock, "
"Carmen Garcia Wiedenhoeft, Carolyn Hinchliff, Casey Milford, Cat Cooper, "
"Chip McIntosh, Chris Thorne, Chris Weber, Chutika Udomsinn, Claire Wardle, "
"Claudia Cristiani, Cody Allard, Colleen Cressman, Craig Thomler, Creative "
"Commons Uruguay, Curt McNamara, Dan Parson, Daniel Dominguez, Daniel Morado, "
"Darius Irvin, Dave Taillefer, David Lewis, David Mikula, David Varnes, David "
"Wiley, Deborah Nas, Diderik van Wingerden, Dirk Kiefer, Dom Lane, Domi "
"Enders, Douglas Van Houweling, Dylan Field, Einar Joergensen, Elad Wieder, "
"Elie Calhoun, Erika Reid, Evtim Papushev, Fauxton Software, Felix "
"Maximiliano Obes, Ferdies Food Lab, Gatien de Broucker, Gaurav Kapil, Gavin "
"Romig-Koch, George Baier IV, George De Bruin, Gianpaolo Rando, Glenn Otis "
"Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan, "
"Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie "
"Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M "
"Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme "
"Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty, "
"Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John "
"Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos "
"Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie "
"Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen, "
"Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos "
"Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi "
"Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley, "
"MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black, "
"Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem "
"Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike "
"Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall "
"McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman, "
"Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter, "
"Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny "
"Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv "
"Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones, "
"Robert Thompson, Ronald van den Hoff, Rusi Popov, Ryan Merkley, S Searle, "
"Salomon Riedo, Samuel A. Rebelsky, Samuel Tait, Sarah McGovern, Scott "
"Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio, "
"Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun, "
"Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent, "
"Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue, "
"Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh, "
"William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque, "
"Yancey Strickler."

#. type: Plain text
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msgid ""
"All other Kickstarter backers (alphabetically by first name): A. Lee, Aaron "
"C. Rathbun, Aaron Stubbs, Aaron Suggs, Abdul Razak Manaf, Abraham "
"Taherivand, Adam Croom, Adam Finer, Adam Hansen, Adam Morris, Adam Procter, "
"Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam Zimmerman, "
"Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain "
"Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert "
"O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex "
"Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown, "
"Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar, "
"Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre "
"Rafalovitch, Alexey Volkow, Alexi Wheeler, Alexis Sevault, Alfredo Louro, "
"Ali Sternburg, Alicia Gibb & Lunchbox Electronics, Alison Link, Alison "
"Pentecost, Alistair Boettiger, Alistair Walder, Alix Bernier, Allan "
"Callaghan, Allen Riddell, Allison Breland Crotwell, Allison Jane Smith, "
"Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare, "
"Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André "
"Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen, "
"Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas "
"Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew "
"Hearse, Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew "
"Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve, Andy "
"Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan, Anne-Marie Scott, "
"Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton "
"Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21 "
"publishing, April Johnson, Aria F. Chernik, Ariane Allan, Ariel Katz, "
"Arithmomaniac, Arnaud Tessier, Arnim Sommer, Ashima Bawa, Ashley Elsdon, "
"Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin "
"Hartzheim, Austin Tolentino, Avner Shanan, Axel Pettersson, Axel "
"Stieglbauer, Ay Okpokam, Barb Bartkowiak, Barbara Lindsey, Barry Dayton, "
"Bastian Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben "
"Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini, "
"Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir, "
"Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth "
"Tillinghast, Bethanye Blount, Bill Bonwitt, Bill Browne, Bill Keaggy, Bill "
"Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker, "
"Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo "
"Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak, "
"Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden Hassett, Bradford "
"Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka "
"Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel, "
"Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian "
"S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke "
"Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin, Bryan "
"Mock, Bryant Durrell, Bryce Barbato, Buzz Technology Limited, Byung-Geun "
"Jeon, C. Glen Williams, C. L. Couch, Cable Green, Callum Gare, Cameron "
"Callahan, Cameron Colby Thomson, Cameron Mulder, Camille Bissuel / Nylnook, "
"Candace Robertson, Carl Morris, Carl Perry, Carl Rigney, Carles Mateu, "
"Carlos Correa Loyola, Carlos Solis, Carmen Garcia Wiedenhoeft, Carol Long, "
"Carol marquardsen, Caroline Calomme, Caroline Mailloux, Carolyn Hinchliff, "
"Carolyn Rude, Carrie Cousins, Carrie Watkins, Casey Hunt, Casey Milford, "
"Casey Powell Shorthouse, Cat Cooper, Cecilie Maria, Cedric Howe, Cefn Hoile, "
"@ShrimpingIt, Celia Muller, Ces Keller, Chad Anderson, Charles Butler, "
"Charles Carstensen, Charles Chi Thoi Le, Charles Kobbe, Charles S.  Tritt, "
"Charles Stanhope, Charlotte Ong-Wisener, Chealsye Bowley, Chelle Destefano, "
"Chenpang Chou, Cheryl Corte, Cheryl Todd, Chip Dickerson, Chip McIntosh, "
"Chris Bannister, Chris Betcher, Chris Coleman, Chris Conway, Chris Foote "
"(Spike), Chris Hurst, Chris Mitchell, Chris Muscat Azzopardi, Chris "
"Niewiarowski, Chris Opperwall, Chris Stieha, Chris Thorne, Chris Weber, "
"Chris Woolfrey, Chris Zabriskie, Christi Reid, Christian Holzberger, "
"Christian Schubert, Christian Sheehy, Christian Thibault, Christian Villum, "
"Christian Wachter, Christina Bennett, Christine Henry, Christine Rico, "
"Christopher Burrows, Christopher Chan, Christopher Clay, Christopher Harris, "
"Christopher Opiah, Christopher Swenson, Christos Keramitsis, Chuck Roslof, "
"Chutika Udomsinn, Claire Wardle, Clare Forrest, Claudia Cristiani, Claudio "
"Gallo, Claudio Ruiz, Clayton Dewey, Clement Delort, Cliff Church, Clint "
"Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin "
"Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie "
"Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory "
"Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney, "
"Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini, "
"Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei, "
"Dagmar M. Meyer, Dan Mcalister, Dan Mohr, Dan Parson, Dana Freeman, Dana "
"Ospina, Dani Leviss, Daniel Bustamante, Daniel Demmel, Daniel Dominguez, "
"Daniel Dultz, Daniel Gallant, Daniel Kossmann, Daniel Kruse, Daniel Morado, "
"Daniel Morgan, Daniel Pimley, Daniel Sabo, Daniel Sobey, Daniel Stein, "
"Daniel Wildt, Daniele Prati, Danielle Moss, Danny Mendoza, Dario "
"Taraborelli, Darius Irvin, Darius Whelan, Darla Anderson, Dasha Brezinova, "
"Dave Ainscough, Dave Bull, Dave Crosby, Dave Eagle, Dave Moskovitz, Dave "
"Neeteson, Dave Taillefer, Dave Witzel, David Bailey, David Cheung, David "
"Eriksson, David Gallagher, David H. Bronke, David Hartley, David Hellam, "
"David Hood, David Hunter, David jlaietta, David Lewis, David Mason, David "
"Mcconville, David Mikula, David Nelson, David Orban, David Parry, David "
"Spira, David T. Kindler, David Varnes, David Wiley, David Wormley, Deborah "
"Nas, Denis Jean, dennis straub, Dennis Whittle, Denver Gingerich, Derek "
"Slater, Devon Cooke, Diana Pasek-Atkinson, Diane Johnston Graves, Diane K. "
"Kovacs, Diane Trout, Diderik van Wingerden, Diego Cuevas, Diego De La Cruz, "
"Dimitrie Grigorescu, Dina Marie Rodriguez, Dinah Fabela, Dirk Haun, Dirk "
"Kiefer, Dirk Loop, DJ Fusion - FuseBox Radio Broadcast, Dom jurkewitz, Dom "
"Lane, Domi Enders, Domingo Gallardo, Dominic de Haas, Dominique Karadjian, "
"Dongpo Deng, Donnovan Knight, Door de Flines, Doug Fitzpatrick, Doug Hoover, "
"Douglas Craver, Douglas Van Camp, Douglas Van Houweling, Dr.  Braddlee, Drew "
"Spencer, Duncan Sample, Durand D’souza, Dylan Field, E C Humphries, Eamon "
"Caddigan, Earleen Smith, Eden Sarid, Eden Spodek, Eduardo Belinchon, Eduardo "
"Castro, Edwin Vandam, Einar Joergensen, Ejnar Brendsdal, Elad Wieder, Elar "
"Haljas, Elena Valhalla, Eli Doran, Elias Bouchi, Elie Calhoun, Elizabeth "
"Holloway, Ellen Buecher, Ellen Kaye- Cheveldayoff, Elli Verhulst, Elroy "
"Fernandes, Emery Hurst Mikel, Emily Catedral, Enrique Mandujano R., Eric "
"Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric Hellman, Eric "
"Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard, Erika Reid, "
"Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan Bousse, Erwin "
"Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan Tangman, Evonne "
"Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton Software, Felix "
"Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix Schmidt, Felix "
"Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe Rodrigues, "
"Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer, Florent "
"Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot Games, "
"Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois Grey, "
"François Gros, François Pelletier, Fred Benenson, Frédéric Abella, Frédéric "
"Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel Staples, "
"Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath, Gary "
"Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de "
"Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George "
"Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman, "
"Geronimo de la Lama, Gianpaolo Rando, Gil Stendig, Gino Cingolani Trucco, "
"Giovanna Sala, Glen Moffat, Glenn D.  Jones, Glenn Otis Brown, Global Lives "
"Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman, "
"Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg "
"Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn, "
"Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho "
"Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T "
"Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de "
"Raad, Hans Vd Horst, Harold van Ingen, Harold Watson, Harry Chapman, Harry "
"Kaczka, Harry Torque, Hayden Glass, Hayley Rosenblum, Heather Leson, Helen "
"Crisp, Helen Michaud, Helen Qubain, Helle Rekdal Schønemann, Henrique Flach "
"Latorre Moreno, Henry Finn, Henry Kaiser, Henry Lahore, Henry Steingieser, "
"Hermann Paar, Hillary Miller, Hironori Kuriaki, Holly Dykes, Holly Lyne, "
"Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian "
"Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider, "
"Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah "
"Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek "
"Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla, "
"Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach, "
"James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James "
"Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol, "
"Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park, "
"Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason E. "
"Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy Bear "
"Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne, Jean-Philippe "
"Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff De Cagna, Jeff "
"Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff Rasalla, Jeff Ski "
"Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen Garcia, Jens Erat, "
"Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell, Jeremy Sabo, Jeremy "
"Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret, Jessica Dickinson "
"Goodman, Jessica Litman, Jessica Mackay, Jessy Kate Schingler, Jesús Longás "
"Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim O’Flaherty, Jim Pellegrini, "
"Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo Allum, Joachim Brandon LeBlanc, "
"Joachim Pileborg, Joachim von Goetz, Joakim Bang Larsen, Joan Rieu, Joanna "
"Penn, João Almeida, Jochen Muetsch, Jodi Sandfort, Joe Cardillo, Joe "
"Carpita, Joe Moross, Joerg Fricke, Johan Adda, Johan Meeusen, Johannes "
"Förstner, Johannes Visintini, John Benfield, John Bevan, John C Patterson, "
"John Crumrine, John Dimatos, John Feyler, John Huntsman, John Manoogian III, "
"John Muller, John Ober, John Paul Blodgett, John Pearce, John Shale, John "
"Sharp, John Simpson, John Sumser, John Weeks, John Wilbanks, John Worland, "
"Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon Andersen, Jon Cohrs, Jon "
"Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith, Jonas Öberg, Jonas "
"Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan Holst, Jonathan Lin, "
"Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg Schwarz, Jose Antonio "
"Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph Sullivan, Joseph "
"Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP Rangaswami, Juan Carlos "
"Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo Marin Diaz, Judith "
"Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter, Julia Devonshire, "
"Julian Fietkau, Julie Harboe, Julien Brossoit, Julien Leroy, Juliet Chen, "
"Julio Terra, Julius Mikkelä, Justin Christian, Justin Grimes, Justin Jones, "
"Justin Szlasa, Justin Walsh, JustinChung.com, K. J. Przybylski, Kaloyan "
"Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant, Kara Monroe, Karen Pe, "
"Karl Jahn, Karl Jonsson, Karl Nelson, Kasia Zygmuntowicz, Kat Lim, Kate "
"Chapman, Kate Stewart, Kathleen Beck, Kathleen Hanrahan, Kathryn Abuzzahab, "
"Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie Lynn Daniels, Katie Meek, "
"Katie Teague, Katrina Hennessy, Katriona Main, Kavan Antani, Keith Adams, "
"Keith Berndtson, MD, Keith Luebke, Kellie Higginbottom, Ken Friis Larsen, "
"Ken Haase, Ken Torbeck, Kendel Ratley, Kendra Byrne, Kerry Hicks, Kevin "
"Brown, Kevin Coates, Kevin Flynn, Kevin Rumon, Kevin Shannon, Kevin Taylor, "
"Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane l’Azin, Kianosh Pourian, Kiran "
"Kadekoppa, Kit Walsh, Klaus Mickus, Konrad Rennert, Kris Kasianovitz, "
"Kristian Lundquist, Kristin Buxton, Kristina Popova, Kristofer Bratt, "
"Kristoffer Steen, Kumar McMillan, Kurt Whittemore, Kyle Pinches, Kyle "
"Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry Garfield, Larry Singer, "
"Lars Josephsen, Lars Klaeboe, Laura Anne Brown, Laura Billings, Laura "
"Ferejohn, Lauren Pedersen, Laurence Gonsalves, Laurent Muchacho, Laurie "
"Racine, Laurie Reynolds, Lawrence M. Schoen, Leandro Pangilinan, Leigh "
"Verlandson, Lenka Gondolova, Leonardo Bueno Postacchini, leonardo menegola, "
"Lesley Mitchell, Leslie Krumholz, Leticia Britos Cavagnaro, Levi Bostian, "
"Leyla Acaroglu, Liisa Ummelas, Lilly Kashmir Marques, Lior Mazliah, Lisa "
"Bjerke, Lisa Brewster, Lisa Canning, Lisa Cronin, Lisa Di Valentino, "
"Lisandro Gaertner, Livia Leskovec, Liynn Worldlaw, Liz Berg, Liz White, "
"Logan Cox, Loki Carbis, Lora Lynn, Lorna Prescott, Lou Yufan, Louie "
"Amphlett, Louis-David Benyayer, Louise Denman, Luca Corsato, Luca Lesinigo, "
"Luca Palli, Luca Pianigiani, Luca S.G. de Marinis, Lucas Lopez, Lukas "
"Mathis, Luke Chamberlin, Luke Chesser, Luke Woodbury, Lulu Tang, Lydia "
"Pintscher, M Alexander Jurkat, Maarten Sander, Macie J Klosowski, Magnus "
"Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh, Maik Schmalstich, Maiken "
"Håvarstein, Maira Sutton, Mairi Thomson, Mandy Wultsch, Manickkavasakam "
"Rajasekar, Marc Bogonovich, Marc Harpster, Marc Martí, Marc Olivier Bastien, "
"Marc Stober, Marc-André Martin, Marcel de Leeuwe, Marcel Hill, Marcia "
"Hofmann, Marcin Olender, Marco Massarotto, Marco Montanari, Marco Morales, "
"Marcos Medionegro, Marcus Bitzl, Marcus Norrgren, Margaret Gary, Mari "
"Moreshead, Maria Liberman, Marielle Hsu, Marino Hernandez, Mario Lurig, "
"Mario R. Hemsley, MD, Marissa Demers, Mark Chandler, Mark Cohen, Mark De "
"Solla Price, Mark Gabby, Mark Gray, Mark Koudritsky, Mark Kupfer, Mark "
"Lednor, Mark McGuire, Mark Moleda, Mark Mullen, Mark Murphy, Mark Perot, "
"Mark Reeder, Mark Spickett, Mark Vincent Adams, Mark Waks, Mark Zuccarell "
"II, Markus Deimann, Markus Jaritz, Markus Luethi, Marshal Miller, Marshall "
"Warner, Martijn Arets, Martin Beaudoin, Martin Decky, Martin DeMello, Martin "
"Humpolec, Martin Mayr, Martin Peck, Martin Sanchez, Martino Loco, Martti "
"Remmelgas, Martyn Eggleton, Martyn Lewis, Mary Ellen Davis, Mary Heacock, "
"Mary Hess, Mary Mi, Masahiro Takagi, Mason Du, Massimo V.A. Manzari, Mathias "
"Bavay, Mathias Nicolajsen Kjærgaard, Matias Kruk, Matija Nalis, Matt Alcock, "
"Matt Black, Matt Broach, Matt Hall, Matt Haughey, Matt Lee, Matt Plec, Matt "
"Skoss, Matt Thompson, Matt Vance, Matt Wagstaff, Matteo Cocco, Matthew "
"Bendert, Matthew Bergholt, Matthew Darlison, Matthew Epler, Matthew Hawken, "
"Matthew Heimbecker, Matthew Orstad, Matthew Peterworth, Matthew Sheehy, "
"Matthew Tucker, Adaptive Handy Apps, LLC, Mattias Axell, Max Green, Max "
"Kossatz, Max lupo, Max Temkin, Max van Balgooy, Médéric Droz-dit-Busset, "
"Megan Ingle, Megan Wacha, Meghan Finlayson, Melissa Aho, Melissa Sterry, "
"Melle Funambuline, Menachem Goldstein, Micah Bridges, Michael Ailberto, "
"Michael Anderson, Michael Andersson Skane, Michael C. Stewart, Michael "
"Carroll, Michael Cavette, Michael Crees, Michael David Johas Teener, Michael "
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"Michael Lewis, Michael May, Michael Murphy, Michael Murvine, Michael "
"Perkins, Michael Sauers, Michael St.Onge, Michael Stanford, Michael Stanley, "
"Michael Underwood, Michael Weiss, Michael Wright, Michael-Andreas Kuttner, "
"Michaela Voigt, Michal Rosenn, Michał Szymański, Michel Gallez, Michell "
"Zappa, Michelle Heeyeon You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike "
"Chelen, Mike Habicher, Mike Maloney, Mike Masnick, Mike McDaniel, Mike "
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"Lovell, Mindy Lin, Mirko “Macro” Fichtner, Mitch Featherston, Mitchell "
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"Miller, Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele "
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"Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola Chernev, "
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"Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum, "
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"Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López "
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"Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat "
"Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf, "
"Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M.  Lozeau, Patrick "
"McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik "
"Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey, "
"Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul "
"Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström "
"Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry "
"Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins, "
"Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter "
"O’Brien, Peter Pinch, Peter S.  Crosby, Peter Wells, Petr Fristedt, Petr "
"Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip "
"Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer, "
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"McCue, Richard “TalkToMeGuy” Olson, Richard Best, Richard Blumberg, Richard "
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"Richard Sobey, Richard White, Richard Winchell, Rik ToeWater, Rita Lewis, "
"Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley, Rob Bertholf, Rob "
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"Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson, Steve Battle, "
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"Deruisseau, Zach Chandler, Zak Zebrowski, Zane Amiralis and Joshua de Haan, "
"ZeMarmot Open Movie"
msgstr ""
"Alle de som støttet via Kickstarter (alfabetisk etter fornavn): A. Lee, "
"Aaron C. Rathbun, Aaron Stubbs, Aaron Suggs, Abdul Razak Manaf, Abraham "
"Taherivand, Adam Croom, Adam Finer, Adam Hansen, Adam Morris, Adam Procter, "
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"Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert "
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"(Spike), Chris Hurst, Chris Mitchell, Chris Muscat Azzopardi, Chris "
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"Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan Tangman, Evonne "
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"François Gros, François Pelletier, Fred Benenson, Frédéric Abella, Frédéric "
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"Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George "
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"Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy Bear "
"Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne, Jean-Philippe "
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"Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant, Kara Monroe, Karen Pe, "
"Karl Jahn, Karl Jonsson, Karl Nelson, Kasia Zygmuntowicz, Kat Lim, Kate "
"Chapman, Kate Stewart, Kathleen Beck, Kathleen Hanrahan, Kathryn Abuzzahab, "
"Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie Lynn Daniels, Katie Meek, "
"Katie Teague, Katrina Hennessy, Katriona Main, Kavan Antani, Keith Adams, "
"Keith Berndtson, MD, Keith Luebke, Kellie Higginbottom, Ken Friis Larsen, "
"Ken Haase, Ken Torbeck, Kendel Ratley, Kendra Byrne, Kerry Hicks, Kevin "
"Brown, Kevin Coates, Kevin Flynn, Kevin Rumon, Kevin Shannon, Kevin Taylor, "
"Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane l’Azin, Kianosh Pourian, Kiran "
"Kadekoppa, Kit Walsh, Klaus Mickus, Konrad Rennert, Kris Kasianovitz, "
"Kristian Lundquist, Kristin Buxton, Kristina Popova, Kristofer Bratt, "
"Kristoffer Steen, Kumar McMillan, Kurt Whittemore, Kyle Pinches, Kyle "
"Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry Garfield, Larry Singer, "
"Lars Josephsen, Lars Klaeboe, Laura Anne Brown, Laura Billings, Laura "
"Ferejohn, Lauren Pedersen, Laurence Gonsalves, Laurent Muchacho, Laurie "
"Racine, Laurie Reynolds, Lawrence M. Schoen, Leandro Pangilinan, Leigh "
"Verlandson, Lenka Gondolova, Leonardo Bueno Postacchini, leonardo menegola, "
"Lesley Mitchell, Leslie Krumholz, Leticia Britos Cavagnaro, Levi Bostian, "
"Leyla Acaroglu, Liisa Ummelas, Lilly Kashmir Marques, Lior Mazliah, Lisa "
"Bjerke, Lisa Brewster, Lisa Canning, Lisa Cronin, Lisa Di Valentino, "
"Lisandro Gaertner, Livia Leskovec, Liynn Worldlaw, Liz Berg, Liz White, "
"Logan Cox, Loki Carbis, Lora Lynn, Lorna Prescott, Lou Yufan, Louie "
"Amphlett, Louis-David Benyayer, Louise Denman, Luca Corsato, Luca Lesinigo, "
"Luca Palli, Luca Pianigiani, Luca S.G. de Marinis, Lucas Lopez, Lukas "
"Mathis, Luke Chamberlin, Luke Chesser, Luke Woodbury, Lulu Tang, Lydia "
"Pintscher, M Alexander Jurkat, Maarten Sander, Macie J Klosowski, Magnus "
"Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh, Maik Schmalstich, Maiken "
"Håvarstein, Maira Sutton, Mairi Thomson, Mandy Wultsch, Manickkavasakam "
"Rajasekar, Marc Bogonovich, Marc Harpster, Marc Martí, Marc Olivier Bastien, "
"Marc Stober, Marc-André Martin, Marcel de Leeuwe, Marcel Hill, Marcia "
"Hofmann, Marcin Olender, Marco Massarotto, Marco Montanari, Marco Morales, "
"Marcos Medionegro, Marcus Bitzl, Marcus Norrgren, Margaret Gary, Mari "
"Moreshead, Maria Liberman, Marielle Hsu, Marino Hernandez, Mario Lurig, "
"Mario R. Hemsley, MD, Marissa Demers, Mark Chandler, Mark Cohen, Mark De "
"Solla Price, Mark Gabby, Mark Gray, Mark Koudritsky, Mark Kupfer, Mark "
"Lednor, Mark McGuire, Mark Moleda, Mark Mullen, Mark Murphy, Mark Perot, "
"Mark Reeder, Mark Spickett, Mark Vincent Adams, Mark Waks, Mark Zuccarell "
"II, Markus Deimann, Markus Jaritz, Markus Luethi, Marshal Miller, Marshall "
"Warner, Martijn Arets, Martin Beaudoin, Martin Decky, Martin DeMello, Martin "
"Humpolec, Martin Mayr, Martin Peck, Martin Sanchez, Martino Loco, Martti "
"Remmelgas, Martyn Eggleton, Martyn Lewis, Mary Ellen Davis, Mary Heacock, "
"Mary Hess, Mary Mi, Masahiro Takagi, Mason Du, Massimo V.A. Manzari, Mathias "
"Bavay, Mathias Nicolajsen Kjærgaard, Matias Kruk, Matija Nalis, Matt Alcock, "
"Matt Black, Matt Broach, Matt Hall, Matt Haughey, Matt Lee, Matt Plec, Matt "
"Skoss, Matt Thompson, Matt Vance, Matt Wagstaff, Matteo Cocco, Matthew "
"Bendert, Matthew Bergholt, Matthew Darlison, Matthew Epler, Matthew Hawken, "
"Matthew Heimbecker, Matthew Orstad, Matthew Peterworth, Matthew Sheehy, "
"Matthew Tucker, Adaptive Handy Apps, LLC, Mattias Axell, Max Green, Max "
"Kossatz, Max lupo, Max Temkin, Max van Balgooy, Médéric Droz-dit-Busset, "
"Megan Ingle, Megan Wacha, Meghan Finlayson, Melissa Aho, Melissa Sterry, "
"Melle Funambuline, Menachem Goldstein, Micah Bridges, Michael Ailberto, "
"Michael Anderson, Michael Andersson Skane, Michael C. Stewart, Michael "
"Carroll, Michael Cavette, Michael Crees, Michael David Johas Teener, Michael "
"Dennis Moore, Michael Freundt Karlsen, Michael Harries, Michael Hawel, "
"Michael Lewis, Michael May, Michael Murphy, Michael Murvine, Michael "
"Perkins, Michael Sauers, Michael St.Onge, Michael Stanford, Michael Stanley, "
"Michael Underwood, Michael Weiss, Michael Wright, Michael-Andreas Kuttner, "
"Michaela Voigt, Michal Rosenn, Michał Szymański, Michel Gallez, Michell "
"Zappa, Michelle Heeyeon You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike "
"Chelen, Mike Habicher, Mike Maloney, Mike Masnick, Mike McDaniel, Mike "
"Pouraryan, Mike Sheldon, Mike Stop Continues, Mike Stringer, Mike "
"Wittenstein, Mikkel Ovesen, Mikołaj Podlaszewski, Millie Gonzalez, Mindi "
"Lovell, Mindy Lin, Mirko “Macro” Fichtner, Mitch Featherston, Mitchell "
"Adams, Molika Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, "
"Moritz Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk "
"Pilgrim, Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, Nah Wee "
"Yang, Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey, Nathan "
"Miller, Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele "
"Wollert, Neuchee Chang, Niall McDonagh, Niall Twohig, Nic McPhee, Nicholas "
"Bentley, Nicholas Koran, Nicholas Norfolk, Nicholas Potter, Nick Bell, Nick "
"Coghlan, Nick Isaacs, Nick M.  Daly, Nick Vance, Nickolay Vedernikov, Nicky "
"Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole Hickman, Niek "
"Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola Chernev, "
"Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-Fein, Noah "
"Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum, "
"Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle Ahnve, Omar "
"Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López "
"Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter, "
"Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat "
"Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf, "
"Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M.  Lozeau, Patrick "
"McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik "
"Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey, "
"Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul "
"Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström "
"Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry "
"Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins, "
"Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter "
"O’Brien, Peter Pinch, Peter S.  Crosby, Peter Wells, Petr Fristedt, Petr "
"Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip "
"Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer, "
"Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels, "
"Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill, "
"Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer, "
"Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani, "
"Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël "
"Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar, "
"Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich "
"McCue, Richard “TalkToMeGuy” Olson, Richard Best, Richard Blumberg, Richard "
"Fannon, Richard Heying, Richard Karnesky, Richard Kelly, Richard Littauer, "
"Richard Sobey, Richard White, Richard Winchell, Rik ToeWater, Rita Lewis, "
"Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley, Rob Bertholf, Rob "
"Emanuele, Rob McAuliffe, Rob McKaughan, Rob Tillie, Rob Utter, Rob Vincent, "
"Robert Gaffney, Robert Jones, Robert Kelly, Robert Lawlis, Robert McDonald, "
"Robert Orzanna, Robert Paterson Hunter, Robert R. Daniel Jr., Robert Ryan-"
"Silva, Robert Thompson, Robert Wagoner, Roberto Selvaggio, Robin DeRosa, "
"Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon, Roger Saner, Roger So, "
"Roger Solé, Roger Tregear, Roland Tanglao, Rolf and Mari von Walthausen, "
"Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald Bissell, Ronald van den "
"Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay, Ross Pruden, Ross "
"Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert Hitzenberger, Rusi "
"Popov, Russ Antonucci, Russ Spollin, Russell Brand, Rute Correia, Ruth Ann "
"Carpenter, Ruth White, Ryan Mentock, Ryan Merkley, Ryan Price, Ryan Sasaki, "
"Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin Kenaid, Salomon "
"Riedo, Sam Hokin, Sam Twidale, Samantha Levin, Samantha-Jayne Chapman, "
"Samarth Agarwal, Sami Al-AbdRabbuh, Samuel A. Rebelsky, Samuel Goëta, Samuel "
"Hauser, Samuel Landete, Samuel Oliveira Cersosimo, Samuel Tait, Sandra "
"Fauconnier, Sandra Markus, Sandy Bjar, Sandy ONeil, Sang-Phil Ju, Sanjay "
"Basu, Santiago Garcia, Sara Armstrong, Sara Lucca, Sara Rodriguez Marin, "
"Sarah Brand, Sarah Cove, Sarah Curran, Sarah Gold, Sarah McGovern, Sarah "
"Smith, Sarinee Achavanuntakul, Sasha Moss, Sasha VanHoven, Saul Gasca, Scott "
"Abbott, Scott Akerman, Scott Beattie, Scott Bruinooge, Scott Conroy, Scott "
"Gillespie, Scott Williams, Sean Anderson, Sean Johnson, Sean Lim, Sean "
"Wickett, Seb Schmoller, Sebastiaan Bekker, Sebastiaan ter Burg, Sebastian "
"Makowiecki, Sebastian Meyer, Sebastian Schweizer, Sebastian Sigloch, "
"Sebastien Huchet, Seokwon Yang, Sergey Chernyshev, Sergey Storchay, Sergio "
"Cardoso, Seth Drebitko, Seth Gover, Seth Lepore, Shannon Turner, Sharon "
"Clapp, Shauna Redmond, Shawn Gaston, Shawn Martin, Shay Knohl, Shelby "
"Hatfield, Sheldon (Vila) Widuch, Sheona Thomson, Si Jie, Sicco van Sas, "
"Siena Oristaglio, Simon Glover, Simon John King, Simon Klose, Simon Law, "
"Simon Linder, Simon Moffitt, Solomon Kahn, Solomon Simon, Soujanna Sarkar, "
"Stanislav Trifonov, Stefan Dumont, Stefan Jansson, Stefan Langer, Stefan "
"Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan Meißl, Stéphane "
"Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey, Stephen Pearce, "
"Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson, Steve Battle, "
"Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve Ingram, Steve Kroy, "
"Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven Knudsen, Steven Melvin, "
"Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart Maxwell, Stuart Reich, "
"Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun, Susan R Grossman, Suzie "
"Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle, Sylvain Chery, Sylvia "
"Green, Sylvia van Bruggen, Szabolcs Berecz, T. L. Mason, Tanbir Baeg, Tanya "
"Hart, Tara Tiger Brown, Tara Westover, Tarmo Toikkanen, Tasha Turner "
"Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan, Teresa Gonczy, Terry "
"Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo, Thibault Badenas, "
"Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas Chang, Thomas Hartman, "
"Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds, Thomas Thrush, Thomas "
"Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim Chambers, Tim Cook, Tim "
"Evers, Tim Nichols, Tim Stahmer, Timothée Planté, Timothy Arfsten, Timothy "
"Hinchliff, Timothy Vollmer, Tina Coffman, Tisza Gergő, Tobias Schonwetter, "
"Todd Brown, Todd Pousley, Todd Sattersten, Tom Bamford, Tom Caswell, Tom "
"Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom Merkli, Tom Merritt, Tom "
"Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti, Tommy Dahlen, Tony Ciak, "
"Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin, Tracey Henton, Tracey "
"James, Traci Long DeForge, Trent Yarwood, Trevor Hogue, Trey Blalock, Trey "
"Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy, Tyler Occhiogrosso, Udo "
"Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum, Vaughan jenkins, Veethika "
"Mishra, Vic King, Vickie Goode, Victor DePina, Victor Grigas, Victoria "
"Klassen, Victorien Elvinger, VIGA Manufacture, Vikas Shah, Vinayak S."
"Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia Gentilini, Virginia "
"Kopelman, Vitor Menezes, Vivian Marthell, Wayne Mackintosh, Wendy Keenan, "
"Werner Wiethege, Wesley Derbyshire, Widar Hellwig, Willa Köerner, William "
"Bettridge-Radford, William Jefferson, William Marshall, William Peter Nash, "
"William Ray, William Robins, Willow Rosenberg, Winie Evers, Wolfgang "
"Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier Moisant, Xueqi Li, "
"Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian Sun, Yves "
"Deruisseau, Zach Chandler, Zak Zebrowski, Zane Amiralis og Joshua de Haan, "
"ZeMarmot Open Movie"

#~ msgid "Made with Creative Commons"
#~ msgstr "Laget med Creative Commons"

#~ msgid "Paul Stacey and Sarah Hinchliff Pearson"
#~ msgstr "Paul Stacey og Sarah Hinchliff Pearson"

#~ msgid "- David Foster Wallace"
#~ msgstr "- David Foster Wallace"