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   1 <html><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8"><title>Créé avec Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets V1.79.1"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="fr" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Créé avec Creative Commons</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Paul</span> <span class="surname">Stacey</span></h3></div><div class="author"><h3 class="author"><span class="firstname">Sarah Hinchliff</span> <span class="surname">Pearson</span></h3></div></div></div><div><p class="copyright">Copyright © 2017 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
   2     Ce livre est édité avec une licence CC BY-SA, ce qui signifie que vous
   3 pouvez copier, transformer, redistribuer, réécrire, transformer, vous
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   8 même licence que l'original. Détails de la licence :<a class="ulink" href="http://creativecommons.org/licenses/by-sa/4.0/" target="_top">http://creativecommons.org/licenses/by-sa/4.0/</a>
   9   </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>I don’t know a whole lot about nonfiction journalism. . . The way that I
  10 think about these things, and in terms of what I can do is. . . essays like
  11 this are occasions to watch somebody reasonably bright but also reasonably
  12 average pay far closer attention and think at far more length about all
  13 sorts of different stuff than most of us have a chance to in our daily
  14 lives.</p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
  15     \textit{  David Foster Wallace }
  16     \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Table des matières</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Avant-propos</a></span></dt><dt><span class="preface"><a href="#introduction">Introduction</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. The Big Picture</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Remerciements</a></span></dt></dl></div><div class="list-of-figures"><p><b>Liste des illustrations</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and market.</a></dt><dt>1.2. <a href="#fig-2">Four aspects of resource management</a></dt><dt>1.3. <a href="#fig-3">How the market, commons and state concieve of resources.</a></dt><dt>1.4. <a href="#fig-4">In preindustrialized society.</a></dt><dt>1.5. <a href="#fig-5">The commons is gradually superseded by the state.</a></dt><dt>1.6. <a href="#fig-6">How the market, the state and the commons look today.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Avant-propos</h1></div></div></div><p>
  17     Il y a trois ans, juste après avoir été employé en tant que PDG de Creative
  18 Commons, j'ai rencontré Cory Doctorow dans le bar de l'hôtel Gladstone, à
  19 Toronto. En tant qu'un des promoteurs de CC les plus connus – qui a réussi
  20 une carrière d'écrivain partageant sont travail en utilisant CC – je lui ai
  21 dit que je pensais que CC avait un rôle dans la définition et dans la
  22 progression des modèles commerciaux ouverts. Il a gentiment dit son
  23 désaccord et a appelé la poursuite des modèles d'affaires viables via
  24 CC<span class="quote">« <span class="quote">un leurre</span> »</span>.
  25   </p><p>
  26     Il avait, dans un sens, complètement raison-ceux qui font des choses avec
  27 Creative Commons ont d'autres motivations, comme Paul Stacey l'explique dans
  28 son livre : <span class="quote">« <span class="quote">En dehors du statut légal, il ont tous une mission
  29 sociale. Leur première raison d'être est de rendre le monde un meilleur
  30 endroit, pas de s'enrichir. L'argent est un moyen d'atteindre un
  31 aboutissement social, mais pas l'aboutissement lui-même.</span> »</span>
  32   </p><p>
  33     Dans l'étude de cas sur Cory Doctorow, Sarah Hinchliff Pearson cite les mots
  34 de Cory provenant de son livre Information doesn't want to be free
  35 (« L'information ne veut pas être libre ») : <span class="quote">« <span class="quote">Entrer dans les arts
  36 parce qu’on veut s'enrichir est comme acheter des tickets de loterie pour
  37 s’enrichir. Ça peut marcher, mais c’est presque certain que ça ne marchera
  38 pas. Même si, évidemment, il y a toujours quelq’uun qui remporte le gros
  39 lot.</span> »</span>
  40   </p><p>
  41     Aujourd'hui, le copyright c'est comme un ticket de loterie : tout le monde
  42 en a un, mais presque personne ne gagne. Ce qu'on ne vous dit pas, c'est que
  43 si vous choisissez de partager votre travail, les retours peuvent être
  44 significatifs et durer dans le temps. Ce livre est rempli d'histoires de
  45 ceux qui ont pris de bien plus grands risques que les deux dollars que l'on
  46 paye pour un ticket de loterie, et qui ont récoltés les fruits de la
  47 poursuite de leurs passions et du fait de vivre avec leurs valeurs.
  48   </p><p>
  49     Donc ce n’est pas une question d’argent. Mais ça l’est aussi. Trouver les
  50 moyens de continuer à créer et à partager demande souvent un certain niveau
  51 de revenus.  Max Temkin de Cards Against Humanity le dit le mieux dans leur
  52 étude de cas : <span class="quote">« <span class="quote">Nous ne faisons pas de blagues et de jeux pour gagner
  53 de l’argent – nous gagnons de l’argent pour pouvoir faire des blagues et des
  54 jeux.</span> »</span>
  55   </p><p>
  56     Creative Commons’ focus is on building a vibrant, usable commons, powered by
  57 collaboration and gratitude. Enabling communities of collaboration is at the
  58 heart of our strategy. With that in mind, Creative Commons began this book
  59 project. Led by Paul and Sarah, the project set out to define and advance
  60 the best open business models.  Paul and Sarah were the ideal authors to
  61 write Made with Creative Commons.
  62   </p><p>
  63     Paul dreams of a future where new models of creativity and innovation
  64 overpower the inequality and scarcity that today define the worst parts of
  65 capitalism. He is driven by the power of human connections between
  66 communities of creators. He takes a longer view than most, and it’s made him
  67 a better educator, an insightful researcher, and also a skilled gardener. He
  68 has a calm, cool voice that conveys a passion that inspires his colleagues
  69 and community.
  70   </p><p>
  71     Sarah is the best kind of lawyer—a true advocate who believes in the good of
  72 people, and the power of collective acts to change the world. Over the past
  73 year I’ve seen Sarah struggle with the heartbreak that comes from investing
  74 so much into a political campaign that didn’t end as she’d hoped. Today,
  75 she’s more determined than ever to live with her values right out on her
  76 sleeve. I can always count on Sarah to push Creative Commons to focus on our
  77 impact—to make the main thing the main thing. She’s practical,
  78 detail-oriented, and clever. There’s no one on my team that I enjoy debating
  79 more.
  80   </p><p>
  81     As coauthors, Paul and Sarah complement each other perfectly. They
  82 researched, analyzed, argued, and worked as a team, sometimes together and
  83 sometimes independently. They dove into the research and writing with
  84 passion and curiosity, and a deep respect for what goes into building the
  85 commons and sharing with the world. They remained open to new ideas,
  86 including the possibility that their initial theories would need refinement
  87 or might be completely wrong.  That’s courageous, and it has made for a
  88 better book that is insightful, honest, and useful.
  89   </p><p>
  90     From the beginning, CC wanted to develop this project with the principles
  91 and values of open collaboration. The book was funded, developed,
  92 researched, and written in the open. It is being shared openly under a CC
  93 BY-SA license for anyone to use, remix, or adapt with attribution. It is, in
  94 itself, an example of an open business model.
  95   </p><p>
  96     For 31 days in August of 2015, Sarah took point to organize and execute a
  97 Kickstarter campaign to generate the core funding for the book. The
  98 remainder was provided by CC’s generous donors and supporters. In the end,
  99 it became one of the most successful book projects on Kickstarter, smashing
 100 through two stretch goals and engaging over 1,600 donors—the majority of
 101 them new supporters of Creative Commons.
 102   </p><p>
 103     Paul and Sarah worked openly throughout the project, publishing the plans,
 104 drafts, case studies, and analysis, early and often, and they engaged
 105 communities all over the world to help write this book. As their opinions
 106 diverged and their interests came into focus, they divided their voices and
 107 decided to keep them separate in the final product. Working in this way
 108 requires both humility and self-confidence, and without question it has made
 109 Made with Creative Commons a better project.
 110   </p><p>
 111     Those who work and share in the commons are not typical creators.  They are
 112 part of something greater than themselves, and what they offer us all is a
 113 profound gift. What they receive in return is gratitude and a community.
 114   </p><p>
 115     Jonathan Mann, who is profiled in this book, writes a song a day.  When I
 116 reached out to ask him to write a song for our Kickstarter (and to offer
 117 himself up as a Kickstarter benefit), he agreed immediately. Why would he
 118 agree to do that? Because the commons has collaboration at its core, and
 119 community as a key value, and because the CC licenses have helped so many to
 120 share in the ways that they choose with a global audience.
 121   </p><p>
 122     Sarah writes, <span class="quote">« <span class="quote">Endeavors that are Made with Creative Commons thrive
 123 when community is built around what they do. This may mean a community
 124 collaborating together to create something new, or it may simply be a
 125 collection of like-minded people who get to know each other and rally around
 126 common interests or beliefs. To a certain extent, simply being Made with
 127 Creative Commons automatically brings with it some element of community, by
 128 helping connect you to like-minded others who recognize and are drawn to the
 129 values symbolized by using CC.</span> »</span> Amanda Palmer, the other musician
 130 profiled in the book, would surely add this from her case study:
 131 <span class="quote">« <span class="quote">There is no more satisfying end goal than having someone tell you
 132 that what you do is genuinely of value to them.</span> »</span>
 133   </p><p>
 134     This is not a typical business book. For those looking for a recipe or a
 135 roadmap, you might be disappointed. But for those looking to pursue a social
 136 end, to build something great through collaboration, or to join a powerful
 137 and growing global community, they’re sure to be satisfied. Made with
 138 Creative Commons offers a world-changing set of clearly articulated values
 139 and principles, some essential tools for exploring your own business
 140 opportunities, and two dozen doses of pure inspiration.
 141   </p><p>
 142     In a 1996 Stanford Law Review article <span class="quote">« <span class="quote">The Zones of
 143 Cyberspace</span> »</span>, CC founder Lawrence Lessig wrote, <span class="quote">« <span class="quote">Cyberspace is a
 144 place. People live there. They experience all the sorts of things that they
 145 experience in real space, there. For some, they experience more. They
 146 experience this not as isolated individuals, playing some high tech computer
 147 game; they experience it in groups, in communities, among strangers, among
 148 people they come to know, and sometimes like.</span> »</span>
 149   </p><p>
 150     I’m incredibly proud that Creative Commons is able to publish this book for
 151 the many communities that we have come to know and like.  I’m grateful to
 152 Paul and Sarah for their creativity and insights, and to the global
 153 communities that have helped us bring it to you.  As CC board member
 154 Johnathan Nightingale often says, <span class="quote">« <span class="quote">It’s all made of people.</span> »</span>
 155   </p><p>
 156     That’s the true value of things that are Made with Creative Commons.
 157   </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
 158     \textit{ Ryan Merkley, DG, Creative Commons}
 159     \end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="introduction"></a>Introduction</h1></div></div></div><p>
 160     Ce livre montre au monde comment le partage peut être bon pour les
 161 affaires – mais avec un détour.
 162   </p><p>
 163     We began the project intending to explore how creators, organizations, and
 164 businesses make money to sustain what they do when they share their work
 165 using Creative Commons licenses. Our goal was not to identify a formula for
 166 business models that use Creative Commons but instead gather fresh ideas and
 167 dynamic examples that spark new, innovative models and help others follow
 168 suit by building on what already works. At the onset, we framed our
 169 investigation in familiar business terms. We created a blank <span class="quote">« <span class="quote">open
 170 business model canvas,</span> »</span> an interactive online tool that would help
 171 people design and analyze their business model.
 172   </p><p>
 173     Through the generous funding of Kickstarter backers, we set about this
 174 project first by identifying and selecting a diverse group of creators,
 175 organizations, and businesses who use Creative Commons in an integral
 176 way—what we call being Made with Creative Commons. We interviewed them and
 177 wrote up their stories. We analyzed what we heard and dug deep into the
 178 literature.
 179   </p><p>
 180     But as we did our research, something interesting happened. Our initial way
 181 of framing the work did not match the stories we were hearing.
 182   </p><p>
 183     Those we interviewed were not typical businesses selling to consumers and
 184 seeking to maximize profits and the bottom line.  Instead, they were sharing
 185 to make the world a better place, creating relationships and community
 186 around the works being shared, and generating revenue not for unlimited
 187 growth but to sustain the operation.
 188   </p><p>
 189     They often didn’t like hearing what they do described as an open business
 190 model. Their endeavor was something more than that.  Something
 191 different. Something that generates not just economic value but social and
 192 cultural value. Something that involves human connection. Being Made with
 193 Creative Commons is not <span class="quote">« <span class="quote">business as usual.</span> »</span>
 194   </p><p>
 195     We had to rethink the way we conceived of this project. And it didn’t happen
 196 overnight. From the fall of 2015 through 2016, we documented our thoughts in
 197 blog posts on Medium and with regular updates to our Kickstarter backers. We
 198 shared drafts of case studies and analysis with our Kickstarter cocreators,
 199 who provided invaluable edits, feedback, and advice. Our thinking changed
 200 dramatically over the course of a year and a half.
 201   </p><p>
 202     Throughout the process, the two of us have often had very different ways of
 203 understanding and describing what we were learning. Learning from each other
 204 has been one of the great joys of this work, and, we hope, something that
 205 has made the final product much richer than it ever could have been if
 206 either of us undertook this project alone.  We have preserved our voices
 207 throughout, and you’ll be able to sense our different but complementary
 208 approaches as you read through our different sections.
 209   </p><p>
 210     While we recommend that you read the book from start to finish, each section
 211 reads more or less independently. The book is structured into two main
 212 parts.
 213   </p><p>
 214     Part one, the overview, begins with a big-picture framework written by
 215 Paul. He provides some historical context for the digital commons,
 216 describing the three ways society has managed resources and shared
 217 wealth—the commons, the market, and the state. He advocates for thinking
 218 beyond business and market terms and eloquently makes the case for sharing
 219 and enlarging the digital commons.
 220   </p><p>
 221     The overview continues with Sarah’s chapter, as she considers what it means
 222 to be successfully Made with Creative Commons. While making money is one
 223 piece of the pie, there is also a set of public-minded values and the kind
 224 of human connections that make sharing truly meaningful. This section
 225 outlines the ways the creators, organizations, and businesses we interviewed
 226 bring in revenue, how they further the public interest and live out their
 227 values, and how they foster connections with the people with whom they
 228 share.
 229   </p><p>
 230     And to end part one, we have a short section that explains the different
 231 Creative Commons licenses. We talk about the misconception that the more
 232 restrictive licenses—the ones that are closest to the all-rights-reserved
 233 model of traditional copyright—are the only ways to make money.
 234   </p><p>
 235     Part two of the book is made up of the twenty-four stories of the creators,
 236 businesses, and organizations we interviewed. While both of us participated
 237 in the interviews, we divided up the writing of these profiles.
 238   </p><p>
 239     Of course, we are pleased to make the book available using a Creative
 240 Commons Attribution-ShareAlike license. Please copy, distribute, translate,
 241 localize, and build upon this work.
 242   </p><p>
 243     Writing this book has transformed and inspired us. The way we now look at
 244 and think about what it means to be Made with Creative Commons has
 245 irrevocably changed. We hope this book inspires you and your enterprise to
 246 use Creative Commons and in so doing contribute to the transformation of our
 247 economy and world for the better.
 248   </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
 249     \textit{ Paul and Sarah }
 250     \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Partie I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Table des matières</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>Chapitre 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Table des matières</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">The Commons, the Market, and the State</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">The Four Aspects of a Resource</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">A Short History of the Commons</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">The Digital Revolution</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">The Birth of Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">The Changing Market</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefits of the Digital Commons</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
 251     \textit{ Paul Stacey}
 252     \end{flushright}</td></tr></table></div><p>
 253       Jonathan Rowe eloquently describes the commons as <span class="quote">« <span class="quote">the air and oceans,
 254 the web of species, wilderness and flowing water—all are parts of the
 255 commons. So are language and knowledge, sidewalks and public squares, the
 256 stories of childhood and the processes of democracy. Some parts of the
 257 commons are gifts of nature, others the product of human endeavor. Some are
 258 new, such as the Internet; others are as ancient as soil and
 259 calligraphy.</span> »</span><a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
 260     </p><p>
 261       In Made with Creative Commons, we focus on our current era of digital
 262 commons, a commons of human-produced works. This commons cuts across a broad
 263 range of areas including cultural heritage, education, research, technology,
 264 art, design, literature, entertainment, business, and data. Human-produced
 265 works in all these areas are increasingly digital. The Internet is a kind of
 266 global, digital commons. The individuals, organizations, and businesses we
 267 profile in our case studies use Creative Commons to share their resources
 268 online over the Internet.
 269     </p><p>
 270       The commons is not just about shared resources, however. It’s also about the
 271 social practices and values that manage them. A resource is a noun, but to
 272 common—to put the resource into the commons—is a verb.<a href="#ftn.idm115" class="footnote" name="idm115"><sup class="footnote">[2]</sup></a> The creators, organizations, and businesses we
 273 profile are all engaged with commoning. Their use of Creative Commons
 274 involves them in the social practice of commoning, managing resources in a
 275 collective manner with a community of users.<a href="#ftn.idm117" class="footnote" name="idm117"><sup class="footnote">[3]</sup></a> Commoning is guided by a set of values and norms that balance the
 276 costs and benefits of the enterprise with those of the community. Special
 277 regard is given to equitable access, use, and sustainability.
 278     </p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-commons-the-market-and-the-state"></a>The Commons, the Market, and the State</h2></div></div></div><p>
 279         Historically, there have been three ways to manage resources and share
 280 wealth: the commons (managed collectively), the state (i.e., the
 281 government), and the market—with the last two being the dominant forms
 282 today.<a href="#ftn.idm122" class="footnote" name="idm122"><sup class="footnote">[4]</sup></a>
 283       </p><p>
 284         The organizations and businesses in our case studies are unique in the way
 285 they participate in the commons while still engaging with the market and/or
 286 state. The extent of engagement with market or state varies. Some operate
 287 primarily as a commons with minimal or no reliance on the market or
 288 state.<a href="#ftn.idm125" class="footnote" name="idm125"><sup class="footnote">[5]</sup></a> Others are very much a part of
 289 the market or state, depending on them for financial sustainability. All
 290 operate as hybrids, blending the norms of the commons with those of the
 291 market or state.
 292       </p><p>
 293         Fig. <a class="xref" href="#fig-1" title="Figure 1.1. Enterprise engagement with commons, state and market.">1.1</a> is a depiction of how
 294 an enterprise can have varying levels of engagement with commons, state, and
 295 market.
 296       </p><p>
 297         Some of our case studies are simply commons and market enterprises with
 298 little or no engagement with the state. A depiction of those case studies
 299 would show the state sphere as tiny or even absent. Other case studies are
 300 primarily market-based with only a small engagement with the commons. A
 301 depiction of those case studies would show the market sphere as large and
 302 the commons sphere as small. The extent to which an enterprise sees itself
 303 as being primarily of one type or another affects the balance of norms by
 304 which they operate.
 305       </p><p>
 306         All our case studies generate money as a means of livelihood and
 307 sustainability. Money is primarily of the market. Finding ways to generate
 308 revenue while holding true to the core values of the commons (usually
 309 expressed in mission statements) is challenging. To manage interaction and
 310 engagement between the commons and the market requires a deft touch, a
 311 strong sense of values, and the ability to blend the best of both.
 312       </p><p>
 313         The state has an important role to play in fostering the use and adoption of
 314 the commons. State programs and funding can deliberately contribute to and
 315 build the commons. Beyond money, laws and regulations regarding property,
 316 copyright, business, and finance can all be designed to foster the commons.
 317       </p><div class="figure"><a name="fig-1"></a><p class="title"><b>Figure 1.1. Enterprise engagement with commons, state and market.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000008000000045C30360249076453E6.png" width="100%" alt="Enterprise engagement with commons, state and market."></td></tr></table></div></div></div><br class="figure-break"><p>
 318         It’s helpful to understand how the commons, market, and state manage
 319 resources differently, and not just for those who consider themselves
 320 primarily as a commons. For businesses or governmental organizations who
 321 want to engage in and use the commons, knowing how the commons operates will
 322 help them understand how best to do so. Participating in and using the
 323 commons the same way you do the market or state is not a strategy for
 324 success.
 325       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-four-aspects-of-a-resource"></a>The Four Aspects of a Resource</h2></div></div></div><p>
 326         As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
 327 for analyzing how natural resources are managed in a commons.<a href="#ftn.idm143" class="footnote" name="idm143"><sup class="footnote">[6]</sup></a> Her framework considered things like the
 328 biophysical characteristics of common resources, the community’s actors and
 329 the interactions that take place between them, rules-in-use, and
 330 outcomes. That framework has been simplified and generalized to apply to the
 331 commons, the market, and the state for this chapter.
 332       </p><p>
 333         To compare and contrast the ways in which the commons, market, and state
 334 work, let’s consider four aspects of resource management: resource
 335 characteristics, the people involved and the process they use, the norms and
 336 rules they develop to govern use, and finally actual resource use along with
 337 outcomes of that use (see Fig. <a class="xref" href="#fig-2" title="Figure 1.2. Four aspects of resource management">1.2</a>).
 338       </p><div class="figure"><a name="fig-2"></a><p class="title"><b>Figure 1.2. Four aspects of resource management</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png" width="100%" alt="Four aspects of resource management"></td></tr></table></div></div></div><br class="figure-break"><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="characteristics"></a>Characteristics</h3></div></div></div><p>
 339           Resources have particular characteristics or attributes that affect the way
 340 they can be used. Some resources are natural; others are human
 341 produced. And—significantly for today’s commons—resources can be physical or
 342 digital, which affects a resource’s inherent potential.
 343         </p><p>
 344           Physical resources exist in limited supply. If I have a physical resource
 345 and give it to you, I no longer have it.  When a resource is removed and
 346 used, the supply becomes scarce or depleted. Scarcity can result in
 347 competing rivalry for the resource. Made with Creative Commons enterprises
 348 are usually digitally based but some of our case studies also produce
 349 resources in physical form. The costs of producing and distributing a
 350 physical good usually require them to engage with the market.
 351         </p><p>
 352           Physical resources are depletable, exclusive, and rivalrous.  Digital
 353 resources, on the other hand, are nondepletable, nonexclusive, and
 354 nonrivalrous. If I share a digital resource with you, we both have the
 355 resource. Giving it to you does not mean I no longer have it. Digital
 356 resources can be infinitely stored, copied, and distributed without becoming
 357 depleted, and at close to zero cost. Abundance rather than scarcity is an
 358 inherent characteristic of digital resources.
 359         </p><p>
 360           The nondepletable, nonexclusive, and nonrivalrous nature of digital
 361 resources means the rules and norms for managing them can (and ought to) be
 362 different from how physical resources are managed. However, this is not
 363 always the case. Digital resources are frequently made artificially
 364 scarce. Placing digital resources in the commons makes them free and
 365 abundant.
 366         </p><p>
 367           Our case studies frequently manage hybrid resources, which start out as
 368 digital with the possibility of being made into a physical resource. The
 369 digital file of a book can be printed on paper and made into a physical
 370 book. A computer-rendered design for furniture can be physically
 371 manufactured in wood.  This conversion from digital to physical invariably
 372 has costs.  Often the digital resources are managed in a free and open way,
 373 but money is charged to convert a digital resource into a physical one.
 374         </p><p>
 375           Beyond this idea of physical versus digital, the commons, market, and state
 376 conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Figure 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities
 377 for sale—from which value is extracted. The state sees resources as public
 378 goods that provide value to state citizens. The commons sees resources as
 379 common goods, providing a common wealth extending beyond state boundaries,
 380 to be passed on in undiminished or enhanced form to future generations.
 381         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="people-and-processes"></a>People and processes</h3></div></div></div><p>
 382           In the commons, the market, and the state, different people and processes
 383 are used to manage resources. The processes used define both who has a say
 384 and how a resource is managed.
 385         </p><p>
 386           In the state, a government of elected officials is responsible for managing
 387 resources on behalf of the public. The citizens who produce and use those
 388 resources are not directly involved; instead, that responsibility is given
 389 over to the government.  State ministries and departments staffed with
 390 public servants set budgets, implement programs, and manage resources based
 391 on government priorities and procedures.
 392         </p><p>
 393           In the market, the people involved are producers, buyers, sellers, and
 394 consumers. Businesses act as intermediaries between those who produce
 395 resources and those who consume or use them. Market processes seek to
 396 extract as much monetary value from resources as possible. In the market,
 397 resources are managed as commodities, frequently mass-produced, and sold to
 398 consumers on the basis of a cash transaction.
 399         </p><p>
 400           In contrast to the state and market, resources in a commons are managed more
 401 directly by the people involved.<a href="#ftn.idm170" class="footnote" name="idm170"><sup class="footnote">[7]</sup></a>
 402 Creators of human produced resources can put them in the commons by personal
 403 choice. No permission from state or market is required. Anyone can
 404 participate in the commons and determine for themselves the extent to which
 405 they want to be involved—as a contributor, user, or manager. The people
 406 involved include not only those who create and use resources but those
 407 affected by outcome of use. Who you are affects your say, actions you can
 408 take, and extent of decision making. In the commons, the community as a
 409 whole manages the resources.  Resources put into the commons using Creative
 410 Commons require users to give the original creator credit. Knowing the
 411 person behind a resource makes the commons less anonymous and more personal.
 412         </p><div class="figure"><a name="fig-3"></a><p class="title"><b>Figure 1.3. How the market, commons and state concieve of resources.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png" width="100%" alt="How the market, commons and state concieve of resources."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="norms-and-rules"></a>Norms and rules</h3></div></div></div><p>
 413           The social interactions between people, and the processes used by the state,
 414 market, and commons, evolve social norms and rules. These norms and rules
 415 define permissions, allocate entitlements, and resolve disputes.
 416         </p><p>
 417           State authority is governed by national constitutions. Norms related to
 418 priorities and decision making are defined by elected officials and
 419 parliamentary procedures. State rules are expressed through policies,
 420 regulations, and laws. The state influences the norms and rules of the
 421 market and commons through the rules it passes.
 422         </p><p>
 423           Market norms are influenced by economics and competition for scarce
 424 resources. Market rules follow property, business, and financial laws
 425 defined by the state.
 426         </p><p>
 427           As with the market, a commons can be influenced by state policies,
 428 regulations, and laws. But the norms and rules of a commons are largely
 429 defined by the community. They weigh individual costs and benefits against
 430 the costs and benefits to the whole community. Consideration is given not
 431 just to economic efficiency but also to equity and
 432 sustainability.<a href="#ftn.idm185" class="footnote" name="idm185"><sup class="footnote">[8]</sup></a>
 433         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>Goals</h3></div></div></div><p>
 434           The combination of the aspects we’ve discussed so far—the resource’s
 435 inherent characteristics, people and processes, and norms and rules—shape
 436 how resources are used. Use is also influenced by the different goals the
 437 state, market, and commons have.
 438         </p><p>
 439           In the market, the focus is on maximizing the utility of a resource. What we
 440 pay for the goods we consume is seen as an objective measure of the utility
 441 they provide. The goal then becomes maximizing total monetary value in the
 442 economy.<a href="#ftn.idm191" class="footnote" name="idm191"><sup class="footnote">[9]</sup></a> Units consumed translates to
 443 sales, revenue, profit, and growth, and these are all ways to measure goals
 444 of the market.
 445         </p><p>
 446           The state aims to use and manage resources in a way that balances the
 447 economy with the social and cultural needs of its citizens. Health care,
 448 education, jobs, the environment, transportation, security, heritage, and
 449 justice are all facets of a healthy society, and the state applies its
 450 resources toward these aims. State goals are reflected in quality of life
 451 measures.
 452         </p><p>
 453           In the commons, the goal is maximizing access, equity, distribution,
 454 participation, innovation, and sustainability.  You can measure success by
 455 looking at how many people access and use a resource; how users are
 456 distributed across gender, income, and location; if a community to extend
 457 and enhance the resources is being formed; and if the resources are being
 458 used in innovative ways for personal and social good.
 459         </p><p>
 460           As hybrid combinations of the commons with the market or state, the success
 461 and sustainability of all our case study enterprises depends on their
 462 ability to strategically utilize and balance these different aspects of
 463 managing resources.
 464         </p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="a-short-history-of-the-commons"></a>A Short History of the Commons</h2></div></div></div><p>
 465         Using the commons to manage resources is part of a long historical
 466 continuum. However, in contemporary society, the market and the state
 467 dominate the discourse on how resources are best managed. Rarely is the
 468 commons even considered as an option. The commons has largely disappeared
 469 from consciousness and consideration. There are no news reports or speeches
 470 about the commons.
 471       </p><p>
 472         But the more than 1.1 billion resources licensed with Creative Commons
 473 around the world are indications of a grassroots move toward the
 474 commons. The commons is making a resurgence. To understand the resilience of
 475 the commons and its current renewal, it’s helpful to know something of its
 476 history.
 477       </p><p>
 478         For centuries, indigenous people and preindustrialized societies managed
 479 resources, including water, food, firewood, irrigation, fish, wild game, and
 480 many other things collectively as a commons.<a href="#ftn.idm202" class="footnote" name="idm202"><sup class="footnote">[10]</sup></a> There was no market, no global economy. The state in the form of
 481 rulers influenced the commons but by no means controlled it. Direct social
 482 participation in a commons was the primary way in which resources were
 483 managed and needs met. (Fig. <a class="xref" href="#fig-4" title="Figure 1.4. In preindustrialized society.">1.4</a>
 484 illustrates the commons in relation to the state and the market.)
 485       </p><div class="figure"><a name="fig-4"></a><p class="title"><b>Figure 1.4. In preindustrialized society.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005153EACBD62F00F6BA9.png" width="100%" alt="In preindustrialized society."></td></tr></table></div></div></div><br class="figure-break"><p>
 486         This is followed by a long history of the state (a monarchy or ruler) taking
 487 over the commons for their own purposes. This is called enclosure of the
 488 commons.<a href="#ftn.idm213" class="footnote" name="idm213"><sup class="footnote">[11]</sup></a> In olden days,
 489 <span class="quote">« <span class="quote">commoners</span> »</span> were evicted from the land, fences and hedges
 490 erected, laws passed, and security set up to forbid access.<a href="#ftn.idm216" class="footnote" name="idm216"><sup class="footnote">[12]</sup></a> Gradually, resources became the property of the
 491 state and the state became the primary means by which resources were
 492 managed. (See Fig. <a class="xref" href="#fig-5" title="Figure 1.5. The commons is gradually superseded by the state.">1.5</a>).
 493       </p><p>
 494         Holdings of land, water, and game were distributed to ruling family and
 495 political appointees. Commoners displaced from the land migrated to
 496 cities. With the emergence of the industrial revolution, land and resources
 497 became commodities sold to businesses to support production. Monarchies
 498 evolved into elected parliaments. Commoners became labourers earning money
 499 operating the machinery of industry. Financial, business, and property laws
 500 were revised by governments to support markets, growth, and
 501 productivity. Over time ready access to market produced goods resulted in a
 502 rising standard of living, improved health, and education. Fig. <a class="xref" href="#fig-6" title="Figure 1.6. How the market, the state and the commons look today.">1.6</a> shows how today the market is the
 503 primary means by which resources are managed.
 504       </p><div class="figure"><a name="fig-5"></a><p class="title"><b>Figure 1.5. The commons is gradually superseded by the state.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005150F069409C1CC12F0.png" width="100%" alt="The commons is gradually superseded by the state."></td></tr></table></div></div></div><br class="figure-break"><p>
 505         However, the world today is going through turbulent times. The benefits of
 506 the market have been offset by unequal distribution and overexploitation.
 507       </p><p>
 508         Overexploitation was the topic of Garrett Hardin’s influential essay
 509 <span class="quote">« <span class="quote">The Tragedy of the Commons,</span> »</span> published in Science in
 510 1968. Hardin argues that everyone in a commons seeks to maximize personal
 511 gain and will continue to do so even when the limits of the commons are
 512 reached. The commons is then tragically depleted to the point where it can
 513 no longer support anyone. Hardin’s essay became widely accepted as an
 514 economic truism and a justification for private property and free markets.
 515       </p><p>
 516         However, there is one serious flaw with Hardin’s <span class="quote">« <span class="quote">The Tragedy of the
 517 Commons</span> »</span>—it’s fiction. Hardin did not actually study how real commons
 518 work. Elinor Ostrom won the 2009 Nobel Prize in economics for her work
 519 studying different commons all around the world. Ostrom’s work shows that
 520 natural resource commons can be successfully managed by local communities
 521 without any regulation by central authorities or without privatization.
 522 Government and privatization are not the only two choices. There is a third
 523 way: management by the people, where those that are directly impacted are
 524 directly involved. With natural resources, there is a regional locality. The
 525 people in the region are the most familiar with the natural resource, have
 526 the most direct relationship and history with it, and are therefore best
 527 situated to manage it. Ostrom’s approach to the governance of natural
 528 resources broke with convention; she recognized the importance of the
 529 commons as an alternative to the market or state for solving problems of
 530 collective action.<a href="#ftn.idm233" class="footnote" name="idm233"><sup class="footnote">[13]</sup></a>
 531       </p><p>
 532         Hardin failed to consider the actual social dynamic of the commons. His
 533 model assumed that people in the commons act autonomously, out of pure
 534 self-interest, without interaction or consideration of others. But as Ostrom
 535 found, in reality, managing common resources together forms a community and
 536 encourages discourse. This naturally generates norms and rules that help
 537 people work collectively and ensure a sustainable commons. Paradoxically,
 538 while Hardin’s essay is called The Tragedy of the Commons it might more
 539 accurately be titled The Tragedy of the Market.
 540       </p><p>
 541         Hardin’s story is based on the premise of depletable resources.  Economists
 542 have focused almost exclusively on scarcity-based markets. Very little is
 543 known about how abundance works.<a href="#ftn.idm238" class="footnote" name="idm238"><sup class="footnote">[14]</sup></a> The
 544 emergence of information technology and the Internet has led to an explosion
 545 in digital resources and new means of sharing and distribution. Digital
 546 resources can never be depleted. An absence of a theory or model for how
 547 abundance works, however, has led the market to make digital resources
 548 artificially scarce and makes it possible for the usual market norms and
 549 rules to be applied.
 550       </p><p>
 551         When it comes to use of state funds to create digital goods, however, there
 552 is really no justification for artificial scarcity. The norm for state
 553 funded digital works should be that they are freely and openly available to
 554 the public that paid for them.
 555       </p><div class="figure"><a name="fig-6"></a><p class="title"><b>Figure 1.6. How the market, the state and the commons look today.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C400000515F1CAA15B223F6BAF.png" width="100%" alt="How the market, the state and the commons look today."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-digital-revolution"></a>The Digital Revolution</h2></div></div></div><p>
 556         In the early days of computing, programmers and developers learned from each
 557 other by sharing software. In the 1980s, the free-software movement codified
 558 this practice of sharing into a set of principles and freedoms:
 559       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
 560             The freedom to run a software program as you wish, for any purpose.
 561           </p></li><li class="listitem"><p>
 562             The freedom to study how a software program works (because access to the
 563 source code has been freely given), and change it so it does your computing
 564 as you wish.
 565           </p></li><li class="listitem"><p>
 566             The freedom to redistribute copies.
 567           </p></li><li class="listitem"><p>
 568             The freedom to distribute copies of your modified versions to
 569 others.<a href="#ftn.idm261" class="footnote" name="idm261"><sup class="footnote">[15]</sup></a>
 570           </p></li></ul></div><p>
 571         These principles and freedoms constitute a set of norms and rules that
 572 typify a digital commons.
 573       </p><p>
 574         In the late 1990s, to make the sharing of source code and collaboration more
 575 appealing to companies, the open-source-software initiative converted these
 576 principles into licenses and standards for managing access to and
 577 distribution of software. The benefits of open source—such as reliability,
 578 scalability, and quality verified by independent peer review—became widely
 579 recognized and accepted. Customers liked the way open source gave them
 580 control without being locked into a closed, proprietary technology. Free and
 581 open-source software also generated a network effect where the value of a
 582 product or service increases with the number of people using it.<a href="#ftn.idm267" class="footnote" name="idm267"><sup class="footnote">[16]</sup></a> The dramatic growth of the Internet itself owes
 583 much to the fact that nobody has a proprietary lock on core Internet
 584 protocols.
 585       </p><p>
 586         While open-source software functions as a commons, many businesses and
 587 markets did build up around it. Business models based on the licenses and
 588 standards of open-source software evolved alongside organizations that
 589 managed software code on principles of abundance rather than scarcity. Eric
 590 Raymond’s essay <span class="quote">« <span class="quote">The Magic Cauldron</span> »</span> does a great job of
 591 analyzing the economics and business models associated with open-source
 592 software.<a href="#ftn.idm272" class="footnote" name="idm272"><sup class="footnote">[17]</sup></a> These models can provide
 593 examples of sustainable approaches for those Made with Creative Commons.
 594       </p><p>
 595         It isn’t just about an abundant availability of digital assets but also
 596 about abundance of participation. The growth of personal computing,
 597 information technology, and the Internet made it possible for mass
 598 participation in producing creative works and distributing them. Photos,
 599 books, music, and many other forms of digital content could now be readily
 600 created and distributed by almost anyone. Despite this potential for
 601 abundance, by default these digital works are governed by copyright
 602 laws. Under copyright, a digital work is the property of the creator, and by
 603 law others are excluded from accessing and using it without the creator’s
 604 permission.
 605       </p><p>
 606         But people like to share. One of the ways we define ourselves is by sharing
 607 valuable and entertaining content. Doing so grows and nourishes
 608 relationships, seeks to change opinions, encourages action, and informs
 609 others about who we are and what we care about. Sharing lets us feel more
 610 involved with the world.<a href="#ftn.idm278" class="footnote" name="idm278"><sup class="footnote">[18]</sup></a>
 611       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-birth-of-creative-commons"></a>The Birth of Creative Commons</h2></div></div></div><p>
 612         In 2001, Creative Commons was created as a nonprofit to support all those
 613 who wanted to share digital content. A suite of Creative Commons licenses
 614 was modeled on those of open-source software but for use with digital
 615 content rather than software code. The licenses give everyone from
 616 individual creators to large companies and institutions a simple,
 617 standardized way to grant copyright permissions to their creative work.
 618       </p><p>
 619         Creative Commons licenses have a three-layer design. The norms and rules of
 620 each license are first expressed in full legal language as used by
 621 lawyers. This layer is called the legal code. But since most creators and
 622 users are not lawyers, the licenses also have a commons deed, expressing the
 623 permissions in plain language, which regular people can read and quickly
 624 understand. It acts as a user-friendly interface to the legal-code layer
 625 beneath. The third layer is the machine-readable one, making it easy for the
 626 Web to know a work is Creative Commons–licensed by expressing permissions in
 627 a way that software systems, search engines, and other kinds of technology
 628 can understand.<a href="#ftn.idm285" class="footnote" name="idm285"><sup class="footnote">[19]</sup></a> Taken together, these
 629 three layers ensure creators, users, and even the Web itself understand the
 630 norms and rules associated with digital content in a commons.
 631       </p><p>
 632         In 2015, there were over one billion Creative Commons licensed works in a
 633 global commons. These works were viewed online 136 billion times. People are
 634 using Creative Commons licenses all around the world, in thirty-four
 635 languages. These resources include photos, artwork, research articles in
 636 journals, educational resources, music and other audio tracks, and videos.
 637       </p><p>
 638         Individual artists, photographers, musicians, and filmmakers use Creative
 639 Commons, but so do museums, governments, creative industries, manufacturers,
 640 and publishers. Millions of websites use CC licenses, including major
 641 platforms like Wikipedia and Flickr and smaller ones like blogs.<a href="#ftn.idm291" class="footnote" name="idm291"><sup class="footnote">[20]</sup></a> Users of Creative Commons are diverse and cut
 642 across many different sectors. (Our case studies were chosen to reflect that
 643 diversity.)
 644       </p><p>
 645         Some see Creative Commons as a way to share a gift with others, a way of
 646 getting known, or a way to provide social benefit.  Others are simply
 647 committed to the norms associated with a commons. And for some,
 648 participation has been spurred by the free-culture movement, a social
 649 movement that promotes the freedom to distribute and modify creative
 650 works. The free-culture movement sees a commons as providing significant
 651 benefits compared to restrictive copyright laws. This ethos of free exchange
 652 in a commons aligns the free-culture movement with the free and open-source
 653 software movement.
 654       </p><p>
 655         Over time, Creative Commons has spawned a range of open movements, including
 656 open educational resources, open access, open science, and open data. The
 657 goal in every case has been to democratize participation and share digital
 658 resources at no cost, with legal permissions for anyone to freely access,
 659 use, and modify.
 660       </p><p>
 661         The state is increasingly involved in supporting open movements.  The Open
 662 Government Partnership was launched in 2011 to provide an international
 663 platform for governments to become more open, accountable, and responsive to
 664 citizens. Since then, it has grown from eight participating countries to
 665 seventy.<a href="#ftn.idm297" class="footnote" name="idm297"><sup class="footnote">[21]</sup></a> In all these countries,
 666 government and civil society are working together to develop and implement
 667 ambitious open-government reforms. Governments are increasingly adopting
 668 Creative Commons to ensure works funded with taxpayer dollars are open and
 669 free to the public that paid for them.
 670       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-changing-market"></a>The Changing Market</h2></div></div></div><p>
 671         Today’s market is largely driven by global capitalism. Law and financial
 672 systems are structured to support extraction, privatization, and corporate
 673 growth. A perception that the market is more efficient than the state has
 674 led to continual privatization of many public natural resources, utilities,
 675 services, and infrastructures.<a href="#ftn.idm304" class="footnote" name="idm304"><sup class="footnote">[22]</sup></a> While
 676 this system has been highly efficient at generating consumerism and the
 677 growth of gross domestic product, the impact on human well-being has been
 678 mixed. Offsetting rising living standards and improvements to health and
 679 education are ever-increasing wealth inequality, social inequality, poverty,
 680 deterioration of our natural environment, and breakdowns of
 681 democracy.<a href="#ftn.idm306" class="footnote" name="idm306"><sup class="footnote">[23]</sup></a>
 682       </p><p>
 683         In light of these challenges there is a growing recognition that GDP growth
 684 should not be an end in itself, that development needs to be socially and
 685 economically inclusive, that environmental sustainability is a requirement
 686 not an option, and that we need to better balance the market, state and
 687 community.<a href="#ftn.idm309" class="footnote" name="idm309"><sup class="footnote">[24]</sup></a>
 688       </p><p>
 689         These realizations have led to a resurgence of interest in the commons as a
 690 means of enabling that balance. City governments like Bologna, Italy, are
 691 collaborating with their citizens to put in place regulations for the care
 692 and regeneration of urban commons.<a href="#ftn.idm314" class="footnote" name="idm314"><sup class="footnote">[25]</sup></a>
 693 Seoul and Amsterdam call themselves <span class="quote">« <span class="quote">sharing cities,</span> »</span> looking
 694 to make sustainable and more efficient use of scarce resources. They see
 695 sharing as a way to improve the use of public spaces, mobility, social
 696 cohesion, and safety.<a href="#ftn.idm318" class="footnote" name="idm318"><sup class="footnote">[26]</sup></a>
 697       </p><p>
 698         The market itself has taken an interest in the sharing economy, with
 699 businesses like Airbnb providing a peer-to-peer marketplace for short-term
 700 lodging and Uber providing a platform for ride sharing. However, Airbnb and
 701 Uber are still largely operating under the usual norms and rules of the
 702 market, making them less like a commons and more like a traditional business
 703 seeking financial gain. Much of the sharing economy is not about the commons
 704 or building an alternative to a corporate-driven market economy; it’s about
 705 extending the deregulated free market into new areas of our
 706 lives.<a href="#ftn.idm323" class="footnote" name="idm323"><sup class="footnote">[27]</sup></a> While none of the people we
 707 interviewed for our case studies would describe themselves as part of the
 708 sharing economy, there are in fact some significant parallels. Both the
 709 sharing economy and the commons make better use of asset capacity. The
 710 sharing economy sees personal residents and cars as having latent spare
 711 capacity with rental value. The equitable access of the commons broadens and
 712 diversifies the number of people who can use and derive value from an asset.
 713       </p><p>
 714         One way Made with Creative Commons case studies differ from those of the
 715 sharing economy is their focus on digital resources. Digital resources
 716 function under different economic rules than physical ones. In a world where
 717 prices always seem to go up, information technology is an
 718 anomaly. Computer-processing power, storage, and bandwidth are all rapidly
 719 increasing, but rather than costs going up, costs are coming down. Digital
 720 technologies are getting faster, better, and cheaper. The cost of anything
 721 built on these technologies will always go down until it is close to
 722 zero.<a href="#ftn.idm326" class="footnote" name="idm326"><sup class="footnote">[28]</sup></a>
 723       </p><p>
 724         Those that are Made with Creative Commons are looking to leverage the unique
 725 inherent characteristics of digital resources, including lowering costs. The
 726 use of digital-rights-management technologies in the form of locks,
 727 passwords, and controls to prevent digital goods from being accessed,
 728 changed, replicated, and distributed is minimal or nonexistent. Instead,
 729 Creative Commons licenses are used to put digital content out in the
 730 commons, taking advantage of the unique economics associated with being
 731 digital. The aim is to see digital resources used as widely and by as many
 732 people as possible. Maximizing access and participation is a common goal.
 733 They aim for abundance over scarcity.
 734       </p><p>
 735         The incremental cost of storing, copying, and distributing digital goods is
 736 next to zero, making abundance possible. But imagining a market based on
 737 abundance rather than scarcity is so alien to the way we conceive of
 738 economic theory and practice that we struggle to do so.<a href="#ftn.idm330" class="footnote" name="idm330"><sup class="footnote">[29]</sup></a> Those that are Made with Creative Commons are each
 739 pioneering in this new landscape, devising their own economic models and
 740 practice.
 741       </p><p>
 742         Some are looking to minimize their interactions with the market and operate
 743 as autonomously as possible. Others are operating largely as a business
 744 within the existing rules and norms of the market. And still others are
 745 looking to change the norms and rules by which the market operates.
 746       </p><p>
 747         For an ordinary corporation, making social benefit a part of its operations
 748 is difficult, as it’s legally required to make decisions that financially
 749 benefit stockholders. But new forms of business are emerging. There are
 750 benefit corporations and social enterprises, which broaden their business
 751 goals from making a profit to making a positive impact on society, workers,
 752 the community, and the environment.<a href="#ftn.idm334" class="footnote" name="idm334"><sup class="footnote">[30]</sup></a>
 753 Community-owned businesses, worker-owned businesses, cooperatives, guilds,
 754 and other organizational forms offer alternatives to the traditional
 755 corporation. Collectively, these alternative market entities are changing
 756 the rules and norms of the market.<a href="#ftn.idm336" class="footnote" name="idm336"><sup class="footnote">[31]</sup></a>
 757       </p><p><span class="quote">« <span class="quote">A book on open business models</span> »</span> is how we described it in this
 758 book’s Kickstarter campaign. We used a handbook called Business Model
 759 Generation as our reference for defining just what a business model
 760 is. Developed over nine years using an <span class="quote">« <span class="quote">open process</span> »</span> involving
 761 470 coauthors from forty-five countries, it is useful as a framework for
 762 talking about business models.<a href="#ftn.idm341" class="footnote" name="idm341"><sup class="footnote">[32]</sup></a>
 763       </p><p>
 764         It contains a <span class="quote">« <span class="quote">business model canvas,</span> »</span> which conceives of a
 765 business model as having nine building blocks.<a href="#ftn.idm346" class="footnote" name="idm346"><sup class="footnote">[33]</sup></a> This blank canvas can serve as a tool for anyone to design their
 766 own business model. We remixed this business model canvas into an open
 767 business model canvas, adding three more building blocks relevant to hybrid
 768 market, commons enterprises: social good, Creative Commons license, and
 769 <span class="quote">« <span class="quote">type of open environment that the business fits
 770 in.</span> »</span><a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
 771 useful when we analyzed businesses and helped start-ups plan their economic
 772 model.
 773       </p><p>
 774         In our case study interviews, many expressed discomfort over describing
 775 themselves as an open business model—the term business model suggested
 776 primarily being situated in the market.  Where you sit on the
 777 commons-to-market spectrum affects the extent to which you see yourself as a
 778 business in the market.  The more central to the mission shared resources
 779 and commons values are, the less comfort there is in describing yourself, or
 780 depicting what you do, as a business. Not all who have endeavors Made with
 781 Creative Commons use business speak; for some the process has been
 782 experimental, emergent, and organic rather than carefully planned using a
 783 predefined model.
 784       </p><p>
 785         The creators, businesses, and organizations we profile all engage with the
 786 market to generate revenue in some way. The ways in which this is done vary
 787 widely. Donations, pay what you can, memberships, <span class="quote">« <span class="quote">digital for free
 788 but physical for a fee,</span> »</span> crowdfunding, matchmaking, value-add
 789 services, patrons . . . the list goes on and on. (Initial description of how
 790 to earn revenue available through reference note. For latest thinking see
 791 How to Bring In Money in the next section.)<a href="#ftn.idm358" class="footnote" name="idm358"><sup class="footnote">[35]</sup></a> There is no single magic bullet, and each endeavor has devised ways
 792 that work for them. Most make use of more than one way. Diversifying revenue
 793 streams lowers risk and provides multiple paths to sustainability.
 794       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="benefits-of-the-digital-commons"></a>Benefits of the Digital Commons</h2></div></div></div><p>
 795         While it may be clear why commons-based organizations want to interact and
 796 engage with the market (they need money to survive), it may be less obvious
 797 why the market would engage with the commons. The digital commons offers
 798 many benefits.
 799       </p><p>
 800         The commons speeds dissemination. The free flow of resources in the commons
 801 offers tremendous economies of scale. Distribution is decentralized, with
 802 all those in the commons empowered to share the resources they have access
 803 to. Those that are Made with Creative Commons have a reduced need for sales
 804 or marketing. Decentralized distribution amplifies supply and know-how.
 805       </p><p>
 806         The commons ensures access to all. The market has traditionally operated by
 807 putting resources behind a paywall requiring payment first before
 808 access. The commons puts resources in the open, providing access up front
 809 without payment. Those that are Made with Creative Commons make little or no
 810 use of digital rights management (DRM) to manage resources. Not using DRM
 811 frees them of the costs of acquiring DRM technology and staff resources to
 812 engage in the punitive practices associated with restricting access. The way
 813 the commons provides access to everyone levels the playing field and
 814 promotes inclusiveness, equity, and fairness.
 815       </p><p>
 816         The commons maximizes participation. Resources in the commons can be used
 817 and contributed to by everyone. Using the resources of others, contributing
 818 your own, and mixing yours with others to create new works are all dynamic
 819 forms of participation made possible by the commons. Being Made with
 820 Creative Commons means you’re engaging as many users with your resources as
 821 possible.  Users are also authoring, editing, remixing, curating,
 822 localizing, translating, and distributing. The commons makes it possible for
 823 people to directly participate in culture, knowledge building, and even
 824 democracy, and many other socially beneficial practices.
 825       </p><p>
 826         The commons spurs innovation. Resources in the hands of more people who can
 827 use them leads to new ideas. The way commons resources can be modified,
 828 customized, and improved results in derivative works never imagined by the
 829 original creator. Some endeavors that are Made with Creative Commons
 830 deliberately encourage users to take the resources being shared and innovate
 831 them. Doing so moves research and development (R&amp;D) from being solely
 832 inside the organization to being in the community.<a href="#ftn.idm369" class="footnote" name="idm369"><sup class="footnote">[36]</sup></a> Community-based innovation will keep an
 833 organization or business on its toes. It must continue to contribute new
 834 ideas, absorb and build on top of the innovations of others, and steward the
 835 resources and the relationship with the community.
 836       </p><p>
 837         The commons boosts reach and impact. The digital commons is
 838 global. Resources may be created for a local or regional need, but they go
 839 far and wide generating a global impact. In the digital world, there are no
 840 borders between countries. When you are Made with Creative Commons, you are
 841 often local and global at the same time: Digital designs being globally
 842 distributed but made and manufactured locally. Digital books or music being
 843 globally distributed but readings and concerts performed locally. The
 844 digital commons magnifies impact by connecting creators to those who use and
 845 build on their work both locally and globally.
 846       </p><p>
 847         The commons is generative. Instead of extracting value, the commons adds
 848 value. Digitized resources persist without becoming depleted, and through
 849 use are improved, personalized, and localized. Each use adds value. The
 850 market focuses on generating value for the business and the customer. The
 851 commons generates value for a broader range of beneficiaries including the
 852 business, the customer, the creator, the public, and the commons itself. The
 853 generative nature of the commons means that it is more cost-effective and
 854 produces a greater return on investment.  Value is not just measured in
 855 financial terms. Each new resource added to the commons provides value to
 856 the public and contributes to the overall value of the commons.
 857       </p><p>
 858         The commons brings people together for a common cause. The commons vests
 859 people directly with the responsibility to manage the resources for the
 860 common good. The costs and benefits for the individual are balanced with the
 861 costs and benefits for the community and for future generations. Resources
 862 are not anonymous or mass produced. Their provenance is known and
 863 acknowledged through attribution and other means. Those that are Made with
 864 Creative Commons generate awareness and reputation based on their
 865 contributions to the commons. The reach, impact, and sustainability of those
 866 contributions rest largely on their ability to forge relationships and
 867 connections with those who use and improve them. By functioning on the basis
 868 of social engagement, not monetary exchange, the commons unifies people.
 869       </p><p>
 870         The benefits of the commons are many. When these benefits align with the
 871 goals of individuals, communities, businesses in the market, or state
 872 enterprises, choosing to manage resources as a commons ought to be the
 873 option of choice.
 874       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="our-case-studies"></a>Our Case Studies</h2></div></div></div><p>
 875         The creators, organizations, and businesses in our case studies operate as
 876 nonprofits, for-profits, and social enterprises.  Regardless of legal
 877 status, they all have a social mission.  Their primary reason for being is
 878 to make the world a better place, not to profit. Money is a means to a
 879 social end, not the end itself. They factor public interest into decisions,
 880 behavior, and practices. Transparency and trust are really important. Impact
 881 and success are measured against social aims expressed in mission
 882 statements, and are not just about the financial bottom line.
 883       </p><p>
 884         The case studies are based on the narratives told to us by founders and key
 885 staff. Instead of solely using financials as the measure of success and
 886 sustainability, they emphasized their mission, practices, and means by which
 887 they measure success.  Metrics of success are a blend of how social goals
 888 are being met and how sustainable the enterprise is.
 889       </p><p>
 890         Our case studies are diverse, ranging from publishing to education and
 891 manufacturing. All of the organizations, businesses, and creators in the
 892 case studies produce digital resources. Those resources exist in many forms
 893 including books, designs, songs, research, data, cultural works, education
 894 materials, graphic icons, and video. Some are digital representations of
 895 physical resources. Others are born digital but can be made into physical
 896 resources.
 897       </p><p>
 898         They are creating new resources, or using the resources of others, or mixing
 899 existing resources together to make something new. They, and their audience,
 900 all play a direct, participatory role in managing those resources, including
 901 their preservation, curation, distribution, and enhancement. Access and
 902 participation is open to all regardless of monetary means.
 903       </p><p>
 904         And as users of Creative Commons licenses, they are automatically part of a
 905 global community. The new digital commons is global. Those we profiled come
 906 from nearly every continent in the world. To build and interact within this
 907 global community is conducive to success.
 908       </p><p>
 909         Creative Commons licenses may express legal rules around the use of
 910 resources in a commons, but success in the commons requires more than
 911 following the letter of the law and acquiring financial means. Over and over
 912 we heard in our interviews how success and sustainability are tied to a set
 913 of beliefs, values, and principles that underlie their actions: Give more
 914 than you take. Be open and inclusive. Add value. Make visible what you are
 915 using from the commons, what you are adding, and what you are
 916 monetizing. Maximize abundance. Give attribution. Express gratitude. Develop
 917 trust; don’t exploit. Build relationship and community. Be
 918 transparent. Defend the commons.
 919       </p><p>
 920         The new digital commons is here to stay. Made With Creative Commons case
 921 studies show how it’s possible to be part of this commons while still
 922 functioning within market and state systems.  The commons generates benefits
 923 neither the market nor state can achieve on their own. Rather than the
 924 market or state dominating as primary means of resource management, a more
 925 balanced alternative is possible.
 926       </p><p>
 927         Enterprise use of Creative Commons has only just begun. The case studies in
 928 this book are merely starting points. Each is changing and evolving over
 929 time. Many more are joining and inventing new models. This overview aims to
 930 provide a framework and language for thinking and talking about the new
 931 digital commons. The remaining sections go deeper providing further guidance
 932 and insights on how it works.
 933       </p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm111" class="footnote"><p><a href="#idm111" class="para"><sup class="para">[1] </sup></a>
 934           Jonathan Rowe, Our Common Wealth (San Francisco: Berrett-Koehler, 2013), 14.
 935         </p></div><div id="ftn.idm115" class="footnote"><p><a href="#idm115" class="para"><sup class="para">[2] </sup></a>
 936           David Bollier, Think Like a Commoner: A Short Introduction to the Life of
 937 the Commons (Gabriola Island, BC: New Society, 2014), 176.
 938         </p></div><div id="ftn.idm117" class="footnote"><p><a href="#idm117" class="para"><sup class="para">[3] </sup></a>
 939           Ibid., 15.
 940         </p></div><div id="ftn.idm122" class="footnote"><p><a href="#idm122" class="para"><sup class="para">[4] </sup></a>
 941             Ibid., 145.
 942           </p></div><div id="ftn.idm125" class="footnote"><p><a href="#idm125" class="para"><sup class="para">[5] </sup></a>
 943             Ibid., 175.
 944           </p></div><div id="ftn.idm143" class="footnote"><p><a href="#idm143" class="para"><sup class="para">[6] </sup></a>
 945             Daniel H. Cole, <span class="quote">« <span class="quote">Learning from Lin: Lessons and Cautions from the
 946 Natural Commons for the Knowledge Commons,</span> »</span> in Governing Knowledge
 947 Commons, eds. Brett M. Frischmann, Michael J. Madison, and Katherine J.
 948 Strandburg (New York: Oxford University Press, 2014), 53.
 949           </p></div><div id="ftn.idm170" class="footnote"><p><a href="#idm170" class="para"><sup class="para">[7] </sup></a>
 950               Max Haiven, Crises of Imagination, Crises of Power: Capitalism, Creativity
 951 and the Commons (New York: Zed Books, 2014), 93.
 952             </p></div><div id="ftn.idm185" class="footnote"><p><a href="#idm185" class="para"><sup class="para">[8] </sup></a>
 953               Bollier, Think Like a Commoner, 175.
 954             </p></div><div id="ftn.idm191" class="footnote"><p><a href="#idm191" class="para"><sup class="para">[9] </sup></a>
 955               Joshua Farley and Ida Kubiszewski, <span class="quote">« <span class="quote">The Economics of Information in a
 956 Post-Carbon Economy,</span> »</span> in Free Knowledge: Confronting the
 957 Commodification of Human Discovery, eds. Patricia W. Elliott and Daryl
 958 H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4.
 959             </p></div><div id="ftn.idm202" class="footnote"><p><a href="#idm202" class="para"><sup class="para">[10] </sup></a>
 960             Rowe, Our Common Wealth, 19; and Heather Menzies, Reclaiming the Commons for
 961 the Common Good: A Memoir and Manifesto (Gabriola Island, BC: New Society,
 962 2014), 42–43.
 963           </p></div><div id="ftn.idm213" class="footnote"><p><a href="#idm213" class="para"><sup class="para">[11] </sup></a>
 964             Bollier, Think Like a Commoner, 55–78.
 965           </p></div><div id="ftn.idm216" class="footnote"><p><a href="#idm216" class="para"><sup class="para">[12] </sup></a>
 966             Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a Legal System in
 967 Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
 968 and Bollier, Think Like a Commoner, 88.
 969           </p></div><div id="ftn.idm233" class="footnote"><p><a href="#idm233" class="para"><sup class="para">[13] </sup></a>
 970             Brett M. Frischmann, Michael J. Madison, and Katherine J.  Strandburg,
 971 <span class="quote">« <span class="quote">Governing Knowledge Commons,</span> »</span> in Frischmann, Madison, and
 972 Strandburg Governing Knowledge Commons, 12.
 973           </p></div><div id="ftn.idm238" class="footnote"><p><a href="#idm238" class="para"><sup class="para">[14] </sup></a>
 974             Farley and Kubiszewski, <span class="quote">« <span class="quote">Economics of Information,</span> »</span> in Elliott
 975 and Hepting, Free Knowledge, 203.
 976           </p></div><div id="ftn.idm261" class="footnote"><p><a href="#idm261" class="para"><sup class="para">[15] </sup></a><span class="quote">« <span class="quote">What Is Free Software?</span> »</span> GNU Operating System, the Free
 977 Software Foundation’s Licensing and Compliance Lab, accessed December 30,
 978 2016, <a class="ulink" href="http://www.gnu.org/philosophy/free-sw" target="_top">http://www.gnu.org/philosophy/free-sw</a>.
 979               </p></div><div id="ftn.idm267" class="footnote"><p><a href="#idm267" class="para"><sup class="para">[16] </sup></a>
 980             Wikipedia, s.v. <span class="quote">« <span class="quote">Open-source software,</span> »</span> last modified November
 981 22, 2016.
 982           </p></div><div id="ftn.idm272" class="footnote"><p><a href="#idm272" class="para"><sup class="para">[17] </sup></a>
 983             Eric S. Raymond, <span class="quote">« <span class="quote">The Magic Cauldron,</span> »</span> in The Cathedral and the
 984 Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary,
 985 rev. ed. (Sebastopol, CA: O’Reilly Media, 2001), <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
 986           </p></div><div id="ftn.idm278" class="footnote"><p><a href="#idm278" class="para"><sup class="para">[18] </sup></a>
 987             New York Times Customer Insight Group, The Psychology of Sharing: Why Do
 988 People Share Online? (New York: New York Times Customer Insight Group,
 989 2011), <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
 990           </p></div><div id="ftn.idm285" class="footnote"><p><a href="#idm285" class="para"><sup class="para">[19] </sup></a><span class="quote">« <span class="quote">Licensing Considerations,</span> »</span> Creative Commons, accessed December
 991 30, 2016, <a class="ulink" href="http://creativecommons.org/share-your-work/licensing-considerations/" target="_top">http://creativecommons.org/share-your-work/licensing-considerations/</a>.
 992           </p></div><div id="ftn.idm291" class="footnote"><p><a href="#idm291" class="para"><sup class="para">[20] </sup></a>
 993             Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative
 994 Commons, 2015), <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
 995           </p></div><div id="ftn.idm297" class="footnote"><p><a href="#idm297" class="para"><sup class="para">[21] </sup></a>
 996             Wikipedia, s.v. <span class="quote">« <span class="quote">Open Government Partnership,</span> »</span> last modified
 997 September 24, 2016, <a class="ulink" href="http://en.wikipedia.org/wiki/Open_Government_Partnership" target="_top">http://en.wikipedia.org/wiki/Open_Government_Partnership</a>.
 998           </p></div><div id="ftn.idm304" class="footnote"><p><a href="#idm304" class="para"><sup class="para">[22] </sup></a>
 999             Capra and Mattei, Ecology of Law, 114.
1000           </p></div><div id="ftn.idm306" class="footnote"><p><a href="#idm306" class="para"><sup class="para">[23] </sup></a>
1001             Ibid., 116.
1002           </p></div><div id="ftn.idm309" class="footnote"><p><a href="#idm309" class="para"><sup class="para">[24] </sup></a>
1003             The Swedish International Development Cooperation Agency, <span class="quote">« <span class="quote">Stockholm
1004 Statement</span> »</span> accessed February 15, 2017, <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
1005           </p></div><div id="ftn.idm314" class="footnote"><p><a href="#idm314" class="para"><sup class="para">[25] </sup></a>
1006             City of Bologna, Regulation on Collaboration between Citizens and the City
1007 for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory
1008 for the GOVernance of Commons) (Bologna, Italy: City of Bologna, 2014),
1009 <a class="ulink" href="http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf" target="_top">http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf</a>.
1010           </p></div><div id="ftn.idm318" class="footnote"><p><a href="#idm318" class="para"><sup class="para">[26] </sup></a>
1011             The Seoul Sharing City website is <a class="ulink" href="http://english.sharehub.kr" target="_top">http://english.sharehub.kr</a>;
1012 for Amsterdam Sharing City, go to <a class="ulink" href="http://www.sharenl.nl/amsterdam-sharing-city/" target="_top">http://www.sharenl.nl/amsterdam-sharing-city/</a>.
1013           </p></div><div id="ftn.idm323" class="footnote"><p><a href="#idm323" class="para"><sup class="para">[27] </sup></a>
1014             Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
1015 Books, 2015), 42.
1016           </p></div><div id="ftn.idm326" class="footnote"><p><a href="#idm326" class="para"><sup class="para">[28] </sup></a>
1017             Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
1018 Something for Nothing, Reprint with new preface.  (New York: Hyperion,
1019 2010), 78.
1020           </p></div><div id="ftn.idm330" class="footnote"><p><a href="#idm330" class="para"><sup class="para">[29] </sup></a>
1021             Jeremy Rifkin, The Zero Marginal Cost Society: The Internet of Things, the
1022 Collaborative Commons, and the Eclipse of Capitalism (New York: Palgrave
1023 Macmillan, 2014), 273.
1024           </p></div><div id="ftn.idm334" class="footnote"><p><a href="#idm334" class="para"><sup class="para">[30] </sup></a>
1025             Gar Alperovitz, What Then Must We Do? Straight Talk about the Next American
1026 Revolution: Democratizing Wealth and Building a Community-Sustaining Economy
1027 from the Ground Up (White River Junction, VT: Chelsea Green, 2013), 39.
1028           </p></div><div id="ftn.idm336" class="footnote"><p><a href="#idm336" class="para"><sup class="para">[31] </sup></a>
1029             Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution;
1030 Journeys to a Generative Economy (San Francisco: Berrett-Koehler, 2012),
1031 8–9.
1032           </p></div><div id="ftn.idm341" class="footnote"><p><a href="#idm341" class="para"><sup class="para">[32] </sup></a>
1033             Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
1034 John Wiley and Sons, 2010). A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
1035           </p></div><div id="ftn.idm346" class="footnote"><p><a href="#idm346" class="para"><sup class="para">[33] </sup></a>
1036             This business model canvas is available to download at <a class="ulink" href="http://strategyzer.com/canvas/business-model-canvas" target="_top">http://strategyzer.com/canvas/business-model-canvas</a>.
1037           </p></div><div id="ftn.idm350" class="footnote"><p><a href="#idm350" class="para"><sup class="para">[34] </sup></a>
1038             We’ve made the <span class="quote">« <span class="quote">Open Business Model Canvas,</span> »</span> designed by the
1039 coauthor Paul Stacey, available online at <a class="ulink" href="http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit" target="_top">http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit</a>.
1040 You can also find the accompanying Open Business Model Canvas Questions at
1041 <a class="ulink" href="http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit" target="_top">http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit</a>.
1042           </p></div><div id="ftn.idm358" class="footnote"><p><a href="#idm358" class="para"><sup class="para">[35] </sup></a>
1043             A more comprehensive list of revenue streams is available in this post I
1044 wrote on Medium on March 6, 2016. <span class="quote">« <span class="quote">What Is an Open Business Model and
1045 How Can You Generate Revenue?</span> »</span>, available at <a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
1046           </p></div><div id="ftn.idm369" class="footnote"><p><a href="#idm369" class="para"><sup class="para">[36] </sup></a>
1047             Henry Chesbrough, Open Innovation: The New Imperative for Creating and
1048 Profiting from Technology (Boston: Harvard Business Review Press, 2006),
1049 31–44.
1050           </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>Chapitre 2. How to Be Made with Creative Commons</h2></div></div></div><div class="toc"><p><b>Table des matières</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
1051     \textit{ Sarah Hinchliff Pearson}
1052     \end{flushright}</td></tr></table></div><p>
1053       When we began this project in August 2015, we set out to write a book about
1054 business models that involve Creative Commons licenses in some significant
1055 way—what we call being Made with Creative Commons. With the help of our
1056 Kickstarter backers, we chose twenty-four endeavors from all around the
1057 world that are Made with Creative Commons. The mix is diverse, from an
1058 individual musician to a university-textbook publisher to an electronics
1059 manufacturer.  Some make their own content and share under Creative Commons
1060 licensing. Others are platforms for CC-licensed creative work made by
1061 others. Many sit somewhere in between, both using and contributing creative
1062 work that’s shared with the public. Like all who use the licenses, these
1063 endeavors share their work—whether it’s open data or furniture designs—in a
1064 way that enables the public not only to access it but also to make use of
1065 it.
1066     </p><p>
1067       We analyzed the revenue models, customer segments, and value propositions of
1068 each endeavor. We searched for ways that putting their content under
1069 Creative Commons licenses helped boost sales or increase reach. Using
1070 traditional measures of economic success, we tried to map these business
1071 models in a way that meaningfully incorporated the impact of Creative
1072 Commons. In our interviews, we dug into the motivations, the role of CC
1073 licenses, modes of revenue generation, definitions of success.
1074     </p><p>
1075       In fairly short order, we realized the book we set out to write was quite
1076 different from the one that was revealing itself in our interviews and
1077 research.
1078     </p><p>
1079       It isn’t that we were wrong to think you can make money while using Creative
1080 Commons licenses. In many instances, CC can help make you more money. Nor
1081 were we wrong that there are business models out there that others who want
1082 to use CC licensing as part of their livelihood or business could
1083 replicate. What we didn’t realize was just how misguided it would be to
1084 write a book about being Made with Creative Commons using only a business
1085 lens.
1086     </p><p>
1087       According to the seminal handbook Business Model Generation, a business
1088 model <span class="quote">« <span class="quote">describes the rationale of how an organization creates,
1089 delivers, and captures value.</span> »</span><a href="#ftn.idm396" class="footnote" name="idm396"><sup class="footnote">[37]</sup></a>
1090 Thinking about sharing in terms of creating and capturing value always felt
1091 inappropriately transactional and out of place, something we heard time and
1092 time again in our interviews. And as Cory Doctorow told us in our interview
1093 with him, <span class="quote">« <span class="quote">Business model can mean anything you want it to
1094 mean.</span> »</span>
1095     </p><p>
1096       Eventually, we got it. Being Made with Creative Commons is more than a
1097 business model. While we will talk about specific revenue models as one
1098 piece of our analysis (and in more detail in the case studies), we scrapped
1099 that as our guiding rubric for the book.
1100     </p><p>
1101       Admittedly, it took me a long time to get there. When Paul and I divided up
1102 our writing after finishing the research, my charge was to distill
1103 everything we learned from the case studies and write up the practical
1104 lessons and takeaways. I spent months trying to jam what we learned into the
1105 business-model box, convinced there must be some formula for the way things
1106 interacted. But there is no formula. You’ll probably have to discard that
1107 way of thinking before you read any further.
1108     </p><p>
1109       In every interview, we started from the same simple questions.  Amid all the
1110 diversity among the creators, organizations, and businesses we profiled,
1111 there was one constant. Being Made with Creative Commons may be good for
1112 business, but that is not why they do it. Sharing work with Creative Commons
1113 is, at its core, a moral decision. The commercial and other self-interested
1114 benefits are secondary. Most decided to use CC licenses first and found a
1115 revenue model later. This was our first hint that writing a book solely
1116 about the impact of sharing on business might be a little off track.
1117     </p><p>
1118       But we also started to realize something about what it means to be Made with
1119 Creative Commons. When people talked to us about how and why they used CC,
1120 it was clear that it meant something more than using a copyright license. It
1121 also represented a set of values.  There is symbolism behind using CC, and
1122 that symbolism has many layers.
1123     </p><p>
1124       At one level, being Made with Creative Commons expresses an affinity for the
1125 value of Creative Commons. While there are many different flavors of CC
1126 licenses and nearly infinite ways to be Made with Creative Commons, the
1127 basic value system is rooted in a fundamental belief that knowledge and
1128 creativity are building blocks of our culture rather than just commodities
1129 from which to extract market value. These values reflect a belief that the
1130 common good should always be part of the equation when we determine how to
1131 regulate our cultural outputs. They reflect a belief that everyone has
1132 something to contribute, and that no one can own our shared culture. They
1133 reflect a belief in the promise of sharing.
1134     </p><p>
1135       Whether the public makes use of the opportunity to copy and adapt your work,
1136 sharing with a Creative Commons license is a symbol of how you want to
1137 interact with the people who consume your work.  Whenever you create
1138 something, <span class="quote">« <span class="quote">all rights reserved</span> »</span> under copyright is automatic,
1139 so the copyright symbol (©) on the work does not necessarily come across as
1140 a marker of distrust or excessive protectionism. But using a CC license can
1141 be a symbol of the opposite—of wanting a real human relationship, rather
1142 than an impersonal market transaction. It leaves open the possibility of
1143 connection.
1144     </p><p>
1145       Being Made with Creative Commons not only demonstrates values connected to
1146 CC and sharing. It also demonstrates that something other than profit drives
1147 what you do. In our interviews, we always asked what success looked like for
1148 them. It was stunning how rarely money was mentioned. Most have a deeper
1149 purpose and a different vision of success.
1150     </p><p>
1151       The driving motivation varies depending on the type of endeavor.  For
1152 individual creators, it is most often about personal inspiration. In some
1153 ways, this is nothing new. As Doctorow has written, <span class="quote">« <span class="quote">Creators usually
1154 start doing what they do for love.</span> »</span><a href="#ftn.idm410" class="footnote" name="idm410"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
1155 dynamic is even more pronounced. Similarly, for technological innovators, it
1156 is often less about creating a specific new thing that will make you rich
1157 and more about solving a specific problem you have. The creators of Arduino
1158 told us that the key question when creating something is <span class="quote">« <span class="quote">Do you as
1159 the creator want to use it? It has to have personal use and meaning.</span> »</span>
1160     </p><p>
1161       Many that are Made with Creative Commons have an express social mission that
1162 underpins everything they do. In many cases, sharing with Creative Commons
1163 expressly advances that social mission, and using the licenses can be the
1164 difference between legitimacy and hypocrisy. Noun Project co-founder Edward
1165 Boatman told us they could not have stated their social mission of sharing
1166 with a straight face if they weren’t willing to show the world that it was
1167 OK to share their content using a Creative Commons license.
1168     </p><p>
1169       This dynamic is probably one reason why there are so many nonprofit examples
1170 of being Made with Creative Commons. The content is the result of a labor of
1171 love or a tool to drive social change, and money is like gas in the car,
1172 something that you need to keep going but not an end in itself. Being Made
1173 with Creative Commons is a different vision of a business or livelihood,
1174 where profit is not paramount, and producing social good and human
1175 connection are integral to success.
1176     </p><p>
1177       Even if profit isn’t the end goal, you have to bring in money to be
1178 successfully Made with Creative Commons. At a bare minimum, you have to make
1179 enough money to keep the lights on.
1180     </p><p>
1181       The costs of doing business vary widely for those made with CC, but there is
1182 generally a much lower threshold for sustainability than there used to be
1183 for any creative endeavor. Digital technology has made it easier than ever
1184 to create, and easier than ever to distribute. As Doctorow put it in his
1185 book Information Doesn’t Want to Be Free, <span class="quote">« <span class="quote">If analog dollars have
1186 turned into digital dimes (as the critics of ad-supported media have it),
1187 there is the fact that it’s possible to run a business that gets the same
1188 amount of advertising as its forebears at a fraction of the price.</span> »</span>
1189     </p><p>
1190       Some creation costs are the same as they always were. It takes the same
1191 amount of time and money to write a peer-reviewed journal article or paint a
1192 painting. Technology can’t change that. But other costs are dramatically
1193 reduced by technology, particularly in production-heavy domains like
1194 filmmaking.<a href="#ftn.idm419" class="footnote" name="idm419"><sup class="footnote">[39]</sup></a> CC-licensed content and
1195 content in the public domain, as well as the work of volunteer
1196 collaborators, can also dramatically reduce costs if they’re being used as
1197 resources to create something new. And, of course, there is the reality that
1198 some content would be created whether or not the creator is paid because it
1199 is a labor of love.
1200     </p><p>
1201       Distributing content is almost universally cheaper than ever. Once content
1202 is created, the costs to distribute copies digitally are essentially
1203 zero.<a href="#ftn.idm422" class="footnote" name="idm422"><sup class="footnote">[40]</sup></a> The costs to distribute physical
1204 copies are still significant, but lower than they have been
1205 historically. And it is now much easier to print and distribute physical
1206 copies on-demand, which also reduces costs. Depending on the endeavor, there
1207 can be a whole host of other possible expenses like marketing and promotion,
1208 and even expenses associated with the various ways money is being made, like
1209 touring or custom training.
1210     </p><p>
1211       It’s important to recognize that the biggest impact of technology on
1212 creative endeavors is that creators can now foot the costs of creation and
1213 distribution themselves. People now often have a direct route to their
1214 potential public without necessarily needing intermediaries like record
1215 labels and book publishers. Doctorow wrote, <span class="quote">« <span class="quote">If you’re a creator who
1216 never got the time of day from one of the great imperial powers, this is
1217 your time. Where once you had no means of reaching an audience without the
1218 assistance of the industry-dominating megacompanies, now you have hundreds
1219 of ways to do it without them.</span> »</span><a href="#ftn.idm426" class="footnote" name="idm426"><sup class="footnote">[41]</sup></a>
1220 Previously, distribution of creative work involved the costs associated with
1221 sustaining a monolithic entity, now creators can do the work
1222 themselves. That means the financial needs of creative endeavors can be a
1223 lot more modest.
1224     </p><p>
1225       Whether for an individual creator or a larger endeavor, it usually isn’t
1226 enough to break even if you want to make what you’re doing a livelihood. You
1227 need to build in some support for the general operation. This extra bit
1228 looks different for everyone, but importantly, in nearly all cases for those
1229 Made with Creative Commons, the definition of <span class="quote">« <span class="quote">enough money</span> »</span>
1230 looks a lot different than it does in the world of venture capital and stock
1231 options. It is more about sustainability and less about unlimited growth and
1232 profit. SparkFun founder Nathan Seidle told us, <span class="quote">« <span class="quote">Business model is a
1233 really grandiose word for it. It is really just about keeping the operation
1234 going day to day.</span> »</span>
1235     </p><p>
1236       This book is a testament to the notion that it is possible to make money
1237 while using CC licenses and CC-licensed content, but we are still very much
1238 at an experimental stage. The creators, organizations, and businesses we
1239 profile in this book are blazing the trail and adapting in real time as they
1240 pursue this new way of operating.
1241     </p><p>
1242       There are, however, plenty of ways in which CC licensing can be good for
1243 business in fairly predictable ways. The first is how it helps solve
1244 <span class="quote">« <span class="quote">problem zero.</span> »</span>
1245     </p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="problem-zero-getting-discovered"></a>Problem Zero: Getting Discovered</h2></div></div></div><p>
1246         Once you create or collect your content, the next step is finding users,
1247 customers, fans—in other words, your people. As Amanda Palmer wrote,
1248 <span class="quote">« <span class="quote">It has to start with the art. The songs had to touch people
1249 initially, and mean something, for anything to work at
1250 all.</span> »</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[42]</sup></a> There isn’t any magic to
1251 finding your people, and there is certainly no formula. Your work has to
1252 connect with people and offer them some artistic and/or utilitarian
1253 value. In some ways, this is easier than ever. Online we are not limited by
1254 shelf space, so there is room for every obscure interest, taste, and need
1255 imaginable. This is what Chris Anderson dubbed the Long Tail, where
1256 consumption becomes less about mainstream mass <span class="quote">« <span class="quote">hits</span> »</span> and more
1257 about micromarkets for every particular niche. As Anderson wrote, <span class="quote">« <span class="quote">We
1258 are all different, with different wants and needs, and the Internet now has
1259 a place for all of them in the way that physical markets did
1260 not.</span> »</span><a href="#ftn.idm442" class="footnote" name="idm442"><sup class="footnote">[43]</sup></a> We are no longer limited
1261 to what appeals to the masses.
1262       </p><p>
1263         While finding <span class="quote">« <span class="quote">your people</span> »</span> online is theoretically easier than
1264 in the analog world, as a practical matter it can still be difficult to
1265 actually get noticed. The Internet is a firehose of content, one that only
1266 grows larger by the minute.  As a content creator, not only are you
1267 competing for attention against more content creators than ever before, you
1268 are competing against creativity generated outside the market as
1269 well.<a href="#ftn.idm446" class="footnote" name="idm446"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">« <span class="quote">The
1270 greatest change of the past decade has been the shift in time people spend
1271 consuming amateur content instead of professional
1272 content.</span> »</span><a href="#ftn.idm449" class="footnote" name="idm449"><sup class="footnote">[45]</sup></a> To top it all off, you
1273 have to compete against the rest of their lives, too—<span class="quote">« <span class="quote">friends, family,
1274 music playlists, soccer games, and nights on the town.</span> »</span><a href="#ftn.idm452" class="footnote" name="idm452"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
1275 right people.
1276       </p><p>
1277         When you come to the Internet armed with an all-rights-reserved mentality
1278 from the start, you are often restricting access to your work before there
1279 is even any demand for it. In many cases, requiring payment for your work is
1280 part of the traditional copyright system. Even a tiny cost has a big effect
1281 on demand.  It’s called the penny gap—the large difference in demand between
1282 something that is available at the price of one cent versus the price of
1283 zero.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
1284 charge money for your content. It simply means you need to recognize the
1285 effect that doing so will have on demand. The same principle applies to
1286 restricting access to copy the work. If your problem is how to get
1287 discovered and find <span class="quote">« <span class="quote">your people,</span> »</span> prohibiting people from
1288 copying your work and sharing it with others is counterproductive.
1289       </p><p>
1290         Of course, it’s not that being discovered by people who like your work will
1291 make you rich—far from it. But as Cory Doctorow says, <span class="quote">« <span class="quote">Recognition is
1292 one of many necessary preconditions for artistic
1293 success.</span> »</span><a href="#ftn.idm460" class="footnote" name="idm460"><sup class="footnote">[48]</sup></a>
1294       </p><p>
1295         Choosing not to spend time and energy restricting access to your work and
1296 policing infringement also builds goodwill. Lumen Learning, a for-profit
1297 company that publishes online educational materials, made an early decision
1298 not to prevent students from accessing their content, even in the form of a
1299 tiny paywall, because it would negatively impact student success in a way
1300 that would undermine the social mission behind what they do. They believe
1301 this decision has generated an immense amount of goodwill within the
1302 community.
1303       </p><p>
1304         It is not just that restricting access to your work may undermine your
1305 social mission. It also may alienate the people who most value your creative
1306 work. If people like your work, their natural instinct will be to share it
1307 with others. But as David Bollier wrote, <span class="quote">« <span class="quote">Our natural human impulses
1308 to imitate and share—the essence of culture—have been
1309 criminalized.</span> »</span><a href="#ftn.idm465" class="footnote" name="idm465"><sup class="footnote">[49]</sup></a>
1310       </p><p>
1311         The fact that copying can carry criminal penalties undoubtedly deters
1312 copying it, but copying with the click of a button is too easy and
1313 convenient to ever fully stop it. Try as the copyright industry might to
1314 persuade us otherwise, copying a copyrighted work just doesn’t feel like
1315 stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
1316 creative work has no impact on anyone else’s ability to make use of it.
1317       </p><p>
1318         If you take some amount of copying and sharing your work as a given, you can
1319 invest your time and resources elsewhere, rather than wasting them on
1320 playing a cat and mouse game with people who want to copy and share your
1321 work. Lizzy Jongma from the Rijksmuseum said, <span class="quote">« <span class="quote">We could spend a lot of
1322 money trying to protect works, but people are going to do it anyway. And
1323 they will use bad-quality versions.</span> »</span> Instead, they started releasing
1324 high-resolution digital copies of their collection into the public domain
1325 and making them available for free on their website. For them, sharing was a
1326 form of quality control over the copies that were inevitably being shared
1327 online. Doing this meant forgoing the revenue they previously got from
1328 selling digital images. But Lizzy says that was a small price to pay for all
1329 of the opportunities that sharing unlocked for them.
1330       </p><p>
1331         Being Made with Creative Commons means you stop thinking about ways to
1332 artificially make your content scarce, and instead leverage it as the
1333 potentially abundant resource it is.<a href="#ftn.idm471" class="footnote" name="idm471"><sup class="footnote">[50]</sup></a>
1334 When you see information abundance as a feature, not a bug, you start
1335 thinking about the ways to use the idling capacity of your content to your
1336 advantage. As my friend and colleague Eric Steuer once said, <span class="quote">« <span class="quote">Using CC
1337 licenses shows you get the Internet.</span> »</span>
1338       </p><p>
1339         Cory Doctorow says it costs him nothing when other people make copies of his
1340 work, and it opens the possibility that he might get something in
1341 return.<a href="#ftn.idm475" class="footnote" name="idm475"><sup class="footnote">[51]</sup></a> Similarly, the makers of the
1342 Arduino boards knew it was impossible to stop people from copying their
1343 hardware, so they decided not to even try and instead look for the benefits
1344 of being open. For them, the result is one of the most ubiquitous pieces of
1345 hardware in the world, with a thriving online community of tinkerers and
1346 innovators that have done things with their work they never could have done
1347 otherwise.
1348       </p><p>
1349         There are all kinds of way to leverage the power of sharing and remix to
1350 your benefit. Here are a few.
1351       </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-grow-a-larger-audience"></a>Use CC to grow a larger audience</h3></div></div></div><p>
1352           Putting a Creative Commons license on your content won’t make it
1353 automatically go viral, but eliminating legal barriers to copying the work
1354 certainly can’t hurt the chances that your work will be shared. The CC
1355 license symbolizes that sharing is welcome. It can act as a little tap on
1356 the shoulder to those who come across the work—a nudge to copy the work if
1357 they have any inkling of doing so. All things being equal, if one piece of
1358 content has a sign that says Share and the other says Don’t Share (which is
1359 what <span class="quote">« <span class="quote">©</span> »</span> means), which do you think people are more likely to
1360 share?
1361         </p><p>
1362           The Conversation is an online news site with in-depth articles written by
1363 academics who are experts on particular topics. All of the articles are
1364 CC-licensed, and they are copied and reshared on other sites by design. This
1365 proliferating effect, which they track, is a central part of the value to
1366 their academic authors who want to reach as many readers as possible.
1367         </p><p>
1368           The idea that more eyeballs equates with more success is a form of the max
1369 strategy, adopted by Google and other technology companies. According to
1370 Google’s Eric Schmidt, the idea is simple: <span class="quote">« <span class="quote">Take whatever it is you
1371 are doing and do it at the max in terms of distribution. The other way of
1372 saying this is that since marginal cost of distribution is free, you might
1373 as well put things everywhere.</span> »</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[52]</sup></a>
1374 This strategy is what often motivates companies to make their products and
1375 services free (i.e., no cost), but the same logic applies to making content
1376 freely shareable. Because CC-licensed content is free (as in cost) and can
1377 be freely copied, CC licensing makes it even more accessible and likely to
1378 spread.
1379         </p><p>
1380           If you are successful in reaching more users, readers, listeners, or other
1381 consumers of your work, you can start to benefit from the bandwagon
1382 effect. The simple fact that there are other people consuming or following
1383 your work spurs others to want to do the same.<a href="#ftn.idm488" class="footnote" name="idm488"><sup class="footnote">[53]</sup></a> This is, in part, because we simply have a tendency to engage in
1384 herd behavior, but it is also because a large following is at least a
1385 partial indicator of quality or usefulness.<a href="#ftn.idm490" class="footnote" name="idm490"><sup class="footnote">[54]</sup></a>
1386         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-get-attribution-and-name-recognition"></a>Use CC to get attribution and name recognition</h3></div></div></div><p>
1387           Every Creative Commons license requires that credit be given to the author,
1388 and that reusers supply a link back to the original source of the
1389 material. CC0, not a license but a tool used to put work in the public
1390 domain, does not make attribution a legal requirement, but many communities
1391 still give credit as a matter of best practices and social norms. In fact,
1392 it is social norms, rather than the threat of legal enforcement, that most
1393 often motivate people to provide attribution and otherwise comply with the
1394 CC license terms anyway. This is the mark of any well-functioning community,
1395 within both the marketplace and the society at large.<a href="#ftn.idm495" class="footnote" name="idm495"><sup class="footnote">[55]</sup></a> CC licenses reflect a set of wishes on the part of
1396 creators, and in the vast majority of circumstances, people are naturally
1397 inclined to follow those wishes. This is particularly the case for something
1398 as straightforward and consistent with basic notions of fairness as
1399 providing credit.
1400         </p><p>
1401           The fact that the name of the creator follows a CC-licensed work makes the
1402 licenses an important means to develop a reputation or, in corporate speak,
1403 a brand. The drive to associate your name with your work is not just based
1404 on commercial motivations, it is fundamental to authorship.  Knowledge
1405 Unlatched is a nonprofit that helps to subsidize the print production of
1406 CC-licensed academic texts by pooling contributions from libraries around
1407 the United States. The CEO, Frances Pinter, says that the Creative Commons
1408 license on the works has a huge value to authors because reputation is the
1409 most important currency for academics. Sharing with CC is a way of having
1410 the most people see and cite your work.
1411         </p><p>
1412           Attribution can be about more than just receiving credit. It can also be
1413 about establishing provenance. People naturally want to know where content
1414 came from—the source of a work is sometimes just as interesting as the work
1415 itself. Opendesk is a platform for furniture designers to share their
1416 designs.  Consumers who like those designs can then get matched with local
1417 makers who turn the designs into real-life furniture.  The fact that I,
1418 sitting in the middle of the United States, can pick out a design created by
1419 a designer in Tokyo and then use a maker within my own community to
1420 transform the design into something tangible is part of the power of their
1421 platform. The provenance of the design is a special part of the product.
1422         </p><p>
1423           Knowing the source of a work is also critical to ensuring its
1424 credibility. Just as a trademark is designed to give consumers a way to
1425 identify the source and quality of a particular good and service, knowing
1426 the author of a work gives the public a way to assess its credibility. In a
1427 time when online discourse is plagued with misinformation, being a trusted
1428 information source is more valuable than ever.
1429         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-licensed-content-as-a-marketing-tool"></a>Use CC-licensed content as a marketing tool</h3></div></div></div><p>
1430           As we will cover in more detail later, many endeavors that are Made with
1431 Creative Commons make money by providing a product or service other than the
1432 CC-licensed work. Sometimes that other product or service is completely
1433 unrelated to the CC content. Other times it’s a physical copy or live
1434 performance of the CC content. In all cases, the CC content can attract
1435 people to your other product or service.
1436         </p><p>
1437           Knowledge Unlatched’s Pinter told us she has seen time and again how
1438 offering CC-licensed content—that is, digitally for free—actually increases
1439 sales of the printed goods because it functions as a marketing tool. We see
1440 this phenomenon regularly with famous artwork. The Mona Lisa is likely the
1441 most recognizable painting on the planet. Its ubiquity has the effect of
1442 catalyzing interest in seeing the painting in person, and in owning physical
1443 goods with the image. Abundant copies of the content often entice more
1444 demand, not blunt it.  Another example came with the advent of the
1445 radio. Although the music industry did not see it coming (and fought it!),
1446 free music on the radio functioned as advertising for the paid version
1447 people bought in music stores.<a href="#ftn.idm505" class="footnote" name="idm505"><sup class="footnote">[56]</sup></a> Free can
1448 be a form of promotion.
1449         </p><p>
1450           In some cases, endeavors that are Made with Creative Commons do not even
1451 need dedicated marketing teams or marketing budgets. Cards Against Humanity
1452 is a CC-licensed card game available as a free download. And because of this
1453 (thanks to the CC license on the game), the creators say it is one of the
1454 best-marketed games in the world, and they have never spent a dime on
1455 marketing. The textbook publisher OpenStax has also avoided hiring a
1456 marketing team. Their products are free, or cheaper to buy in the case of
1457 physical copies, which makes them much more attractive to students who then
1458 demand them from their universities. They also partner with service
1459 providers who build atop the CC-licensed content and, in turn, spend money
1460 and resources marketing those services (and by extension, the OpenStax
1461 textbooks).
1462         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-enable-hands-on-engagement-with-your-work"></a>Use CC to enable hands-on engagement with your work</h3></div></div></div><p>
1463           The great promise of Creative Commons licensing is that it signifies an
1464 embrace of remix culture. Indeed, this is the great promise of digital
1465 technology. The Internet opened up a whole new world of possibilities for
1466 public participation in creative work.
1467         </p><p>
1468           Four of the six CC licenses enable reusers to take apart, build upon, or
1469 otherwise adapt the work. Depending on the context, adaptation can mean
1470 wildly different things—translating, updating, localizing, improving,
1471 transforming. It enables a work to be customized for particular needs, uses,
1472 people, and communities, which is another distinct value to offer the
1473 public.<a href="#ftn.idm512" class="footnote" name="idm512"><sup class="footnote">[57]</sup></a> Adaptation is more game
1474 changing in some contexts than others. With educational materials, the
1475 ability to customize and update the content is critically important for its
1476 usefulness. For photography, the ability to adapt a photo is less important.
1477         </p><p>
1478           This is a way to counteract a potential downside of the abundance of free
1479 and open content described above. As Anderson wrote in Free, <span class="quote">« <span class="quote">People
1480 often don’t care as much about things they don’t pay for, and as a result
1481 they don’t think as much about how they consume them.</span> »</span><a href="#ftn.idm516" class="footnote" name="idm516"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
1482 penny for something changes our perception of that thing, then surely the
1483 act of remixing it enhances our perception exponentially.<a href="#ftn.idm518" class="footnote" name="idm518"><sup class="footnote">[59]</sup></a> We know that people will pay more for products they
1484 had a part in creating.<a href="#ftn.idm520" class="footnote" name="idm520"><sup class="footnote">[60]</sup></a> And we know
1485 that creating something, no matter what quality, brings with it a type of
1486 creative satisfaction that can never be replaced by consuming something
1487 created by someone else.<a href="#ftn.idm522" class="footnote" name="idm522"><sup class="footnote">[61]</sup></a>
1488         </p><p>
1489           Actively engaging with the content helps us avoid the type of aimless
1490 consumption that anyone who has absentmindedly scrolled through their
1491 social-media feeds for an hour knows all too well. In his book, Cognitive
1492 Surplus, Clay Shirky says, <span class="quote">« <span class="quote">To participate is to act as if your
1493 presence matters, as if, when you see something or hear something, your
1494 response is part of the event.</span> »</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[62]</sup></a>
1495 Opening the door to your content can get people more deeply tied to your
1496 work.
1497         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-differentiate-yourself"></a>Use CC to differentiate yourself</h3></div></div></div><p>
1498           Operating under a traditional copyright regime usually means operating under
1499 the rules of establishment players in the media. Business strategies that
1500 are embedded in the traditional copyright system, like using digital rights
1501 management (DRM) and signing exclusivity contracts, can tie the hands of
1502 creators, often at the expense of the creator’s best interest.<a href="#ftn.idm531" class="footnote" name="idm531"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
1503 function without those barriers and, in many cases, use the increased
1504 openness as a competitive advantage. David Harris from OpenStax said they
1505 specifically pursue strategies they know that traditional publishers
1506 cannot. <span class="quote">« <span class="quote">Don’t go into a market and play by the incumbent
1507 rules,</span> »</span> David said.  <span class="quote">« <span class="quote">Change the rules of engagement.</span> »</span>
1508         </p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-money"></a>Making Money</h2></div></div></div><p>
1509         Like any moneymaking endeavor, those that are Made with Creative Commons
1510 have to generate some type of value for their audience or
1511 customers. Sometimes that value is subsidized by funders who are not
1512 actually beneficiaries of that value. Funders, whether philanthropic
1513 institutions, governments, or concerned individuals, provide money to the
1514 organization out of a sense of pure altruism. This is the way traditional
1515 nonprofit funding operates.<a href="#ftn.idm538" class="footnote" name="idm538"><sup class="footnote">[64]</sup></a> But in many
1516 cases, the revenue streams used by endeavors that are Made with Creative
1517 Commons are directly tied to the value they generate, where the recipient is
1518 paying for the value they receive like any standard market transaction. In
1519 still other cases, rather than the quid pro quo exchange of money for value
1520 that typically drives market transactions, the recipient gives money out of
1521 a sense of reciprocity.
1522       </p><p>
1523         Most who are Made with Creative Commons use a variety of methods to bring in
1524 revenue, some market-based and some not. One common strategy is using grant
1525 funding for content creation when research-and-development costs are
1526 particularly high, and then finding a different revenue stream (or streams)
1527 for ongoing expenses. As Shirky wrote, <span class="quote">« <span class="quote">The trick is in knowing when
1528 markets are an optimal way of organizing interactions and when they are
1529 not.</span> »</span><a href="#ftn.idm544" class="footnote" name="idm544"><sup class="footnote">[65]</sup></a>
1530       </p><p>
1531         Our case studies explore in more detail the various revenue-generating
1532 mechanisms used by the creators, organizations, and businesses we
1533 interviewed. There is nuance hidden within the specific ways each of them
1534 makes money, so it is a bit dangerous to generalize too much about what we
1535 learned.  Nonetheless, zooming out and viewing things from a higher level of
1536 abstraction can be instructive.
1537       </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="market-based-revenue-streams"></a>Market-based revenue streams</h3></div></div></div><p>
1538           In the market, the central question when determining how to bring in revenue
1539 is what value people are willing to pay for.<a href="#ftn.idm550" class="footnote" name="idm550"><sup class="footnote">[66]</sup></a> By definition, if you are Made with Creative Commons, the content
1540 you provide is available for free and not a market commodity. Like the
1541 ubiquitous freemium business model, any possible market transaction with a
1542 consumer of your content has to be based on some added value you
1543 provide.<a href="#ftn.idm552" class="footnote" name="idm552"><sup class="footnote">[67]</sup></a>
1544         </p><p>
1545           In many ways, this is the way of the future for all content-driven
1546 endeavors. In the market, value lives in things that are scarce. Because the
1547 Internet makes a universe of content available to all of us for free, it is
1548 difficult to get people to pay for content online. The struggling newspaper
1549 industry is a testament to this fact. This is compounded by the fact that at
1550 least some amount of copying is probably inevitable. That means you may end
1551 up competing with free versions of your own content, whether you condone it
1552 or not.<a href="#ftn.idm555" class="footnote" name="idm555"><sup class="footnote">[68]</sup></a> If people can easily find your
1553 content for free, getting people to buy it will be difficult, particularly
1554 in a context where access to content is more important than owning it. In
1555 Free, Anderson wrote, <span class="quote">« <span class="quote">Copyright protection schemes, whether coded
1556 into either law or software, are simply holding up a price against the force
1557 of gravity.</span> »</span>
1558         </p><p>
1559           Of course, this doesn’t mean that content-driven endeavors have no future in
1560 the traditional marketplace. In Free, Anderson explains how when one product
1561 or service becomes free, as information and content largely have in the
1562 digital age, other things become more valuable. <span class="quote">« <span class="quote">Every abundance
1563 creates a new scarcity,</span> »</span> he wrote. You just have to find some way
1564 other than the content to provide value to your audience or customers. As
1565 Anderson says, <span class="quote">« <span class="quote">It’s easy to compete with Free: simply offer something
1566 better or at least different from the free version.</span> »</span><a href="#ftn.idm561" class="footnote" name="idm561"><sup class="footnote">[69]</sup></a>
1567         </p><p>
1568           In light of this reality, in some ways endeavors that are Made with Creative
1569 Commons are at a level playing field with all content-based endeavors in the
1570 digital age. In fact, they may even have an advantage because they can use
1571 the abundance of content to derive revenue from something scarce. They can
1572 also benefit from the goodwill that stems from the values behind being Made
1573 with Creative Commons.
1574         </p><p>
1575           For content creators and distributors, there are nearly infinite ways to
1576 provide value to the consumers of your work, above and beyond the value that
1577 lives within your free digital content. Often, the CC-licensed content
1578 functions as a marketing tool for the paid product or service.
1579         </p><p>
1580           Here are the most common high-level categories.
1581         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-custom-service-to-consumers-of-your-work-market-based"></a>Providing a custom service to consumers of your work
1582 <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1583           In this age of information abundance, we don’t lack for content. The trick
1584 is finding content that matches our needs and wants, so customized services
1585 are particularly valuable.  As Anderson wrote, <span class="quote">« <span class="quote">Commodity information
1586 (everybody gets the same version) wants to be free. Customized information
1587 (you get something unique and meaningful to you)  wants to be
1588 expensive.</span> »</span><a href="#ftn.idm571" class="footnote" name="idm571"><sup class="footnote">[70]</sup></a> This can be anything
1589 from the artistic and cultural consulting services provided by Ártica to the
1590 custom-song business of Jonathan <span class="quote">« <span class="quote">Song-A-Day</span> »</span> Mann.
1591         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-physical-copy-market-based"></a>Charging for the physical copy <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1592           In his book about maker culture, Anderson characterizes this model as giving
1593 away the bits and selling the atoms (where bits refers to digital content
1594 and atoms refer to a physical object).<a href="#ftn.idm578" class="footnote" name="idm578"><sup class="footnote">[71]</sup></a>
1595 This is particularly successful in domains where the digital version of the
1596 content isn’t as valuable as the analog version, like book publishing where
1597 a significant subset of people still prefer reading something they can hold
1598 in their hands. Or in domains where the content isn’t useful until it is in
1599 physical form, like furniture designs. In those situations, a significant
1600 portion of consumers will pay for the convenience of having someone else put
1601 the physical version together for them. Some endeavors squeeze even more out
1602 of this revenue stream by using a Creative Commons license that only allows
1603 noncommercial uses, which means no one else can sell physical copies of
1604 their work in competition with them. This strategy of reserving commercial
1605 rights can be particularly important for items like books, where every
1606 printed copy of the same work is likely to be the same quality, so it is
1607 harder to differentiate one publishing service from another. On the other
1608 hand, for items like furniture or electronics, the provider of the physical
1609 goods can compete with other providers of the same works based on quality,
1610 service, or other traditional business principles.
1611         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-in-person-version-market-based"></a>Charging for the in-person version <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1612           As anyone who has ever gone to a concert will tell you, experiencing
1613 creativity in person is a completely different experience from consuming a
1614 digital copy on your own. Far from acting as a substitute for face-to-face
1615 interaction, CC-licensed content can actually create demand for the
1616 in-person version of experience. You can see this effect when people go view
1617 original art in person or pay to attend a talk or training course.
1618         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="selling-merchandise-market-based"></a>Selling merchandise <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1619           In many cases, people who like your work will pay for products demonstrating
1620 a connection to your work. As a child of the 1980s, I can personally attest
1621 to the power of a good concert T-shirt. This can also be an important
1622 revenue stream for museums and galleries.
1623         </p><p>
1624           Sometimes the way to find a market-based revenue stream is by providing
1625 value to people other than those who consume your CC-licensed content. In
1626 these revenue streams, the free content is being subsidized by an entirely
1627 different category of people or businesses. Often, those people or
1628 businesses are paying to access your main audience. The fact that the
1629 content is free increases the size of the audience, which in turn makes the
1630 offer more valuable to the paying customers. This is a variation of a
1631 traditional business model built on free called multi-sided
1632 platforms.<a href="#ftn.idm589" class="footnote" name="idm589"><sup class="footnote">[72]</sup></a> Access to your audience
1633 isn’t the only thing people are willing to pay for—there are other services
1634 you can provide as well.
1635         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-advertisers-or-sponsors-market-based"></a>Charging advertisers or sponsors <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1636           The traditional model of subsidizing free content is advertising. In this
1637 version of multi-sided platforms, advertisers pay for the opportunity to
1638 reach the set of eyeballs the content creators provide in the form of their
1639 audience.<a href="#ftn.idm595" class="footnote" name="idm595"><sup class="footnote">[73]</sup></a> The Internet has made this
1640 model more difficult because the number of potential channels available to
1641 reach those eyeballs has become essentially infinite.<a href="#ftn.idm597" class="footnote" name="idm597"><sup class="footnote">[74]</sup></a> Nonetheless, it remains a viable revenue stream for
1642 many content creators, including those who are Made with Creative
1643 Commons. Often, instead of paying to display advertising, the advertiser
1644 pays to be an official sponsor of particular content or projects, or of the
1645 overall endeavor.
1646         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-your-content-creators-market-based"></a>Charging your content creators <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1647           Another type of multisided platform is where the content creators themselves
1648 pay to be featured on the platform.  Obviously, this revenue stream is only
1649 available to those who rely on work created, at least in part, by
1650 others. The most well-known version of this model is the
1651 <span class="quote">« <span class="quote">author-processing charge</span> »</span> of open-access journals like those
1652 published by the Public Library of Science, but there are other
1653 variations. The Conversation is primarily funded by a university-membership
1654 model, where universities pay to have their faculties participate as writers
1655 of the content on the Conversation website.
1656         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-a-transaction-fee-market-based"></a>Charging a transaction fee <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1657           This is a version of a traditional business model based on brokering
1658 transactions between parties.<a href="#ftn.idm608" class="footnote" name="idm608"><sup class="footnote">[75]</sup></a> Curation
1659 is an important element of this model.  Platforms like the Noun Project add
1660 value by wading through CC-licensed content to curate a high-quality set and
1661 then derive revenue when creators of that content make transactions with
1662 customers. Other platforms make money when service providers transact with
1663 their customers; for example, Opendesk makes money every time someone on
1664 their site pays a maker to make furniture based on one of the designs on the
1665 platform.
1666         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-service-to-your-creators-market-based"></a>Providing a service to your creators <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1667           As mentioned above, endeavors can make money by providing customized
1668 services to their users. Platforms can undertake a variation of this service
1669 model directed at the creators that provide the content they feature. The
1670 data platforms Figure.NZ and Figshare both capitalize on this model by
1671 providing paid tools to help their users make the data they contribute to
1672 the platform more discoverable and reusable.
1673         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="licensing-a-trademark-market-based"></a>Licensing a trademark <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1674           Finally, some that are Made with Creative Commons make money by selling use
1675 of their trademarks. Well known brands that consumers associate with
1676 quality, credibility, or even an ethos can license that trademark to
1677 companies that want to take advantage of that goodwill. By definition,
1678 trademarks are scarce because they represent a particular source of a good
1679 or service. Charging for the ability to use that trademark is a way of
1680 deriving revenue from something scarce while taking advantage of the
1681 abundance of CC content.
1682         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="reciprocity-based-revenue-streams"></a>Reciprocity-based revenue streams</h3></div></div></div><p>
1683           Even if we set aside grant funding, we found that the traditional economic
1684 framework of understanding the market failed to fully capture the ways the
1685 endeavors we analyzed were making money. It was not simply about monetizing
1686 scarcity.
1687         </p><p>
1688           Rather than devising a scheme to get people to pay money in exchange for
1689 some direct value provided to them, many of the revenue streams were more
1690 about providing value, building a relationship, and then eventually finding
1691 some money that flows back out of a sense of reciprocity. While some look
1692 like traditional nonprofit funding models, they aren’t charity. The endeavor
1693 exchange value with people, just not necessarily synchronously or in a way
1694 that requires that those values be equal. As David Bollier wrote in Think
1695 Like a Commoner, <span class="quote">« <span class="quote">There is no self-serving calculation of whether the
1696 value given and received is strictly equal.</span> »</span>
1697         </p><p>
1698           This should be a familiar dynamic—it is the way you deal with your friends
1699 and family. We give without regard for what and when we will get back. David
1700 Bollier wrote, <span class="quote">« <span class="quote">Reciprocal social exchange lies at the heart of human
1701 identity, community and culture. It is a vital brain function that helps the
1702 human species survive and evolve.</span> »</span>
1703         </p><p>
1704           What is rare is to incorporate this sort of relationship into an endeavor
1705 that also engages with the market.<a href="#ftn.idm626" class="footnote" name="idm626"><sup class="footnote">[76]</sup></a> We
1706 almost can’t help but think of relationships in the market as being centered
1707 on an even-steven exchange of value.<a href="#ftn.idm628" class="footnote" name="idm628"><sup class="footnote">[77]</sup></a>
1708         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="memberships-and-individual-donations-reciprocity-based"></a>Memberships and individual donations
1709 <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1710           While memberships and donations are traditional nonprofit funding models, in
1711 the Made with Creative Commons context, they are directly tied to the
1712 reciprocal relationship that is cultivated with the beneficiaries of their
1713 work. The bigger the pool of those receiving value from the content, the
1714 more likely this strategy will work, given that only a small percentage of
1715 people are likely to contribute. Since using CC licenses can grease the
1716 wheels for content to reach more people, this strategy can be more effective
1717 for endeavors that are Made with Creative Commons. The greater the argument
1718 that the content is a public good or that the entire endeavor is furthering
1719 a social mission, the more likely this strategy is to succeed.
1720         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="the-pay-what-you-want-model-reciprocity-based"></a>The pay-what-you-want model <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1721           In the pay-what-you-want model, the beneficiary of Creative Commons content
1722 is invited to give—at any amount they can and feel is appropriate, based on
1723 the public and personal value they feel is generated by the open
1724 content. Critically, these models are not touted as <span class="quote">« <span class="quote">buying</span> »</span>
1725 something free.  They are similar to a tip jar. People make financial
1726 contributions as an act of gratitude. These models capitalize on the fact
1727 that we are naturally inclined to give money for things we value in the
1728 marketplace, even in situations where we could find a way to get it for
1729 free.
1730         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="crowdfunding-reciprocity-based"></a>Crowdfunding <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1731           Crowdfunding models are based on recouping the costs of creating and
1732 distributing content before the content is created. If the endeavor is Made
1733 with Creative Commons, anyone who wants the work in question could simply
1734 wait until it’s created and then access it for free. That means, for this
1735 model to work, people have to care about more than just receiving the
1736 work. They have to want you to succeed. Amanda Palmer credits the success of
1737 her crowdfunding on Kickstarter and Patreon to the years she spent building
1738 her community and creating a connection with her fans. She wrote in The Art
1739 of Asking, <span class="quote">« <span class="quote">Good art is made, good art is shared, help is offered,
1740 ears are bent, emotions are exchanged, the compost of real, deep connection
1741 is sprayed all over the fields. Then one day, the artist steps up and asks
1742 for something. And if the ground has been fertilized enough, the audience
1743 says, without hesitation: of course.</span> »</span>
1744         </p><p>
1745           Other types of crowdfunding rely on a sense of responsibility that a
1746 particular community may feel. Knowledge Unlatched pools funds from major
1747 U.S. libraries to subsidize CC-licensed academic work that will be, by
1748 definition, available to everyone for free. Libraries with bigger budgets
1749 tend to give more out of a sense of commitment to the library community and
1750 to the idea of open access generally.
1751         </p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-human-connections"></a>Making Human Connections</h2></div></div></div><p>
1752         Regardless of how they made money, in our interviews, we repeatedly heard
1753 language like <span class="quote">« <span class="quote">persuading people to buy</span> »</span> and <span class="quote">« <span class="quote">inviting
1754 people to pay.</span> »</span> We heard it even in connection with revenue streams
1755 that sit squarely within the market. Cory Doctorow told us, <span class="quote">« <span class="quote">I have to
1756 convince my readers that the right thing to do is to pay me.</span> »</span> The
1757 founders of the for-profit company Lumen Learning showed us the letter they
1758 send to those who opt not to pay for the services they provide in connection
1759 with their CC-licensed educational content. It isn’t a cease-and-desist
1760 letter; it’s an invitation to pay because it’s the right thing to do. This
1761 sort of behavior toward what could be considered nonpaying customers is
1762 largely unheard of in the traditional marketplace. But it seems to be part
1763 of the fabric of being Made with Creative Commons.
1764       </p><p>
1765         Nearly every endeavor we profiled relied, at least in part, on people being
1766 invested in what they do. The closer the Creative Commons content is to
1767 being <span class="quote">« <span class="quote">the product,</span> »</span> the more pronounced this dynamic has to
1768 be. Rather than simply selling a product or service, they are making
1769 ideological, personal, and creative connections with the people who value
1770 what they do.
1771       </p><p>
1772         It took me a very long time to see how this avoidance of thinking about what
1773 they do in pure market terms was deeply tied to being Made with Creative
1774 Commons.
1775       </p><p>
1776         I came to the research with preconceived notions about what Creative Commons
1777 is and what it means to be Made with Creative Commons. It turned out I was
1778 wrong on so many counts.
1779       </p><p>
1780         Obviously, being Made with Creative Commons means using Creative Commons
1781 licenses. That much I knew. But in our interviews, people spoke of so much
1782 more than copyright permissions when they explained how sharing fit into
1783 what they do. I was thinking about sharing too narrowly, and as a result, I
1784 was missing vast swaths of the meaning packed within Creative
1785 Commons. Rather than parsing the specific and narrow role of the copyright
1786 license in the equation, it is important not to disaggregate the rest of
1787 what comes with sharing. You have to widen the lens.
1788       </p><p>
1789         Being Made with Creative Commons is not just about the simple act of
1790 licensing a copyrighted work under a set of standardized terms, but also
1791 about community, social good, contributing ideas, expressing a value system,
1792 working together. These components of sharing are hard to cultivate if you
1793 think about what you do in purely market terms. Decent social behavior isn’t
1794 as intuitive when we are doing something that involves monetary exchange. It
1795 takes a conscious effort to foster the context for real sharing, based not
1796 strictly on impersonal market exchange, but on connections with the people
1797 with whom you share—connections with you, with your work, with your values,
1798 with each other.
1799       </p><p>
1800         The rest of this section will explore some of the common strategies that
1801 creators, companies, and organizations use to remind us that there are
1802 humans behind every creative endeavor.  To remind us we have obligations to
1803 each other. To remind us what sharing really looks like.
1804       </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-human"></a>Be human</h3></div></div></div><p>
1805           Humans are social animals, which means we are naturally inclined to treat
1806 each other well.<a href="#ftn.idm661" class="footnote" name="idm661"><sup class="footnote">[78]</sup></a> But the further
1807 removed we are from the person with whom we are interacting, the less caring
1808 our behavior will be. While the Internet has democratized cultural
1809 production, increased access to knowledge, and connected us in extraordinary
1810 ways, it can also make it easy forget we are dealing with another human.
1811         </p><p>
1812           To counteract the anonymous and impersonal tendencies of how we operate
1813 online, individual creators and corporations who use Creative Commons
1814 licenses work to demonstrate their humanity. For some, this means pouring
1815 their lives out on the page. For others, it means showing their creative
1816 process, giving a glimpse into how they do what they do. As writer Austin
1817 Kleon wrote, <span class="quote">« <span class="quote">Our work doesn’t speak for itself.  Human beings want to
1818 know where things came from, how they were made, and who made them. The
1819 stories you tell about the work you do have a huge effect on how people feel
1820 and what they understand about your work, and how people feel and what they
1821 understand about your work affects how they value it.</span> »</span><a href="#ftn.idm665" class="footnote" name="idm665"><sup class="footnote">[79]</sup></a>
1822         </p><p>
1823           A critical component to doing this effectively is not worrying about being a
1824 <span class="quote">« <span class="quote">brand.</span> »</span> That means not being afraid to be vulnerable. Amanda
1825 Palmer says, <span class="quote">« <span class="quote">When you’re afraid of someone’s judgment, you can’t
1826 connect with them. You’re too preoccupied with the task of impressing
1827 them.</span> »</span> Not everyone is suited to live life as an open book like
1828 Palmer, and that’s OK. There are a lot of ways to be human. The trick is
1829 just avoiding pretense and the temptation to artificially craft an
1830 image. People don’t just want the glossy version of you. They can’t relate
1831 to it, at least not in a meaningful way.
1832         </p><p>
1833           This advice is probably even more important for businesses and organizations
1834 because we instinctively conceive of them as nonhuman (though in the United
1835 States, corporations are people!). When corporations and organizations make
1836 the people behind them more apparent, it reminds people that they are
1837 dealing with something other than an anonymous corporate entity. In
1838 business-speak, this is about <span class="quote">« <span class="quote">humanizing your interactions</span> »</span>
1839 with the public.<a href="#ftn.idm672" class="footnote" name="idm672"><sup class="footnote">[80]</sup></a> But it can’t be a
1840 gimmick. You can’t fake being human.
1841         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-open-and-accountable"></a>Be open and accountable</h3></div></div></div><p>
1842           Transparency helps people understand who you are and why you do what you do,
1843 but it also inspires trust. Max Temkin of Cards Against Humanity told us,
1844 <span class="quote">« <span class="quote">One of the most surprising things you can do in capitalism is just be
1845 honest with people.</span> »</span> That means sharing the good and the bad.  As
1846 Amanda Palmer wrote, <span class="quote">« <span class="quote">You can fix almost anything by authentically
1847 communicating.</span> »</span><a href="#ftn.idm679" class="footnote" name="idm679"><sup class="footnote">[81]</sup></a> It isn’t about
1848 trying to satisfy everyone or trying to sugarcoat mistakes or bad news, but
1849 instead about explaining your rationale and then being prepared to defend it
1850 when people are critical.<a href="#ftn.idm681" class="footnote" name="idm681"><sup class="footnote">[82]</sup></a>
1851         </p><p>
1852           Being accountable does not mean operating on consensus.  According to James
1853 Surowiecki, consensus-driven groups tend to resort to
1854 lowest-common-denominator solutions and avoid the sort of candid exchange of
1855 ideas that cultivates healthy collaboration.<a href="#ftn.idm684" class="footnote" name="idm684"><sup class="footnote">[83]</sup></a> Instead, it can be as simple as asking for input and then giving
1856 context and explanation about decisions you make, even if soliciting
1857 feedback and inviting discourse is time-consuming. If you don’t go through
1858 the effort to actually respond to the input you receive, it can be worse
1859 than not inviting input in the first place.<a href="#ftn.idm686" class="footnote" name="idm686"><sup class="footnote">[84]</sup></a> But when you get it right, it can guarantee the type of diversity
1860 of thought that helps endeavors excel. And it is another way to get people
1861 involved and invested in what you do.
1862         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="design-for-the-good-actors"></a>Design for the good actors</h3></div></div></div><p>
1863           Traditional economics assumes people make decisions based solely on their
1864 own economic self-interest.<a href="#ftn.idm691" class="footnote" name="idm691"><sup class="footnote">[85]</sup></a> Any
1865 relatively introspective human knows this is a fiction—we are much more
1866 complicated beings with a whole range of needs, emotions, and
1867 motivations. In fact, we are hardwired to work together and ensure
1868 fairness.<a href="#ftn.idm693" class="footnote" name="idm693"><sup class="footnote">[86]</sup></a> Being Made with Creative
1869 Commons requires an assumption that people will largely act on those social
1870 motivations, motivations that would be considered <span class="quote">« <span class="quote">irrational</span> »</span>
1871 in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">« <span class="quote">It is
1872 best to ignore people who try to scare you about free riding. That fear is
1873 based on a very shallow view of what motivates human behavior.</span> »</span> There
1874 will always be people who will act in purely selfish ways, but endeavors
1875 that are Made with Creative Commons design for the good actors.
1876         </p><p>
1877           The assumption that people will largely do the right thing can be a
1878 self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">« <span class="quote">Systems
1879 that assume people will act in ways that create public goods, and that give
1880 them opportunities and rewards for doing so, often let them work together
1881 better than neoclassical economics would predict.</span> »</span><a href="#ftn.idm699" class="footnote" name="idm699"><sup class="footnote">[87]</sup></a> When we acknowledge that people are often motivated
1882 by something other than financial self-interest, we design our endeavors in
1883 ways that encourage and accentuate our social instincts.
1884         </p><p>
1885           Rather than trying to exert control over people’s behavior, this mode of
1886 operating requires a certain level of trust. We might not realize it, but
1887 our daily lives are already built on trust. As Surowiecki wrote in The
1888 Wisdom of Crowds, <span class="quote">« <span class="quote">It’s impossible for a society to rely on law alone
1889 to make sure citizens act honestly and responsibly. And it’s impossible for
1890 any organization to rely on contracts alone to make sure that its managers
1891 and workers live up to their obligation.</span> »</span> Instead, we largely trust
1892 that people—mostly strangers—will do what they are supposed to
1893 do.<a href="#ftn.idm703" class="footnote" name="idm703"><sup class="footnote">[88]</sup></a> And most often, they do.
1894         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="treat-humans-like-well-humans"></a>Treat humans like, well, humans</h3></div></div></div><p>
1895           Pour les créateurs, traiter les gens comme des êtres humains signifie ne pas
1896 les traiter comme des fans. Comme Kleon le dit : <span class="quote">« <span class="quote">Si vous voulez des
1897 fans, vous devez d’abord être un fan.</span> »</span><a href="#ftn.idm709" class="footnote" name="idm709"><sup class="footnote">[89]</sup></a> Même s’il vous arrive d’être un des rares à atteindre les hauts
1898 niveaux de la célébrité, vous feriez mieux de vous souvenir que les gens qui
1899 suivent votre travail sont aussi des humains. Cory Doctorow se fait une
1900 obligation de répondre à chaque courriel que quelqu’un lui envoie. Amanda
1901 Palmer passe de vastes périodes de temps en ligne pour communiquer avec son
1902 public, s’obligeant à écouter tout autant qu’elle parle.<a href="#ftn.idm711" class="footnote" name="idm711"><sup class="footnote">[90]</sup></a>
1903         </p><p>
1904           The same idea goes for businesses and organizations. Rather than automating
1905 its customer service, the music platform Tribe of Noise makes a point to
1906 ensure its employees have personal, one-on-one interaction with users.
1907         </p><p>
1908           When we treat people like humans, they typically return the gift in
1909 kind. It’s called karma. But social relationships are fragile. It is all too
1910 easy to destroy them if you make the mistake of treating people as anonymous
1911 customers or free labor.<a href="#ftn.idm715" class="footnote" name="idm715"><sup class="footnote">[91]</sup></a> Platforms that
1912 rely on content from contributors are especially at risk of creating an
1913 exploitative dynamic. It is important to find ways to acknowledge and pay
1914 back the value that contributors generate. That does not mean you can solve
1915 this problem by simply paying contributors for their time or
1916 contributions. As soon as we introduce money into a relationship—at least
1917 when it takes a form of paying monetary value in exchange for other value—it
1918 can dramatically change the dynamic.<a href="#ftn.idm717" class="footnote" name="idm717"><sup class="footnote">[92]</sup></a>
1919         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="state-your-principles-and-stick-to-them"></a>State your principles and stick to them</h3></div></div></div><p>
1920           Being Made with Creative Commons makes a statement about who you are and
1921 what you do. The symbolism is powerful. Using Creative Commons licenses
1922 demonstrates adherence to a particular belief system, which generates
1923 goodwill and connects like-minded people to your work. Sometimes people will
1924 be drawn to endeavors that are Made with Creative Commons as a way of
1925 demonstrating their own commitment to the Creative Commons value system,
1926 akin to a political statement. Other times people will identify and feel
1927 connected with an endeavor’s separate social mission. Often both.
1928         </p><p>
1929           The expression of your values doesn’t have to be implicit. In fact, many of
1930 the people we interviewed talked about how important it is to state your
1931 guiding principles up front.  Lumen Learning attributes a lot of their
1932 success to having been outspoken about the fundamental values that guide
1933 what they do. As a for-profit company, they think their expressed commitment
1934 to low-income students and open licensing has been critical to their
1935 credibility in the OER (open educational resources) community in which they
1936 operate.
1937         </p><p>
1938           When your end goal is not about making a profit, people trust that you
1939 aren’t just trying to extract value for your own gain. People notice when
1940 you have a sense of purpose that transcends your own
1941 self-interest.<a href="#ftn.idm724" class="footnote" name="idm724"><sup class="footnote">[93]</sup></a> It attracts committed
1942 employees, motivates contributors, and builds trust.
1943         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="build-a-community"></a>Build a community</h3></div></div></div><p>
1944           Endeavors that are Made with Creative Commons thrive when community is built
1945 around what they do. This may mean a community collaborating together to
1946 create something new, or it may simply be a collection of like-minded people
1947 who get to know each other and rally around common interests or
1948 beliefs.<a href="#ftn.idm729" class="footnote" name="idm729"><sup class="footnote">[94]</sup></a> To a certain extent, simply
1949 being Made with Creative Commons automatically brings with it some element
1950 of community, by helping connect you to like-minded others who recognize and
1951 are drawn to the values symbolized by using CC.
1952         </p><p>
1953           To be sustainable, though, you have to work to nurture community. People
1954 have to care—about you and each other. One critical piece to this is
1955 fostering a sense of belonging. As Jono Bacon writes in The Art of
1956 Community, <span class="quote">« <span class="quote">If there is no belonging, there is no community.</span> »</span>
1957 For Amanda Palmer and her band, that meant creating an accepting and
1958 inclusive environment where people felt a part of their <span class="quote">« <span class="quote">weird little
1959 family.</span> »</span><a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[95]</sup></a> For organizations like
1960 Red Hat, that means connecting around common beliefs or goals. As the CEO
1961 Jim Whitehurst wrote in The Open Organization, <span class="quote">« <span class="quote">Tapping into passion
1962 is especially important in building the kinds of participative communities
1963 that drive open organizations.</span> »</span><a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[96]</sup></a>
1964         </p><p>
1965           Communities that collaborate together take deliberate planning. Surowiecki
1966 wrote, <span class="quote">« <span class="quote">It takes a lot of work to put the group together. It’s
1967 difficult to ensure that people are working in the group’s interest and not
1968 in their own. And when there’s a lack of trust between the members of the
1969 group (which isn’t surprising given that they don’t really know each other),
1970 considerable energy is wasted trying to determine each other’s bona
1971 fides.</span> »</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[97]</sup></a> Building true community
1972 requires giving people within the community the power to create or influence
1973 the rules that govern the community.<a href="#ftn.idm743" class="footnote" name="idm743"><sup class="footnote">[98]</sup></a> If
1974 the rules are created and imposed in a top-down manner, people feel like
1975 they don’t have a voice, which in turn leads to disengagement.
1976         </p><p>
1977           Community takes work, but working together, or even simply being connected
1978 around common interests or values, is in many ways what sharing is about.
1979         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="give-more-to-the-commons-than-you-take"></a>Give more to the commons than you take</h3></div></div></div><p>
1980           Conventional wisdom in the marketplace dictates that people should try to
1981 extract as much money as possible from resources. This is essentially what
1982 defines so much of the so-called sharing economy. In an article on the
1983 Harvard Business Review website called <span class="quote">« <span class="quote">The Sharing Economy Isn’t
1984 about Sharing at All,</span> »</span> authors Giana Eckhardt and Fleura Bardhi
1985 explained how the anonymous market-driven trans-actions in most
1986 sharing-economy businesses are purely about monetizing access.<a href="#ftn.idm750" class="footnote" name="idm750"><sup class="footnote">[99]</sup></a> As Lisa Gansky put it in her book The Mesh, the
1987 primary strategy of the sharing economy is to sell the same product multiple
1988 times, by selling access rather than ownership.<a href="#ftn.idm754" class="footnote" name="idm754"><sup class="footnote">[100]</sup></a> That is not sharing.
1989         </p><p>
1990           Sharing requires adding as much or more value to the ecosystem than you
1991 take. You can’t simply treat open content as a free pool of resources from
1992 which to extract value. Part of giving back to the ecosystem is contributing
1993 content back to the public under CC licenses. But it doesn’t have to just be
1994 about creating content; it can be about adding value in other ways.  The
1995 social blogging platform Medium provides value to its community by
1996 incentivizing good behavior, and the result is an online space with
1997 remarkably high-quality user-generated content and limited
1998 trolling.<a href="#ftn.idm757" class="footnote" name="idm757"><sup class="footnote">[101]</sup></a> Opendesk contributes to its
1999 community by committing to help its designers make money, in part by
2000 actively curating and displaying their work on its platform effectively.
2001         </p><p>
2002           In all cases, it is important to openly acknowledge the amount of value you
2003 add versus that which you draw on that was created by others. Being
2004 transparent about this builds credibility and shows you are a contributing
2005 player in the commons. When your endeavor is making money, that also means
2006 apportioning financial compensation in a way that reflects the value
2007 contributed by others, providing more to contributors when the value they
2008 add outweighs the value provided by you.
2009         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="involve-people-in-what-you-do"></a>Involve people in what you do</h3></div></div></div><p>
2010           Thanks to the Internet, we can tap into the talents and expertise of people
2011 around the globe. Chris Anderson calls it the Long Tail of
2012 talent.<a href="#ftn.idm765" class="footnote" name="idm765"><sup class="footnote">[102]</sup></a> But to make collaboration work,
2013 the group has to be effective at what it is doing, and the people within the
2014 group have to find satisfaction from being involved.<a href="#ftn.idm767" class="footnote" name="idm767"><sup class="footnote">[103]</sup></a> This is easier to facilitate for some types of
2015 creative work than it is for others. Groups tied together online collaborate
2016 best when people can work independently and asynchronously, and particularly
2017 for larger groups with loose ties, when contributors can make simple
2018 improvements without a particularly heavy time commitment.<a href="#ftn.idm769" class="footnote" name="idm769"><sup class="footnote">[104]</sup></a>
2019         </p><p>
2020           As the success of Wikipedia demonstrates, editing an online encyclopedia is
2021 exactly the sort of activity that is perfect for massive co-creation because
2022 small, incremental edits made by a diverse range of people acting on their
2023 own are immensely valuable in the aggregate. Those same sorts of small
2024 contributions would be less useful for many other types of creative work,
2025 and people are inherently less motivated to contribute when it doesn’t
2026 appear that their efforts will make much of a difference.<a href="#ftn.idm772" class="footnote" name="idm772"><sup class="footnote">[105]</sup></a>
2027         </p><p>
2028           It is easy to romanticize the opportunities for global cocreation made
2029 possible by the Internet, and, indeed, the successful examples of it are
2030 truly incredible and inspiring.  But in a wide range of
2031 circumstances—perhaps more often than not—community cocreation is not part
2032 of the equation, even within endeavors built on CC content. Shirky wrote,
2033 <span class="quote">« <span class="quote">Sometimes the value of professional work trumps the value of amateur
2034 sharing or a feeling of belonging.<a href="#ftn.idm776" class="footnote" name="idm776"><sup class="footnote">[106]</sup></a> The
2035 textbook publisher OpenStax, which distributes all of its material for free
2036 under CC licensing, is an example of this dynamic. Rather than tapping the
2037 community to help cocreate their college textbooks, they invest a
2038 significant amount of time and money to develop professional content. For
2039 individual creators, where the creative work is the basis for what they do,
2040 community cocreation is only rarely a part of the picture. Even musician
2041 Amanda Palmer, who is famous for her openness and involvement with her fans,
2042 said,</span> »</span>The only department where I wasn’t open to input was the
2043 writing, the music itself."<a href="#ftn.idm778" class="footnote" name="idm778"><sup class="footnote">[107]</sup></a>
2044         </p><p>
2045           While we tend to immediately think of cocreation and remixing when we hear
2046 the word collaboration, you can also involve others in your creative process
2047 in more informal ways, by sharing half-baked ideas and early drafts, and
2048 interacting with the public to incubate ideas and get feedback. So-called
2049 <span class="quote">« <span class="quote">making in public</span> »</span> opens the door to letting people feel more
2050 invested in your creative work.<a href="#ftn.idm782" class="footnote" name="idm782"><sup class="footnote">[108]</sup></a> And it
2051 shows a nonterritorial approach to ideas and information. Stephen Covey (of
2052 The 7 Habits of Highly Effective People fame) calls this the abundance
2053 mentality—treating ideas like something plentiful—and it can create an
2054 environment where collaboration flourishes.<a href="#ftn.idm784" class="footnote" name="idm784"><sup class="footnote">[109]</sup></a>
2055         </p><p>
2056           There is no one way to involve people in what you do. They key is finding a
2057 way for people to contribute on their terms, compelled by their own
2058 motivations.<a href="#ftn.idm787" class="footnote" name="idm787"><sup class="footnote">[110]</sup></a> What that looks like
2059 varies wildly depending on the project. Not every endeavor that is Made with
2060 Creative Commons can be Wikipedia, but every endeavor can find ways to
2061 invite the public into what they do. The goal for any form of collaboration
2062 is to move away from thinking of consumers as passive recipients of your
2063 content and transition them into active participants.<a href="#ftn.idm789" class="footnote" name="idm789"><sup class="footnote">[111]</sup></a>
2064         </p></div></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm396" class="footnote"><p><a href="#idm396" class="para"><sup class="para">[37] </sup></a>
2065           Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
2066 John Wiley and Sons, 2010), 14. A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
2067         </p></div><div id="ftn.idm410" class="footnote"><p><a href="#idm410" class="para"><sup class="para">[38] </sup></a>
2068           Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
2069 Age (San Francisco, CA: McSweeney’s, 2014) 68.
2070         </p></div><div id="ftn.idm419" class="footnote"><p><a href="#idm419" class="para"><sup class="para">[39] </sup></a>
2071           Ibid., 55.
2072         </p></div><div id="ftn.idm422" class="footnote"><p><a href="#idm422" class="para"><sup class="para">[40] </sup></a>
2073           Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
2074 Something for Nothing, reprint with new preface (New York: Hyperion, 2010),
2075 224.
2076         </p></div><div id="ftn.idm426" class="footnote"><p><a href="#idm426" class="para"><sup class="para">[41] </sup></a>
2077           Doctorow, Information Doesn’t Want to Be Free, 44.
2078         </p></div><div id="ftn.idm438" class="footnote"><p><a href="#idm438" class="para"><sup class="para">[42] </sup></a>
2079             Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let
2080 People Help (New York: Grand Central, 2014), 121.
2081           </p></div><div id="ftn.idm442" class="footnote"><p><a href="#idm442" class="para"><sup class="para">[43] </sup></a>
2082             Chris Anderson, Makers: The New Industrial Revolution (New York: Signal,
2083 2012), 64.
2084           </p></div><div id="ftn.idm446" class="footnote"><p><a href="#idm446" class="para"><sup class="para">[44] </sup></a>
2085             David Bollier, Think Like a Commoner: A Short Introduction to the Life of
2086 the Commons (Gabriola Island, BC: New Society, 2014), 70.
2087           </p></div><div id="ftn.idm449" class="footnote"><p><a href="#idm449" class="para"><sup class="para">[45] </sup></a>
2088             Anderson, Makers, 66.
2089           </p></div><div id="ftn.idm452" class="footnote"><p><a href="#idm452" class="para"><sup class="para">[46] </sup></a>
2090             Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy (New
2091 York: Morgan James, 2016), 10.
2092           </p></div><div id="ftn.idm455" class="footnote"><p><a href="#idm455" class="para"><sup class="para">[47] </sup></a>
2093             Anderson, Free, 62.
2094           </p></div><div id="ftn.idm460" class="footnote"><p><a href="#idm460" class="para"><sup class="para">[48] </sup></a>
2095             Doctorow, Information Doesn’t Want to Be Free, 38.
2096           </p></div><div id="ftn.idm465" class="footnote"><p><a href="#idm465" class="para"><sup class="para">[49] </sup></a>
2097             Bollier, Think Like a Commoner, 68.
2098           </p></div><div id="ftn.idm471" class="footnote"><p><a href="#idm471" class="para"><sup class="para">[50] </sup></a>
2099             Anderson, Free, 86.
2100           </p></div><div id="ftn.idm475" class="footnote"><p><a href="#idm475" class="para"><sup class="para">[51] </sup></a>
2101             Doctorow, Information Doesn’t Want to Be Free, 144.
2102           </p></div><div id="ftn.idm485" class="footnote"><p><a href="#idm485" class="para"><sup class="para">[52] </sup></a>
2103               Anderson, Free, 123.
2104             </p></div><div id="ftn.idm488" class="footnote"><p><a href="#idm488" class="para"><sup class="para">[53] </sup></a>
2105               Ibid., 132.
2106             </p></div><div id="ftn.idm490" class="footnote"><p><a href="#idm490" class="para"><sup class="para">[54] </sup></a>
2107               Ibid., 70.
2108             </p></div><div id="ftn.idm495" class="footnote"><p><a href="#idm495" class="para"><sup class="para">[55] </sup></a>
2109               James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005),
2110 124. Surowiecki says, <span class="quote">« <span class="quote">The measure of success of laws and contracts is
2111 how rarely they are invoked.</span> »</span>
2112             </p></div><div id="ftn.idm505" class="footnote"><p><a href="#idm505" class="para"><sup class="para">[56] </sup></a>
2113               Anderson, Free, 44.
2114             </p></div><div id="ftn.idm512" class="footnote"><p><a href="#idm512" class="para"><sup class="para">[57] </sup></a>
2115               Osterwalder and Pigneur, Business Model Generation, 23.
2116             </p></div><div id="ftn.idm516" class="footnote"><p><a href="#idm516" class="para"><sup class="para">[58] </sup></a>
2117               Anderson, Free, 67.
2118             </p></div><div id="ftn.idm518" class="footnote"><p><a href="#idm518" class="para"><sup class="para">[59] </sup></a>
2119               Ibid., 58.
2120             </p></div><div id="ftn.idm520" class="footnote"><p><a href="#idm520" class="para"><sup class="para">[60] </sup></a>
2121               Anderson, Makers, 71.
2122             </p></div><div id="ftn.idm522" class="footnote"><p><a href="#idm522" class="para"><sup class="para">[61] </sup></a>
2123               Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into
2124 Collaborators (London: Penguin Books, 2010), 78.
2125             </p></div><div id="ftn.idm526" class="footnote"><p><a href="#idm526" class="para"><sup class="para">[62] </sup></a>
2126               Ibid., 21.
2127             </p></div><div id="ftn.idm531" class="footnote"><p><a href="#idm531" class="para"><sup class="para">[63] </sup></a>
2128               Doctorow, Information Doesn’t Want to Be Free, 43.
2129             </p></div><div id="ftn.idm538" class="footnote"><p><a href="#idm538" class="para"><sup class="para">[64] </sup></a>
2130             William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">« <span class="quote">Ten
2131 Nonprofit Funding Models,</span> »</span> Stanford Social Innovation Review, Spring
2132 2009, <a class="ulink" href="http://ssir.org/articles/entry/ten_nonprofit_funding_models" target="_top">http://ssir.org/articles/entry/ten_nonprofit_funding_models</a>.
2133           </p></div><div id="ftn.idm544" class="footnote"><p><a href="#idm544" class="para"><sup class="para">[65] </sup></a>
2134             Shirky, Cognitive Surplus, 111.
2135           </p></div><div id="ftn.idm550" class="footnote"><p><a href="#idm550" class="para"><sup class="para">[66] </sup></a>
2136               Osterwalder and Pigneur, Business Model Generation, 30.
2137             </p></div><div id="ftn.idm552" class="footnote"><p><a href="#idm552" class="para"><sup class="para">[67] </sup></a>
2138               Jim Whitehurst, The Open Organization: Igniting Passion and Performance
2139 (Boston: Harvard Business Review Press, 2015), 202.
2140             </p></div><div id="ftn.idm555" class="footnote"><p><a href="#idm555" class="para"><sup class="para">[68] </sup></a>
2141               Anderson, Free, 71.
2142             </p></div><div id="ftn.idm561" class="footnote"><p><a href="#idm561" class="para"><sup class="para">[69] </sup></a>
2143               Ibid., 231.
2144             </p></div><div id="ftn.idm571" class="footnote"><p><a href="#idm571" class="para"><sup class="para">[70] </sup></a>
2145               Ibid., 97.
2146             </p></div><div id="ftn.idm578" class="footnote"><p><a href="#idm578" class="para"><sup class="para">[71] </sup></a>
2147               Anderson, Makers, 107.
2148             </p></div><div id="ftn.idm589" class="footnote"><p><a href="#idm589" class="para"><sup class="para">[72] </sup></a>
2149               Osterwalder and Pigneur, Business Model Generation, 89.
2150             </p></div><div id="ftn.idm595" class="footnote"><p><a href="#idm595" class="para"><sup class="para">[73] </sup></a>
2151               Ibid., 92.
2152             </p></div><div id="ftn.idm597" class="footnote"><p><a href="#idm597" class="para"><sup class="para">[74] </sup></a>
2153               Anderson, Free, 142.
2154             </p></div><div id="ftn.idm608" class="footnote"><p><a href="#idm608" class="para"><sup class="para">[75] </sup></a>
2155               Osterwalder and Pigneur, Business Model Generation, 32.
2156             </p></div><div id="ftn.idm626" class="footnote"><p><a href="#idm626" class="para"><sup class="para">[76] </sup></a>
2157               Bollier, Think Like a Commoner, 150.
2158             </p></div><div id="ftn.idm628" class="footnote"><p><a href="#idm628" class="para"><sup class="para">[77] </sup></a>
2159               Ibid., 134.
2160             </p></div><div id="ftn.idm661" class="footnote"><p><a href="#idm661" class="para"><sup class="para">[78] </sup></a>
2161               Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our
2162 Decisions, rev. ed. (New York: Harper Perennial, 2010), 109.
2163             </p></div><div id="ftn.idm665" class="footnote"><p><a href="#idm665" class="para"><sup class="para">[79] </sup></a>
2164               Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and Get
2165 Discovered (New York: Workman, 2014), 93.
2166             </p></div><div id="ftn.idm672" class="footnote"><p><a href="#idm672" class="para"><sup class="para">[80] </sup></a>
2167               Kramer, Shareology, 76.
2168             </p></div><div id="ftn.idm679" class="footnote"><p><a href="#idm679" class="para"><sup class="para">[81] </sup></a>
2169               Palmer, Art of Asking, 252.
2170             </p></div><div id="ftn.idm681" class="footnote"><p><a href="#idm681" class="para"><sup class="para">[82] </sup></a>
2171               Whitehurst, Open Organization, 145.
2172             </p></div><div id="ftn.idm684" class="footnote"><p><a href="#idm684" class="para"><sup class="para">[83] </sup></a>
2173               Surowiecki, Wisdom of Crowds, 203.
2174             </p></div><div id="ftn.idm686" class="footnote"><p><a href="#idm686" class="para"><sup class="para">[84] </sup></a>
2175               Whitehurst, Open Organization, 80.
2176             </p></div><div id="ftn.idm691" class="footnote"><p><a href="#idm691" class="para"><sup class="para">[85] </sup></a>
2177               Bollier, Think Like a Commoner, 25.
2178             </p></div><div id="ftn.idm693" class="footnote"><p><a href="#idm693" class="para"><sup class="para">[86] </sup></a>
2179               Ibid., 31.
2180             </p></div><div id="ftn.idm699" class="footnote"><p><a href="#idm699" class="para"><sup class="para">[87] </sup></a>
2181               Shirky, Cognitive Surplus, 112.
2182             </p></div><div id="ftn.idm703" class="footnote"><p><a href="#idm703" class="para"><sup class="para">[88] </sup></a>
2183               Surowiecki, Wisdom of Crowds, 124.
2184             </p></div><div id="ftn.idm709" class="footnote"><p><a href="#idm709" class="para"><sup class="para">[89] </sup></a>
2185               Kleon, Show Your Work, 127.
2186             </p></div><div id="ftn.idm711" class="footnote"><p><a href="#idm711" class="para"><sup class="para">[90] </sup></a>
2187               Palmer, Art of Asking, 121.
2188             </p></div><div id="ftn.idm715" class="footnote"><p><a href="#idm715" class="para"><sup class="para">[91] </sup></a>
2189               Ariely, Predictably Irrational, 87.
2190             </p></div><div id="ftn.idm717" class="footnote"><p><a href="#idm717" class="para"><sup class="para">[92] </sup></a>
2191               Ibid., 105.
2192             </p></div><div id="ftn.idm724" class="footnote"><p><a href="#idm724" class="para"><sup class="para">[93] </sup></a>
2193               Ibid., 36.
2194             </p></div><div id="ftn.idm729" class="footnote"><p><a href="#idm729" class="para"><sup class="para">[94] </sup></a>
2195               Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
2196 2012), 36.
2197             </p></div><div id="ftn.idm734" class="footnote"><p><a href="#idm734" class="para"><sup class="para">[95] </sup></a>
2198               Palmer, Art of Asking, 98.
2199             </p></div><div id="ftn.idm737" class="footnote"><p><a href="#idm737" class="para"><sup class="para">[96] </sup></a>
2200               Whitehurst, Open Organization, 34.
2201             </p></div><div id="ftn.idm741" class="footnote"><p><a href="#idm741" class="para"><sup class="para">[97] </sup></a>
2202               Surowiecki, Wisdom of Crowds, 200.
2203             </p></div><div id="ftn.idm743" class="footnote"><p><a href="#idm743" class="para"><sup class="para">[98] </sup></a>
2204               Bollier, Think Like a Commoner, 29.
2205             </p></div><div id="ftn.idm750" class="footnote"><p><a href="#idm750" class="para"><sup class="para">[99] </sup></a>
2206               Giana Eckhardt and Fleura Bardhi, <span class="quote">« <span class="quote">The Sharing Economy Isn’t about
2207 Sharing at All,</span> »</span> Harvard Business Review (website), January 28, 2015,
2208 <a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
2209             </p></div><div id="ftn.idm754" class="footnote"><p><a href="#idm754" class="para"><sup class="para">[100] </sup></a>
2210               Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with
2211 new epilogue (New York: Portfolio, 2012).
2212             </p></div><div id="ftn.idm757" class="footnote"><p><a href="#idm757" class="para"><sup class="para">[101] </sup></a>
2213               David Lee, <span class="quote">« <span class="quote">Inside Medium: An Attempt to Bring Civility to the
2214 Internet,</span> »</span> BBC News, March 3, 2016, <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
2215             </p></div><div id="ftn.idm765" class="footnote"><p><a href="#idm765" class="para"><sup class="para">[102] </sup></a>
2216               Anderson, Makers, 148.
2217             </p></div><div id="ftn.idm767" class="footnote"><p><a href="#idm767" class="para"><sup class="para">[103] </sup></a>
2218               Shirky, Cognitive Surplus, 164.
2219             </p></div><div id="ftn.idm769" class="footnote"><p><a href="#idm769" class="para"><sup class="para">[104] </sup></a>
2220               Whitehurst, foreword to Open Organization.
2221             </p></div><div id="ftn.idm772" class="footnote"><p><a href="#idm772" class="para"><sup class="para">[105] </sup></a>
2222               Shirky, Cognitive Surplus, 144.
2223             </p></div><div id="ftn.idm776" class="footnote"><p><a href="#idm776" class="para"><sup class="para">[106] </sup></a>
2224               Ibid., 154.
2225             </p></div><div id="ftn.idm778" class="footnote"><p><a href="#idm778" class="para"><sup class="para">[107] </sup></a>
2226               Palmer, Art of Asking, 163.
2227             </p></div><div id="ftn.idm782" class="footnote"><p><a href="#idm782" class="para"><sup class="para">[108] </sup></a>
2228               Anderson, Makers, 173.
2229             </p></div><div id="ftn.idm784" class="footnote"><p><a href="#idm784" class="para"><sup class="para">[109] </sup></a>
2230               Tom Kelley and David Kelley, Creative Confidence: Unleashing the Potential
2231 within Us All (New York: Crown, 2013), 82.
2232             </p></div><div id="ftn.idm787" class="footnote"><p><a href="#idm787" class="para"><sup class="para">[110] </sup></a>
2233               Whitehurst, foreword to Open Organization.
2234             </p></div><div id="ftn.idm789" class="footnote"><p><a href="#idm789" class="para"><sup class="para">[111] </sup></a>
2235               Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
2236 Collaborative Consumption (New York: Harper Business, 2010), 188.
2237             </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Chapitre 3. The Creative Commons Licenses</h2></div></div></div><p>
2238       All of the Creative Commons licenses grant a basic set of permissions. At a
2239 minimum, a CC- licensed work can be copied and shared in its original form
2240 for noncommercial purposes so long as attribution is given to the
2241 creator. There are six licenses in the CC license suite that build on that
2242 basic set of permissions, ranging from the most restrictive (allowing only
2243 those basic permissions to share unmodified copies for noncommercial
2244 purposes)  to the most permissive (reusers can do anything they want with
2245 the work, even for commercial purposes, as long as they give the creator
2246 credit). The licenses are built on copyright and do not cover other types of
2247 rights that creators might have in their works, like patents or trademarks.
2248     </p><p>
2249       Here are the six licenses:
2250     </p><p>
2251         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D83BF99FC0821C489.png" width="40.0%"></span>
2252       </p><p>
2253       The Attribution license (CC BY) lets others distribute, remix, tweak, and
2254 build upon your work, even commercially, as long as they credit you for the
2255 original creation. This is the most accommodating of licenses
2256 offered. Recommended for maximum dissemination and use of licensed
2257 materials.
2258     </p><p>
2259         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DFD3592CB17C4EC38.png" width="40.0%"></span>
2260       </p><p>
2261       The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak, and
2262 build upon your work, even for commercial purposes, as long as they credit
2263 you and license their new creations under identical terms. This license is
2264 often compared to <span class="quote">« <span class="quote">copyleft</span> »</span> free and open source software
2265 licenses.  All new works based on yours will carry the same license, so any
2266 derivatives will also allow commercial use.
2267     </p><p>
2268         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D254882DE24793FEA.png" width="40.0%"></span>
2269       </p><p>
2270       The Attribution-NoDerivs license (CC BY-ND) allows for redistribution,
2271 commercial and noncommercial, as long as it is passed along unchanged with
2272 credit to you.
2273     </p><p>
2274         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png" width="40.0%"></span>
2275       </p><p>
2276       The Attribution-NonCommercial license (CC BY-NC) lets others remix, tweak,
2277 and build upon your work noncommercially. Although their new works must also
2278 acknowledge you, they don’t have to license their derivative works on the
2279 same terms.
2280     </p><p>
2281         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
2282       </p><p>
2283       The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA)  lets others
2284 remix, tweak, and build upon your work noncommercially, as long as they
2285 credit you and license their new creations under the same terms.
2286     </p><p>
2287         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DC3FEF92B21310965.png" width="40.0%"></span>
2288       </p><p>
2289       The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
2290 restrictive of our six main licenses, only allowing others to download your
2291 works and share them with others as long as they credit you, but they can’t
2292 change them or use them commercially.
2293     </p><p>
2294       In addition to these six licenses, Creative Commons has two public-domain
2295 tools—one for creators and the other for those who manage collections of
2296 existing works by authors whose terms of copyright have expired:
2297     </p><p>
2298         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008DBE3414994CD27786.png" width="40.0%"></span>
2299       </p><p>
2300       CC0 enables authors and copyright owners to dedicate their works to the
2301 worldwide public domain (<span class="quote">« <span class="quote">no rights reserved</span> »</span>).
2302     </p><p>
2303         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
2304       </p><p>
2305       The Creative Commons Public Domain Mark facilitates the labeling and
2306 discovery of works that are already free of known copyright restrictions.
2307     </p><p>
2308       In our case studies, some use just one Creative Commons license, others use
2309 several. Attribution (found in thirteen case studies)  and
2310 Attribution-ShareAlike (found in eight studies) were the most common, with
2311 the other licenses coming up in four or so case studies, including the
2312 public-domain tool CC0. Some of the organizations we profiled offer both
2313 digital content and software: by using open-source-software licenses for the
2314 software code and Creative Commons licenses for digital content, they
2315 amplify their involvement with and commitment to sharing.
2316     </p><p>
2317       There is a popular misconception that the three NonCommercial licenses
2318 offered by CC are the only options for those who want to make money off
2319 their work. As we hope this book makes clear, there are many ways to make
2320 endeavors that are Made with Creative Commons sustainable. Reserving
2321 commercial rights is only one of those ways. It is certainly true that a
2322 license that allows others to make commercial use of your work (CC BY, CC
2323 BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you
2324 apply an Attribution (CC BY) license to your book, you can’t force a film
2325 company to pay you royalties if they turn your book into a feature-length
2326 film, or prevent another company from selling physical copies of your work.
2327     </p><p>
2328       The decision to choose a NonCommercial and/or NoDerivs license comes down to
2329 how much you need to retain control over the creative work. The
2330 NonCommercial and NoDerivs licenses are ways of reserving some significant
2331 portion of the exclusive bundle of rights that copyright grants to
2332 creators. In some cases, reserving those rights is important to how you
2333 bring in revenue. In other cases, creators use a NonCommercial or NoDerivs
2334 license because they can’t give up on the dream of hitting the creative
2335 jackpot.  The music platform Tribe of Noise told us the NonCommercial
2336 licenses were popular among their users because people still held out the
2337 dream of having a major record label discover their work.
2338     </p><p>
2339       Other times the decision to use a more restrictive license is due to a
2340 concern about the integrity of the work. For example, the nonprofit
2341 TeachAIDS uses a NoDerivs license for its educational materials because the
2342 medical subject matter is particularly important to get right.
2343     </p><p>
2344       There is no one right way. The NonCommercial and NoDerivs restrictions
2345 reflect the values and preferences of creators about how their creative work
2346 should be reused, just as the ShareAlike license reflects a different set of
2347 values, one that is less about controlling access to their own work and more
2348 about ensuring that whatever gets created with their work is available to
2349 all on the same terms. Since the beginning of the commons, people have been
2350 setting up structures that helped regulate the way in which shared resources
2351 were used. The CC licenses are an attempt to standardize norms across all
2352 domains.
2353     </p><p>
2354       Note
2355     </p><p>
2356       For more about the licenses including examples and tips on sharing your work
2357 in the digital commons, start with the Creative Commons page called
2358 <span class="quote">« <span class="quote">Share Your Work</span> »</span> at <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
2359     </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Partie II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
2360     The twenty-four case studies in this section were chosen from hundreds of
2361 nominations received from Kickstarter backers, Creative Commons staff, and
2362 the global Creative Commons community. We selected eighty potential
2363 candidates that represented a mix of industries, content types, revenue
2364 streams, and parts of the world.  Twelve of the case studies were selected
2365 from that group based on votes cast by Kickstarter backers, and the other
2366 twelve were selected by us.
2367   </p><p>
2368     We did background research and conducted interviews for each case study,
2369 based on the same set of basic questions about the endeavor.  The idea for
2370 each case study is to tell the story about the endeavor and the role sharing
2371 plays within it, largely the way in which it was told to us by those we
2372 interviewed.
2373   </p><div class="toc"><p><b>Table des matières</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>Chapitre 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
2374         Arduino is a for-profit open-source electronics platform and computer
2375 hardware and software company. Founded in 2005 in Italy.
2376       </p><p>
2377           <a class="ulink" href="http://www.arduino.cc" target="_top">http://www.arduino.cc</a>
2378         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
2379 copies (sales of boards, modules, shields, and kits), licensing a trademark
2380 (fees paid by those who want to sell Arduino products using their name)
2381       </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
2382       </p><p><span class="strong"><strong>Interviewees</strong></span>: David Cuartielles and Tom
2383 Igoe, cofounders
2384       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
2385     \textit{
2386         Profile written by Paul Stacey
2387       }
2388     \end{flushright}</td></tr></table></div><p>
2389       In 2005, at the Interaction Design Institute Ivrea in northern Italy,
2390 teachers and students needed an easy way to use electronics and programming
2391 to quickly prototype design ideas. As musicians, artists, and designers,
2392 they needed a platform that didn’t require engineering expertise. A group of
2393 teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe,
2394 Gianluca Martino, and David Mellis, built a platform that combined different
2395 open technologies. They called it Arduino. The platform integrated software,
2396 hardware, microcontrollers, and electronics. All aspects of the platform
2397 were openly licensed: hardware designs and documentation with the
2398 Attribution-Share-Alike license (CC BY-SA), and software with the GNU
2399 General Public License.
2400     </p><p>
2401       Arduino boards are able to read inputs—light on a sensor, a finger on a
2402 button, or a Twitter message—and turn it into outputs—activating a motor,
2403 turning on an LED, publishing something online. You send a set of
2404 instructions to the microcontroller on the board by using the Arduino
2405 programming language and Arduino software (based on a piece of open-source
2406 software called Processing, a programming tool used to make visual art).
2407     </p><p><span class="quote">« <span class="quote">The reasons for making Arduino open source are complicated,</span> »</span>
2408 Tom says. Partly it was about supporting flexibility. The open-source nature
2409 of Arduino empowers users to modify it and create a lot of different
2410 variations, adding on top of what the founders build. David says this
2411 <span class="quote">« <span class="quote">ended up strengthening the platform far beyond what we had even
2412 thought of building.</span> »</span>
2413     </p><p>
2414       For Tom another factor was the impending closure of the Ivrea design
2415 school. He’d seen other organizations close their doors and all their work
2416 and research just disappear. Open-sourcing ensured that Arduino would
2417 outlive the Ivrea closure. Persistence is one thing Tom really likes about
2418 open source. If key people leave, or a company shuts down, an open-source
2419 product lives on. In Tom’s view, <span class="quote">« <span class="quote">Open sourcing makes it easier to
2420 trust a product.</span> »</span>
2421     </p><p>
2422       With the school closing, David and some of the other Arduino founders
2423 started a consulting firm and multidisciplinary design studio they called
2424 Tinker, in London. Tinker designed products and services that bridged the
2425 digital and the physical, and they taught people how to use new technologies
2426 in creative ways.  Revenue from Tinker was invested in sustaining and
2427 enhancing Arduino.
2428     </p><p>
2429       For Tom, part of Arduino’s success is because the founders made themselves
2430 the first customer of their product. They made products they themselves
2431 personally wanted. It was a matter of <span class="quote">« <span class="quote">I need this thing,</span> »</span> not
2432 <span class="quote">« <span class="quote">If we make this, we’ll make a lot of money.</span> »</span> Tom notes that
2433 being your own first customer makes you more confident and convincing at
2434 selling your product.
2435     </p><p>
2436       Arduino’s business model has evolved over time—and Tom says model is a
2437 grandiose term for it. Originally, they just wanted to make a few boards and
2438 get them out into the world. They started out with two hundred boards, sold
2439 them, and made a little profit. They used that to make another thousand,
2440 which generated enough revenue to make five thousand. In the early days,
2441 they simply tried to generate enough funding to keep the venture going day
2442 to day. When they hit the ten thousand mark, they started to think about
2443 Arduino as a company. By then it was clear you can open-source the design
2444 but still manufacture the physical product. As long as it’s a quality
2445 product and sold at a reasonable price, people will buy it.
2446     </p><p>
2447       Arduino now has a worldwide community of makers—students, hobbyists,
2448 artists, programmers, and professionals. Arduino provides a wiki called
2449 Playground (a wiki is where all users can edit and add pages, contributing
2450 to and benefiting from collective research). People share code, circuit
2451 diagrams, tutorials, DIY instructions, and tips and tricks, and show off
2452 their projects. In addition, there’s a multilanguage discussion forum where
2453 users can get help using Arduino, discuss topics like robotics, and make
2454 suggestions for new Arduino product designs. As of January 2017, 324,928
2455 members had made 2,989,489 posts on 379,044 topics. The worldwide community
2456 of makers has contributed an incredible amount of accessible knowledge
2457 helpful to novices and experts alike.
2458     </p><p>
2459       Transitioning Arduino from a project to a company was a big step.  Other
2460 businesses who made boards were charging a lot of money for them. Arduino
2461 wanted to make theirs available at a low price to people across a wide range
2462 of industries. As with any business, pricing was key. They wanted prices
2463 that would get lots of customers but were also high enough to sustain the
2464 business.
2465     </p><p>
2466       For a business, getting to the end of the year and not being in the red is a
2467 success. Arduino may have an open-licensing strategy, but they are still a
2468 business, and all the things needed to successfully run one still
2469 apply. David says, <span class="quote">« <span class="quote">If you do those other things well, sharing things
2470 in an open-source way can only help you.</span> »</span>
2471     </p><p>
2472       While openly licensing the designs, documentation, and software ensures
2473 longevity, it does have risks. There’s a possibility that others will create
2474 knockoffs, clones, and copies. The CC BY-SA license means anyone can produce
2475 copies of their boards, redesign them, and even sell boards that copy the
2476 design. They don’t have to pay a license fee to Arduino or even ask
2477 permission. However, if they republish the design of the board, they have to
2478 give attribution to Arduino. If they change the design, they must release
2479 the new design using the same Creative Commons license to ensure that the
2480 new version is equally free and open.
2481     </p><p>
2482       Tom and David say that a lot of people have built companies off of Arduino,
2483 with dozens of Arduino derivatives out there. But in contrast to closed
2484 business models that can wring money out of the system over many years
2485 because there is no competition, Arduino founders saw competition as keeping
2486 them honest, and aimed for an environment of collaboration. A benefit of
2487 open over closed is the many new ideas and designs others have contributed
2488 back to the Arduino ecosystem, ideas and designs that Arduino and the
2489 Arduino community use and incorporate into new products.
2490     </p><p>
2491       Over time, the range of Arduino products has diversified, changing and
2492 adapting to new needs and challenges. In addition to simple entry level
2493 boards, new products have been added ranging from enhanced boards that
2494 provide advanced functionality and faster performance, to boards for
2495 creating Internet of Things applications, wearables, and 3-D printing. The
2496 full range of official Arduino products includes boards, modules (a smaller
2497 form-factor of classic boards), shields (elements that can be plugged onto a
2498 board to give it extra features), and kits.<a href="#ftn.idm884" class="footnote" name="idm884"><sup class="footnote">[112]</sup></a>
2499     </p><p>
2500       Arduino’s focus is on high-quality boards, well-designed support materials,
2501 and the building of community; this focus is one of the keys to their
2502 success. And being open lets you build a real community. David says
2503 Arduino’s community is a big strength and something that really does
2504 matter—in his words, <span class="quote">« <span class="quote">It’s good business.</span> »</span> When they started,
2505 the Arduino team had almost entirely no idea how to build a community. They
2506 started by conducting numerous workshops, working directly with people using
2507 the platform to make sure the hardware and software worked the way it was
2508 meant to work and solved people’s problems. The community grew organically
2509 from there.
2510     </p><p>
2511       A key decision for Arduino was trademarking the name. The founders needed a
2512 way to guarantee to people that they were buying a quality product from a
2513 company committed to open-source values and knowledge sharing. Trademarking
2514 the Arduino name and logo expresses that guarantee and helps customers
2515 easily identify their products, and the products sanctioned by them. If
2516 others want to sell boards using the Arduino name and logo, they have to pay
2517 a small fee to Arduino. This allows Arduino to scale up manufacturing and
2518 distribution while at the same time ensuring the Arduino brand isn’t hurt by
2519 low-quality copies.
2520     </p><p>
2521       Current official manufacturers are Smart Projects in Italy, SparkFun in the
2522 United States, and Dog Hunter in Taiwan/China.  These are the only
2523 manufacturers that are allowed to use the Arduino logo on their
2524 boards. Trademarking their brand provided the founders with a way to protect
2525 Arduino, build it out further, and fund software and tutorial
2526 development. The trademark-licensing fee for the brand became Arduino’s
2527 revenue-generating model.
2528     </p><p>
2529       How far to open things up wasn’t always something the founders perfectly
2530 agreed on. David, who was always one to advocate for opening things up more,
2531 had some fears about protecting the Arduino name, thinking people would be
2532 mad if they policed their brand. There was some early backlash with a
2533 project called Freeduino, but overall, trademarking and branding has been a
2534 critical tool for Arduino.
2535     </p><p>
2536       David encourages people and businesses to start by sharing everything as a
2537 default strategy, and then think about whether there is anything that really
2538 needs to be protected and why. There are lots of good reasons to not open up
2539 certain elements. This strategy of sharing everything is certainly the
2540 complete opposite of how today’s world operates, where nothing is
2541 shared. Tom suggests a business formalize which elements are based on open
2542 sharing and which are closed. An Arduino blog post from 2013 entitled
2543 <span class="quote">« <span class="quote">Send In the Clones,</span> »</span> by one of the founders Massimo Banzi,
2544 does a great job of explaining the full complexities of how trademarking
2545 their brand has played out, distinguishing between official boards and those
2546 that are clones, derivatives, compatibles, and counterfeits.<a href="#ftn.idm894" class="footnote" name="idm894"><sup class="footnote">[113]</sup></a>
2547     </p><p>
2548       For David, an exciting aspect of Arduino is the way lots of people can use
2549 it to adapt technology in many different ways. Technology is always making
2550 more things possible but doesn’t always focus on making it easy to use and
2551 adapt. This is where Arduino steps in.  Arduino’s goal is <span class="quote">« <span class="quote">making
2552 things that help other people make things.</span> »</span>
2553     </p><p>
2554       Arduino has been hugely successful in making technology and electronics
2555 reach a larger audience. For Tom, Arduino has been about <span class="quote">« <span class="quote">the
2556 democratization of technology.</span> »</span> Tom sees Arduino’s open-source
2557 strategy as helping the world get over the idea that technology has to be
2558 protected. Tom says, <span class="quote">« <span class="quote">Technology is a literacy everyone should
2559 learn.</span> »</span>
2560     </p><p>
2561       Ultimately, for Arduino, going open has been good business—good for product
2562 development, good for distribution, good for pricing, and good for
2563 manufacturing.
2564     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm884" class="footnote"><p><a href="#idm884" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm894" class="footnote"><p><a href="#idm894" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>Chapitre 5. Ártica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
2565         Ártica provides online courses and consulting services focused on how to use
2566 digital technology to share knowledge and enable collaboration in arts and
2567 culture. Founded in 2011 in Uruguay.
2568       </p><p>
2569           <a class="ulink" href="http://www.articaonline.com" target="_top">http://www.articaonline.com</a>
2570         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
2571 services
2572       </p><p><span class="strong"><strong>Interview date</strong></span>: March 9, 2016
2573       </p><p><span class="strong"><strong>Interviewees</strong></span>: Mariana Fossatti and Jorge
2574 Gemetto, cofounders
2575       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
2576     \textit{
2577         Profile written by Sarah Hinchliff Pearson
2578       }
2579     \end{flushright}</td></tr></table></div><p>
2580       The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
2581 ultimate example of DIY. Not only are they successful entrepreneurs, the
2582 niche in which their small business operates is essentially one they built
2583 themselves.
2584     </p><p>
2585       Their dream jobs didn’t exist, so they created them.
2586     </p><p>
2587       In 2011, Mariana was a sociologist working for an international organization
2588 to develop research and online education about rural-development
2589 issues. Jorge was a psychologist, also working in online education. Both
2590 were bloggers and heavy users of social media, and both had a passion for
2591 arts and culture. They decided to take their skills in digital technology
2592 and online learning and apply them to a topic area they loved. They launched
2593 Ártica, an online business that provides education and consulting for people
2594 and institutions creating artistic and cultural projects on the Internet.
2595     </p><p>
2596       Ártica feels like a uniquely twenty-first century business. The small
2597 company has a global online presence with no physical offices. Jorge and
2598 Mariana live in Uruguay, and the other two full-time employees, who Jorge
2599 and Mariana have never actually met in person, live in Spain. They started
2600 by creating a MOOC (massive open online course) about remix culture and
2601 collaboration in the arts, which gave them a direct way to reach an
2602 international audience, attracting students from across Latin America and
2603 Spain.  In other words, it is the classic Internet story of being able to
2604 directly tap into an audience without relying upon gatekeepers or
2605 intermediaries.
2606     </p><p>
2607       Ártica offers personalized education and consulting services, and helps
2608 clients implement projects. All of these services are customized. They call
2609 it an <span class="quote">« <span class="quote">artisan</span> »</span> process because of the time and effort it takes
2610 to adapt their work for the particular needs of students and
2611 clients. <span class="quote">« <span class="quote">Each student or client is paying for a specific solution to
2612 his or her problems and questions,</span> »</span> Mariana said. Rather than sell
2613 access to their content, they provide it for free and charge for the
2614 personalized services.
2615     </p><p>
2616       When they started, they offered a smaller number of courses designed to
2617 attract large audiences. <span class="quote">« <span class="quote">Over the years, we realized that online
2618 communities are more specific than we thought,</span> »</span> Mariana said. Ártica
2619 now provides more options for classes and has lower enrollment in each
2620 course. This means they can provide more attention to individual students
2621 and offer classes on more specialized topics.
2622     </p><p>
2623       Online courses are their biggest revenue stream, but they also do more than
2624 a dozen consulting projects each year, ranging from digitization to event
2625 planning to marketing campaigns. Some are significant in scope, particularly
2626 when they work with cultural institutions, and some are smaller projects
2627 commissioned by individual artists.
2628     </p><p>
2629       Ártica also seeks out public and private funding for specific
2630 projects. Sometimes, even if they are unsuccessful in subsidizing a project
2631 like a new course or e-book, they will go ahead because they believe in
2632 it. They take the stance that every new project leads them to something new,
2633 every new resource they create opens new doors.
2634     </p><p>
2635       Ártica relies heavily on their free Creative Commons–licensed content to
2636 attract new students and clients. Everything they create—online education,
2637 blog posts, videos—is published under an Attribution-ShareAlike license (CC
2638 BY-SA). <span class="quote">« <span class="quote">We use a ShareAlike license because we want to give the
2639 greatest freedom to our students and readers, and we also want that freedom
2640 to be viral,</span> »</span> Jorge said. For them, giving others the right to reuse
2641 and remix their content is a fundamental value. <span class="quote">« <span class="quote">How can you offer an
2642 online educational service without giving permission to download, make and
2643 keep copies, or print the educational resources?</span> »</span> Jorge
2644 said. <span class="quote">« <span class="quote">If we want to do the best for our students—those who trust in
2645 us to the point that they are willing to pay online without face-to-face
2646 contact—we have to offer them a fair and ethical agreement.</span> »</span>
2647     </p><p>
2648       They also believe sharing their ideas and expertise openly helps them build
2649 their reputation and visibility. People often share and cite their work. A
2650 few years ago, a publisher even picked up one of their e-books and
2651 distributed printed copies. Ártica views reuse of their work as a way to
2652 open up new opportunities for their business.
2653     </p><p>
2654       This belief that openness creates new opportunities reflects another
2655 belief—in serendipity. When describing their process for creating content,
2656 they spoke of all of the spontaneous and organic ways they find
2657 inspiration. <span class="quote">« <span class="quote">Sometimes, the collaborative process starts with a
2658 conversation between us, or with friends from other projects,</span> »</span> Jorge
2659 said. <span class="quote">« <span class="quote">That can be the first step for a new blog post or another
2660 simple piece of content, which can evolve to a more complex product in the
2661 future, like a course or a book.</span> »</span>
2662     </p><p>
2663       Rather than planning their work in advance, they let their creative process
2664 be dynamic. <span class="quote">« <span class="quote">This doesn’t mean that we don’t need to work hard in
2665 order to get good professional results, but the design process is more
2666 flexible,</span> »</span> Jorge said. They share early and often, and they adjust
2667 based on what they learn, always exploring and testing new ideas and ways of
2668 operating. In many ways, for them, the process is just as important as the
2669 final product.
2670     </p><p>
2671       People and relationships are also just as important, sometimes
2672 more. <span class="quote">« <span class="quote">In the educational and cultural business, it is more important
2673 to pay attention to people and process, rather than content or specific
2674 formats or materials,</span> »</span> Mariana said.  <span class="quote">« <span class="quote">Materials and content
2675 are fluid. The important thing is the relationships.</span> »</span>
2676     </p><p>
2677       Ártica believes in the power of the network. They seek to make connections
2678 with people and institutions across the globe so they can learn from them
2679 and share their knowledge.
2680     </p><p>
2681       At the core of everything Ártica does is a set of values.  <span class="quote">« <span class="quote">Good
2682 content is not enough,</span> »</span> Jorge said. <span class="quote">« <span class="quote">We also think that it is
2683 very important to take a stand for some things in the cultural
2684 sector.</span> »</span> Mariana and Jorge are activists. They defend free culture
2685 (the movement promoting the freedom to modify and distribute creative work)
2686 and work to demonstrate the intersection between free culture and other
2687 social-justice movements. Their efforts to involve people in their work and
2688 enable artists and cultural institutions to better use technology are all
2689 tied closely to their belief system.  Ultimately, what drives their work is
2690 a mission to democratize art and culture.
2691     </p><p>
2692       Of course, Ártica also has to make enough money to cover its expenses. Human
2693 resources are, by far, their biggest expense. They tap a network of
2694 collaborators on a case-by-case basis and hire contractors for specific
2695 projects. Whenever possible, they draw from artistic and cultural resources
2696 in the commons, and they rely on free software. Their operation is small,
2697 efficient, and sustainable, and because of that, it is a success.
2698     </p><p><span class="quote">« <span class="quote">There are lots of people offering online courses,</span> »</span> Jorge
2699 said. <span class="quote">« <span class="quote">But it is easy to differentiate us. We have an approach that is
2700 very specific and personal.</span> »</span> Ártica’s model is rooted in the personal
2701 at every level. For Mariana and Jorge, success means doing what brings them
2702 personal meaning and purpose, and doing it sustainably and collaboratively.
2703     </p><p>
2704       In their work with younger artists, Mariana and Jorge try to emphasize that
2705 this model of success is just as valuable as the picture of success we get
2706 from the media. <span class="quote">« <span class="quote">If they seek only the traditional type of success,
2707 they will get frustrated,</span> »</span> Mariana said. <span class="quote">« <span class="quote">We try to show them
2708 another image of what it looks like.</span> »</span>
2709     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Chapitre 6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
2710         The Blender Institute is an animation studio that creates 3-D films using
2711 Blender software. Founded in 2006 in the Netherlands.
2712       </p><p>
2713           <a class="ulink" href="http://www.blender.org" target="_top">http://www.blender.org</a>
2714         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
2715 (subscription-based), charging for physical copies, selling merchandise
2716       </p><p><span class="strong"><strong>Interview date</strong></span>: March 8, 2016
2717       </p><p><span class="strong"><strong>Interviewee</strong></span>: Francesco Siddi, production
2718 coordinator
2719       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
2720     \textit{
2721         Profile written by Sarah Hinchliff Pearson
2722       }
2723     \end{flushright}</td></tr></table></div><p>
2724       For Ton Roosendaal, the creator of Blender software and its related
2725 entities, sharing is practical. Making their 3-D content creation software
2726 available under a free software license has been integral to its development
2727 and popularity. Using that software to make movies that were licensed with
2728 Creative Commons pushed that development even further. Sharing enables
2729 people to participate and to interact with and build upon the technology and
2730 content they create in a way that benefits Blender and its community in
2731 concrete ways.
2732     </p><p>
2733       Each open-movie project Blender runs produces a host of openly licensed
2734 outputs, not just the final film itself but all of the source material as
2735 well. The creative process also enhances the development of the Blender
2736 software because the technical team responds directly to the needs of the
2737 film production team, creating tools and features that make their lives
2738 easier. And, of course, each project involves a long, rewarding process for
2739 the creative and technical community working together.
2740     </p><p>
2741       Rather than just talking about the theoretical benefits of sharing and free
2742 culture, Ton is very much about doing and making free culture. Blender’s
2743 production coordinator Francesco Siddi told us, <span class="quote">« <span class="quote">Ton believes if you
2744 don’t make content using your tools, then you’re not doing anything.</span> »</span>
2745     </p><p>
2746       Blender’s history begins in the late 1990s, when Ton created the Blender
2747 software. Originally, the software was an in-house resource for his
2748 animation studio based in the Netherlands.  Investors became interested in
2749 the software, so he began marketing the software to the public, offering a
2750 free version in addition to a paid version. Sales were disappointing, and
2751 his investors gave up on the endeavor in the early 2000s. He made a deal
2752 with investors—if he could raise enough money, he could then make the
2753 Blender software available under the GNU General Public License.
2754     </p><p>
2755       This was long before Kickstarter and other online crowdfunding sites
2756 existed, but Ton ran his own version of a crowdfunding campaign and quickly
2757 raised the money he needed. The Blender software became freely available for
2758 anyone to use. Simply applying the General Public License to the software,
2759 however, was not enough to create a thriving community around it. Francesco
2760 told us, <span class="quote">« <span class="quote">Software of this complexity relies on people and their
2761 vision of how people work together. Ton is a fantastic community builder and
2762 manager, and he put a lot of work into fostering a community of developers
2763 so that the project could live.</span> »</span>
2764     </p><p>
2765       Like any successful free and open-source software project, Blender developed
2766 quickly because the community could make fixes and
2767 improvements. <span class="quote">« <span class="quote">Software should be free and open to hack,</span> »</span>
2768 Francesco said. <span class="quote">« <span class="quote">Otherwise, everyone is doing the same thing in the
2769 dark for ten years.</span> »</span> Ton set up the Blender Foundation to oversee and
2770 steward the software development and maintenance.
2771     </p><p>
2772       After a few years, Ton began looking for new ways to push development of the
2773 software. He came up with the idea of creating CC-licensed films using the
2774 Blender software. Ton put a call online for all interested and skilled
2775 artists. Francesco said the idea was to get the best artists available, put
2776 them in a building together with the best developers, and have them work
2777 together.  They would not only produce high-quality openly licensed content,
2778 they would improve the Blender software in the process.
2779     </p><p>
2780       They turned to crowdfunding to subsidize the costs of the project.  They had
2781 about twenty people working full-time for six to ten months, so the costs
2782 were significant. Francesco said that when their crowdfunding campaign
2783 succeeded, people were astounded.  <span class="quote">« <span class="quote">The idea that making money was
2784 possible by producing CC-licensed material was mind-blowing to
2785 people,</span> »</span> he said.  <span class="quote">« <span class="quote">They were like, <span class="quote">“<span class="quote">I have to see it to
2786 believe it.</span>”</span></span> »</span>
2787     </p><p>
2788       The first film, which was released in 2006, was an experiment. It was so
2789 successful that Ton decided to set up the Blender Institute, an entity
2790 dedicated to hosting open-movie projects. The Blender Institute’s next
2791 project was an even bigger success. The film, Big Buck Bunny, went viral,
2792 and its animated characters were picked up by marketers.
2793     </p><p>
2794       Francesco said that, over time, the Blender Institute projects have gotten
2795 bigger and more prominent. That means the filmmaking process has become more
2796 complex, combining technical experts and artists who focus on
2797 storytelling. Francesco says the process is almost on an industrial scale
2798 because of the number of moving parts. This requires a lot of specialized
2799 assistance, but the Blender Institute has no problem finding the talent it
2800 needs to help on projects. <span class="quote">« <span class="quote">Blender hardly does any recruiting for
2801 film projects because the talent emerges naturally,</span> »</span> Francesco
2802 said. <span class="quote">« <span class="quote">So many people want to work with us, and we can’t always hire
2803 them because of budget constraints.</span> »</span>
2804     </p><p>
2805       Blender has had a lot of success raising money from its community over the
2806 years. In many ways, the pitch has gotten easier to make.  Not only is
2807 crowdfunding simply more familiar to the public, but people know and trust
2808 Blender to deliver, and Ton has developed a reputation as an effective
2809 community leader and visionary for their work. <span class="quote">« <span class="quote">There is a whole
2810 community who sees and understands the benefit of these projects,</span> »</span>
2811 Francesco said.
2812     </p><p>
2813       While these benefits of each open-movie project make a compelling pitch for
2814 crowdfunding campaigns, Francesco told us the Blender Institute has found
2815 some limitations in the standard crowdfunding model where you propose a
2816 specific project and ask for funding.  <span class="quote">« <span class="quote">Once a project is over,
2817 everyone goes home,</span> »</span> he said. <span class="quote">« <span class="quote">It is great fun, but then it
2818 ends. That is a problem.</span> »</span>
2819     </p><p>
2820       To make their work more sustainable, they needed a way to receive ongoing
2821 support rather than on a project-by-project basis. Their solution is Blender
2822 Cloud, a subscription-style crowdfunding model akin to the online
2823 crowdfunding platform, Patreon. For about ten euros each month, subscribers
2824 get access to download everything the Blender Institute produces—software,
2825 art, training, and more.  All of the assets are available under an
2826 Attribution license (CC BY) or placed in the public domain (CC0), but they
2827 are initially made available only to subscribers. Blender Cloud enables
2828 subscribers to follow Blender’s movie projects as they develop, sharing
2829 detailed information and content used in the creative process. Blender Cloud
2830 also has extensive training materials and libraries of characters and other
2831 assets used in various projects.
2832     </p><p>
2833       The continuous financial support provided by Blender Cloud subsidizes five
2834 to six full-time employees at the Blender Institute. Francesco says their
2835 goal is to grow their subscriber base. <span class="quote">« <span class="quote">This is our freedom,</span> »</span>
2836 he told us, <span class="quote">« <span class="quote">and for artists, freedom is everything.</span> »</span>
2837     </p><p>
2838       Blender Cloud is the primary revenue stream of the Blender Institute. The
2839 Blender Foundation is funded primarily by donations, and that money goes
2840 toward software development and maintenance. The revenue streams of the
2841 Institute and Foundation are deliberately kept separate. Blender also has
2842 other revenue streams, such as the Blender Store, where people can purchase
2843 DVDs, T-shirts, and other Blender products.
2844     </p><p>
2845       Ton has worked on projects relating to his Blender software for nearly
2846 twenty years. Throughout most of that time, he has been committed to making
2847 the software and the content produced with the software free and
2848 open. Selling a license has never been part of the business model.
2849     </p><p>
2850       Since 2006, he has been making films available along with all of their
2851 source material. He says he has hardly ever seen people stepping into
2852 Blender’s shoes and trying to make money off of their content. Ton believes
2853 this is because the true value of what they do is in the creative and
2854 production process. <span class="quote">« <span class="quote">Even when you share everything, all your original
2855 sources, it still takes a lot of talent, skills, time, and budget to
2856 reproduce what you did,</span> »</span> Ton said.
2857     </p><p>
2858       For Ton and Blender, it all comes back to doing.
2859     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Chapitre 7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
2860         Cards Against Humanity is a private, for-profit company that makes a popular
2861 party game by the same name. Founded in 2011 in the U.S.
2862       </p><p>
2863           <a class="ulink" href="http://www.cardsagainsthumanity.com" target="_top">http://www.cardsagainsthumanity.com</a>
2864         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
2865 copies
2866       </p><p><span class="strong"><strong>Interview date</strong></span>: February 3, 2016
2867       </p><p><span class="strong"><strong>Interviewee</strong></span>: Max Temkin, cofounder
2868       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
2869     \textit{
2870         Profile written by Sarah Hinchliff Pearson
2871       }
2872     \end{flushright}</td></tr></table></div><p>
2873       If you ask cofounder Max Temkin, there is nothing particularly interesting
2874 about the Cards Against Humanity business model.  <span class="quote">« <span class="quote">We make a
2875 product. We sell it for money. Then we spend less money than we
2876 make,</span> »</span> Max said.
2877     </p><p>
2878       He is right. Cards Against Humanity is a simple party game, modeled after
2879 the game Apples to Apples. To play, one player asks a question or
2880 fill-in-the-blank statement from a black card, and the other players submit
2881 their funniest white card in response.  The catch is that all of the cards
2882 are filled with crude, gruesome, and otherwise awful things. For the right
2883 kind of people (<span class="quote">« <span class="quote">horrible people,</span> »</span> according to Cards Against
2884 Humanity advertising), this makes for a hilarious and fun game.
2885     </p><p>
2886       The revenue model is simple. Physical copies of the game are sold for a
2887 profit. And it works. At the time of this writing, Cards Against Humanity is
2888 the number-one best-selling item out of all toys and games on Amazon. There
2889 are official expansion packs available, and several official themed packs
2890 and international editions as well.
2891     </p><p>
2892       But Cards Against Humanity is also available for free. Anyone can download a
2893 digital version of the game on the Cards Against Humanity website. More than
2894 one million people have downloaded the game since the company began tracking
2895 the numbers.
2896     </p><p>
2897       The game is available under an Attribution-NonCommercial-ShareAlike license
2898 (CC BY-NC-SA). That means, in addition to copying the game, anyone can
2899 create new versions of the game as long as they make it available under the
2900 same noncommercial terms. The ability to adapt the game is like an entire
2901 new game unto itself.
2902     </p><p>
2903       All together, these factors—the crass tone of the game and company, the free
2904 download, the openness to fans remixing the game—give the game a massive
2905 cult following.
2906     </p><p>
2907       Their success is not the result of a grand plan. Instead, Cards Against
2908 Humanity was the last in a long line of games and comedy projects that Max
2909 Temkin and his friends put together for their own amusement. As Max tells
2910 the story, they made the game so they could play it themselves on New Year’s
2911 Eve because they were too nerdy to be invited to other parties. The game was
2912 a hit, so they decided to put it up online as a free PDF. People started
2913 asking if they could pay to have the game printed for them, and eventually
2914 they decided to run a Kickstarter to fund the printing.  They set their
2915 Kickstarter goal at $4,000—and raised $15,000. The game was officially
2916 released in May 2011.
2917     </p><p>
2918       The game caught on quickly, and it has only grown more popular over
2919 time. Max says the eight founders never had a meeting where they decided to
2920 make it an ongoing business. <span class="quote">« <span class="quote">It kind of just happened,</span> »</span> he
2921 said.
2922     </p><p>
2923       But this tale of a <span class="quote">« <span class="quote">happy accident</span> »</span> belies marketing
2924 genius. Just like the game, the Cards Against Humanity brand is irreverent
2925 and memorable. It is hard to forget a company that calls the FAQ on their
2926 website <span class="quote">« <span class="quote">Your dumb questions.</span> »</span>
2927     </p><p>
2928       Like most quality satire, however, there is more to the joke than vulgarity
2929 and shock value. The company’s marketing efforts around Black Friday
2930 illustrate this particularly well. For those outside the United States,
2931 Black Friday is the term for the day after the Thanksgiving holiday, the
2932 biggest shopping day of the year. It is an incredibly important day for
2933 Cards Against Humanity, like it is for all U.S. retailers. Max said they
2934 struggled with what to do on Black Friday because they didn’t want to
2935 support what he called the <span class="quote">« <span class="quote">orgy of consumerism</span> »</span> the day has
2936 become, particularly since it follows a day that is about being grateful for
2937 what you have. In 2013, after deliberating, they decided to have an
2938 Everything Costs $5 More sale.
2939     </p><p><span class="quote">« <span class="quote">We sweated it out the night before Black Friday, wondering if our
2940 fans were going to hate us for it,</span> »</span> he said.  <span class="quote">« <span class="quote">But it made us
2941 laugh so we went with it. People totally caught the joke.</span> »</span>
2942     </p><p>
2943       This sort of bold transparency delights the media, but more importantly, it
2944 engages their fans. <span class="quote">« <span class="quote">One of the most surprising things you can do in
2945 capitalism is just be honest with people,</span> »</span> Max said. <span class="quote">« <span class="quote">It shocks
2946 people that there is transparency about what you are doing.</span> »</span>
2947     </p><p>
2948       Max also likened it to a grand improv scene. <span class="quote">« <span class="quote">If we do something a
2949 little subversive and unexpected, the public wants to be a part of the
2950 joke.</span> »</span> One year they did a Give Cards Against Humanity $5 event,
2951 where people literally paid them five dollars for no reason. Their fans
2952 wanted to make the joke funnier by making it successful. They made $70,000
2953 in a single day.
2954     </p><p>
2955       This remarkable trust they have in their customers is what inspired their
2956 decision to apply a Creative Commons license to the game. Trusting your
2957 customers to reuse and remix your work requires a leap of faith. Cards
2958 Against Humanity obviously isn’t afraid of doing the unexpected, but there
2959 are lines even they do not want to cross. Before applying the license, Max
2960 said they worried that some fans would adapt the game to include all of the
2961 jokes they intentionally never made because they crossed that
2962 line. <span class="quote">« <span class="quote">It happened, and the world didn’t end,</span> »</span> Max
2963 said. <span class="quote">« <span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
2964 times over because there are so many benefits.</span> »</span>
2965     </p><p>
2966       Any successful product inspires its biggest fans to create remixes of it,
2967 but unsanctioned adaptations are more likely to fly under the radar. The
2968 Creative Commons license gives fans of Cards Against Humanity the freedom to
2969 run with the game and copy, adapt, and promote their creations openly. Today
2970 there are thousands of fan expansions of the game.
2971     </p><p>
2972       Max said, <span class="quote">« <span class="quote">CC was a no-brainer for us because it gets the most people
2973 involved. Making the game free and available under a CC license led to the
2974 unbelievable situation where we are one of the best-marketed games in the
2975 world, and we have never spent a dime on marketing.</span> »</span>
2976     </p><p>
2977       Bien sûr, il y a des limites à ce que l’entreprise autorise les clients à
2978 faire avec le jeu. Ils ont choisi la licence
2979 Attribution-NonCommercial-ShareAlike (Attribution-NonCommerciale-Partage à
2980 l’identique), parce qu’elle empêche les gens d’utiliser le jeu pour se faire
2981 de l’argent. Elle requiert également que les adaptations du jeu soient
2982 rendues disponibles selon les mêmes conditions de licence si elles sont
2983 partagées publiquement. Cards Against Humanity surveille également sa
2984 marque. <span class="quote">« <span class="quote">Nous avons l’impression que nous sommes les seuls à pouvoir
2985 utiliser notre marque et notre jeu pour gagner de l’argent avec</span> »</span>, dit
2986 Max. Environ 99,9 pourcent du temps, ils envoient juste un courriel à ceux
2987 qui font un usage commercial de leur jeu, et ça se termine là. Il n’y a eu
2988 qu’une poignée de cas où ils ont dû faire intervenir un avocat.
2989     </p><p>
2990       Just as there is more than meets the eye to the Cards Against Humanity
2991 business model, the same can be said of the game itself.  To be playable,
2992 every white card has to work syntactically with enough black cards. The
2993 eight creators invest an incredible amount of work into creating new cards
2994 for the game. <span class="quote">« <span class="quote">We have daylong arguments about commas,</span> »</span> Max
2995 said. <span class="quote">« <span class="quote">The slacker tone of the cards gives people the impression that
2996 it is easy to write them, but it is actually a lot of work and
2997 quibbling.</span> »</span>
2998     </p><p>
2999       That means cocreation with their fans really doesn’t work. The company has a
3000 submission mechanism on their website, and they get thousands of
3001 suggestions, but it is very rare that a submitted card is adopted. Instead,
3002 the eight initial creators remain the primary authors of expansion decks and
3003 other new products released by the company. Interestingly, the creativity of
3004 their customer base is really only an asset to the company once their
3005 original work is created and published when people make their own
3006 adaptations of the game.
3007     </p><p>
3008       For all of their success, the creators of Cards Against Humanity are only
3009 partially motivated by money. Max says they have always been interested in
3010 the Walt Disney philosophy of financial success. <span class="quote">« <span class="quote">We don’t make jokes
3011 and games to make money—we make money so we can make more jokes and
3012 games,</span> »</span> he said.
3013     </p><p>
3014       In fact, the company has given more than $4 million to various charities and
3015 causes. <span class="quote">« <span class="quote">Cards is not our life plan,</span> »</span> Max said. <span class="quote">« <span class="quote">We all
3016 have other interests and hobbies. We are passionate about other things going
3017 on in our lives. A lot of the activism we have done comes out of us taking
3018 things from the rest of our lives and channeling some of the excitement from
3019 the game into it.</span> »</span>
3020     </p><p>
3021       Seeing money as fuel rather than the ultimate goal is what has enabled them
3022 to embrace Creative Commons licensing without reservation. CC licensing
3023 ended up being a savvy marketing move for the company, but nonetheless,
3024 giving up exclusive control of your work necessarily means giving up some
3025 opportunities to extract more money from customers.
3026     </p><p><span class="quote">« <span class="quote">It’s not right for everyone to release everything under CC
3027 licensing,</span> »</span> Max said. <span class="quote">« <span class="quote">If your only goal is to make a lot of
3028 money, then CC is not best strategy. This kind of business model, though,
3029 speaks to your values, and who you are and why you’re making things.</span> »</span>
3030     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Chapitre 8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3031         The Conversation is an independent source of news, sourced from the academic
3032 and research community and delivered direct to the public over the
3033 Internet. Founded in 2011 in Australia.
3034       </p><p>
3035           <a class="ulink" href="http://theconversation.com" target="_top">http://theconversation.com</a>
3036         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
3037 (universities pay membership fees to have their faculties serve as writers),
3038 grant funding
3039       </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
3040       </p><p><span class="strong"><strong>Interviewee</strong></span>: Andrew Jaspan, founder
3041       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
3042     \textit{
3043         Profile written by Paul Stacey
3044       }
3045     \end{flushright}</td></tr></table></div><p>
3046       Andrew Jaspan spent years as an editor of major newspapers including the
3047 Observer in London, the Sunday Herald in Glasgow, and the Age in Melbourne,
3048 Australia. He experienced firsthand the decline of newspapers, including the
3049 collapse of revenues, layoffs, and the constant pressure to reduce
3050 costs. After he left the Age in 2005, his concern for the future journalism
3051 didn’t go away. Andrew made a commitment to come up with an alternative
3052 model.
3053     </p><p>
3054       Around the time he left his job as editor of the Melbourne Age, Andrew
3055 wondered where citizens would get news grounded in fact and evidence rather
3056 than opinion or ideology. He believed there was still an appetite for
3057 journalism with depth and substance but was concerned about the increasing
3058 focus on the sensational and sexy.
3059     </p><p>
3060       While at the Age, he’d become friends with a vice-chancellor of a university
3061 in Melbourne who encouraged him to talk to smart people across campus—an
3062 astrophysicist, a Nobel laureate, earth scientists, economists . . . These
3063 were the kind of smart people he wished were more involved in informing the
3064 world about what is going on and correcting the errors that appear in
3065 media. However, they were reluctant to engage with mass media. Often,
3066 journalists didn’t understand what they said, or unilaterally chose what
3067 aspect of a story to tell, putting out a version that these people felt was
3068 wrong or mischaracterized. Newspapers want to attract a mass
3069 audience. Scholars want to communicate serious news, findings, and
3070 insights. It’s not a perfect match. Universities are massive repositories of
3071 knowledge, research, wisdom, and expertise. But a lot of that stays behind a
3072 wall of their own making—there are the walled garden and ivory tower
3073 metaphors, and in more literal terms, the paywall. Broadly speaking,
3074 universities are part of society but disconnected from it. They are an
3075 enormous public resource but not that good at presenting their expertise to
3076 the wider public.
3077     </p><p>
3078       Andrew believed he could to help connect academics back into the public
3079 arena, and maybe help society find solutions to big problems. He thought
3080 about pairing professional editors with university and research experts,
3081 working one-on-one to refine everything from story structure to headline,
3082 captions, and quotes.  The editors could help turn something that is
3083 academic into something understandable and readable. And this would be a key
3084 difference from traditional journalism—the subject matter expert would get a
3085 chance to check the article and give final approval before it is
3086 published. Compare this with reporters just picking and choosing the quotes
3087 and writing whatever they want.
3088     </p><p>
3089       The people he spoke to liked this idea, and Andrew embarked on raising money
3090 and support with the help of the Commonwealth Scientific and Industrial
3091 Research Organisation (CSIRO), the University of Melbourne, Monash
3092 University, the University of Technology Sydney, and the University of
3093 Western Australia. These founding partners saw the value of an independent
3094 information channel that would also showcase the talent and knowledge of the
3095 university and research sector. With their help, in 2011, the Conversation,
3096 was launched as an independent news site in Australia. Everything published
3097 in the Conversation is openly licensed with Creative Commons.
3098     </p><p>
3099       The Conversation is founded on the belief that underpinning a functioning
3100 democracy is access to independent, high-quality, informative
3101 journalism. The Conversation’s aim is for people to have a better
3102 understanding of current affairs and complex issues—and hopefully a better
3103 quality of public discourse. The Conversation sees itself as a source of
3104 trusted information dedicated to the public good. Their core mission is
3105 simple: to provide readers with a reliable source of evidence-based
3106 information.
3107     </p><p>
3108       Andrew worked hard to reinvent a methodology for creating reliable, credible
3109 content. He introduced strict new working practices, a charter, and codes of
3110 conduct.<a href="#ftn.idm1075" class="footnote" name="idm1075"><sup class="footnote">[114]</sup></a> These include fully disclosing
3111 who every author is (with their relevant expertise); who is funding their
3112 research; and if there are any potential or real conflicts of interest. Also
3113 important is where the content originates, and even though it comes from the
3114 university and research community, it still needs to be fully disclosed. The
3115 Conversation does not sit behind a paywall. Andrew believes access to
3116 information is an issue of equality—everyone should have access, like access
3117 to clean water.  The Conversation is committed to an open and free
3118 Internet.  Everyone should have free access to their content, and be able to
3119 share it or republish it.
3120     </p><p>
3121       Creative Commons help with these goals; articles are published with the
3122 Attribution- NoDerivs license (CC BY-ND). They’re freely available for
3123 others to republish elsewhere as long as attribution is given and the
3124 content is not edited. Over five years, more than twenty-two thousand sites
3125 have republished their content. The Conversation website gets about 2.9
3126 million unique views per month, but through republication they have
3127 thirty-five million readers. This couldn’t have been done without the
3128 Creative Commons license, and in Andrew’s view, Creative Commons is central
3129 to everything the Conversation does.
3130     </p><p>
3131       When readers come across the Conversation, they seem to like what they find
3132 and recommend it to their friends, peers, and networks.  Readership has
3133 grown primarily through word of mouth. While they don’t have sales and
3134 marketing, they do promote their work through social media (including
3135 Twitter and Facebook), and by being an accredited supplier to Google News.
3136     </p><p>
3137       It’s usual for the founders of any company to ask themselves what kind of
3138 company it should be. It quickly became clear to the founders of the
3139 Conversation that they wanted to create a public good rather than make money
3140 off of information. Most media companies are working to aggregate as many
3141 eyeballs as possible and sell ads. The Conversation founders didn’t want
3142 this model. It takes no advertising and is a not-for-profit venture.
3143     </p><p>
3144       There are now different editions of the Conversation for Africa, the United
3145 Kingdom, France, and the United States, in addition to the one for
3146 Australia. All five editions have their own editorial mastheads, advisory
3147 boards, and content. The Conversation’s global virtual newsroom has roughly
3148 ninety staff working with thirty-five thousand academics from over sixteen
3149 hundred universities around the world. The Conversation would like to be
3150 working with university scholars from even more parts of the world.
3151     </p><p>
3152       Additionally, each edition has its own set of founding partners, strategic
3153 partners, and funders. They’ve received funding from foundations,
3154 corporates, institutions, and individual donations, but the Conversation is
3155 shifting toward paid memberships by universities and research institutions
3156 to sustain operations. This would safeguard the current service and help
3157 improve coverage and features.
3158     </p><p>
3159       When professors from member universities write an article, there is some
3160 branding of the university associated with the article. On the Conversation
3161 website, paying university members are listed as <span class="quote">« <span class="quote">members and
3162 funders.</span> »</span> Early participants may be designated as <span class="quote">« <span class="quote">founding
3163 members,</span> »</span> with seats on the editorial advisory board.
3164     </p><p>
3165       Academics are not paid for their contributions, but they get free editing
3166 from a professional (four to five hours per piece, on average). They also
3167 get access to a large audience. Every author and member university has
3168 access to a special analytics dashboard where they can check the reach of an
3169 article. The metrics include what people are tweeting, the comments,
3170 countries the readership represents, where the article is being republished,
3171 and the number of readers per article.
3172     </p><p>
3173       The Conversation plans to expand the dashboard to show not just reach but
3174 impact. This tracks activities, behaviors, and events that occurred as a
3175 result of publication, including things like a scholar being asked to go on
3176 a show to discuss their piece, give a talk at a conference, collaborate,
3177 submit a journal paper, and consult a company on a topic.
3178     </p><p>
3179       These reach and impact metrics show the benefits of membership.  With the
3180 Conversation, universities can engage with the public and show why they’re
3181 of value.
3182     </p><p>
3183       With its tagline, <span class="quote">« <span class="quote">Academic Rigor, Journalistic Flair,</span> »</span> the
3184 Conversation represents a new form of journalism that contributes to a more
3185 informed citizenry and improved democracy around the world. Its open
3186 business model and use of Creative Commons show how it’s possible to
3187 generate both a public good and operational revenue at the same time.
3188     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1075" class="footnote"><p><a href="#idm1075" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>Chapitre 9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3189         Cory Doctorow is a science fiction writer, activist, blogger, and
3190 journalist. Based in the U.S.
3191       </p><p><a class="ulink" href="http://craphound.com" target="_top">http://craphound.com</a> and <a class="ulink" href="http://boingboing.net" target="_top">http://boingboing.net</a>
3192       </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
3193 copies (book sales), pay-what-you-want, selling translation rights to books
3194       </p><p><span class="strong"><strong>Interview date</strong></span>: January 12, 2016
3195       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
3196     \textit{
3197         Profile written by Sarah Hinchliff Pearson
3198       }
3199     \end{flushright}</td></tr></table></div><p>
3200       Cory Doctorow hates the term <span class="quote">« <span class="quote">business model,</span> »</span> and he is
3201 adamant that he is not a brand. <span class="quote">« <span class="quote">To me, branding is the idea that you
3202 can take a thing that has certain qualities, remove the qualities, and go on
3203 selling it,</span> »</span> he said. <span class="quote">« <span class="quote">I’m not out there trying to figure out
3204 how to be a brand. I’m doing this thing that animates me to work crazy
3205 insane hours because it’s the most important thing I know how to do.</span> »</span>
3206     </p><p>
3207       Cory calls himself an entrepreneur. He likes to say his success came from
3208 making stuff people happened to like and then getting out of the way of them
3209 sharing it.
3210     </p><p>
3211       He is a science fiction writer, activist, blogger, and journalist.
3212 Beginning with his first novel, Down and Out in the Magic Kingdom, in 2003,
3213 his work has been published under a Creative Commons license. Cory is
3214 coeditor of the popular CC-licensed site Boing Boing, where he writes about
3215 technology, politics, and intellectual property. He has also written several
3216 nonfiction books, including the most recent Information Doesn’t Want to Be
3217 Free, about the ways in which creators can make a living in the Internet
3218 age.
3219     </p><p>
3220       Cory primarily makes money by selling physical books, but he also takes on
3221 paid speaking gigs and is experimenting with pay-what-you-want models for
3222 his work.
3223     </p><p>
3224       While Cory’s extensive body of fiction work has a large following, he is
3225 just as well known for his activism. He is an outspoken opponent of
3226 restrictive copyright and digital-rights-management (DRM) technology used to
3227 lock up content because he thinks both undermine creators and the public
3228 interest. He is currently a special adviser at the Electronic Frontier
3229 Foundation, where he is involved in a lawsuit challenging the U.S. law that
3230 protects DRM.  Cory says his political work doesn’t directly make him money,
3231 but if he gave it up, he thinks he would lose credibility and, more
3232 importantly, lose the drive that propels him to create. <span class="quote">« <span class="quote">My political
3233 work is a different expression of the same artistic-political urge,</span> »</span>
3234 he said. <span class="quote">« <span class="quote">I have this suspicion that if I gave up the things that
3235 didn’t make me money, the genuineness would leach out of what I do, and the
3236 quality that causes people to like what I do would be gone.</span> »</span>
3237     </p><p>
3238       Cory has been financially successful, but money is not his primary
3239 motivation. At the start of his book Information Doesn’t Want to Be Free, he
3240 stresses how important it is not to become an artist if your goal is to get
3241 rich. <span class="quote">« <span class="quote">Entering the arts because you want to get rich is like buying
3242 lottery tickets because you want to get rich,</span> »</span> he wrote. <span class="quote">« <span class="quote">It
3243 might work, but it almost certainly won’t. Though, of course, someone always
3244 wins the lottery.</span> »</span> He acknowledges that he is one of the lucky few to
3245 <span class="quote">« <span class="quote">make it,</span> »</span> but he says he would be writing no matter
3246 what. <span class="quote">« <span class="quote">I am compelled to write,</span> »</span> he wrote.  <span class="quote">« <span class="quote">Long before
3247 I wrote to keep myself fed and sheltered, I was writing to keep myself
3248 sane.</span> »</span>
3249     </p><p>
3250       Just as money is not his primary motivation to create, money is not his
3251 primary motivation to share. For Cory, sharing his work with Creative
3252 Commons is a moral imperative. <span class="quote">« <span class="quote">It felt morally right,</span> »</span> he said
3253 of his decision to adopt Creative Commons licenses. <span class="quote">« <span class="quote">I felt like I
3254 wasn’t contributing to the culture of surveillance and censorship that has
3255 been created to try to stop copying.</span> »</span> In other words, using CC
3256 licenses symbolizes his worldview.
3257     </p><p>
3258       He also feels like there is a solid commercial basis for licensing his work
3259 with Creative Commons. While he acknowledges he hasn’t been able to do a
3260 controlled experiment to compare the commercial benefits of licensing with
3261 CC against reserving all rights, he thinks he has sold more books using a CC
3262 license than he would have without it. Cory says his goal is to convince
3263 people they should pay him for his work. <span class="quote">« <span class="quote">I started by not calling
3264 them thieves,</span> »</span> he said.
3265     </p><p>
3266       Cory started using CC licenses soon after they were first created.  At the
3267 time his first novel came out, he says the science fiction genre was overrun
3268 with people scanning and downloading books without permission. When he and
3269 his publisher took a closer look at who was doing that sort of thing online,
3270 they realized it looked a lot like book promotion. <span class="quote">« <span class="quote">I knew there was a
3271 relationship between having enthusiastic readers and having a successful
3272 career as a writer,</span> »</span> he said. <span class="quote">« <span class="quote">At the time, it took eighty
3273 hours to OCR a book, which is a big effort. I decided to spare them the time
3274 and energy, and give them the book for free in a format destined to
3275 spread.</span> »</span>
3276     </p><p>
3277       Cory admits the stakes were pretty low for him when he first adopted
3278 Creative Commons licenses. He only had to sell two thousand copies of his
3279 book to break even. People often said he was only able to use CC licenses
3280 successfully at that time because he was just starting out. Now they say he
3281 can only do it because he is an established author.
3282     </p><p>
3283       The bottom line, Cory says, is that no one has found a way to prevent people
3284 from copying the stuff they like. Rather than fighting the tide, Cory makes
3285 his work intrinsically shareable.  <span class="quote">« <span class="quote">Getting the hell out of the way
3286 for people who want to share their love of you with other people sounds
3287 obvious, but it’s remarkable how many people don’t do it,</span> »</span> he said.
3288     </p><p>
3289       Making his work available under Creative Commons licenses enables him to
3290 view his biggest fans as his ambassadors. <span class="quote">« <span class="quote">Being open to fan activity
3291 makes you part of the conversation about what fans do with your work and how
3292 they interact with it,</span> »</span> he said.  Cory’s own website routinely
3293 highlights cool things his audience has done with his work. Unlike
3294 corporations like Disney that tend to have a hands-off relationship with
3295 their fan activity, he has a symbiotic relationship with his
3296 audience. <span class="quote">« <span class="quote">Engaging with your audience can’t guarantee you
3297 success,</span> »</span> he said.  <span class="quote">« <span class="quote">And Disney is an example of being able to
3298 remain aloof and still being the most successful company in the creative
3299 industry in history. But I figure my likelihood of being Disney is pretty
3300 slim, so I should take all the help I can get.</span> »</span>
3301     </p><p>
3302       His first book was published under the most restrictive Creative Commons
3303 license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND).  It allows only
3304 verbatim copying for noncommercial purposes. His later work is published
3305 under the Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA), which
3306 gives people the right to adapt his work for noncommercial purposes but only
3307 if they share it back under the same license terms. Before releasing his
3308 work under a CC license that allows adaptations, he always sells the right
3309 to translate the book to other languages to a commercial publisher first. He
3310 wants to reach new potential buyers in other parts of the world, and he
3311 thinks it is more difficult to get people to pay for translations if there
3312 are fan translations already available for free.
3313     </p><p>
3314       In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
3315 to thinking like a dandelion. Dandelions produce thousands of seeds each
3316 spring, and they are blown into the air going in every direction. The
3317 strategy is to maximize the number of blind chances the dandelion has for
3318 continuing its genetic line. Similarly, he says there are lots of people out
3319 there who may want to buy creative work or compensate authors for it in some
3320 other way. <span class="quote">« <span class="quote">The more places your work can find itself, the greater the
3321 likelihood that it will find one of those would-be customers in some
3322 unsuspected crack in the metaphorical pavement,</span> »</span> he wrote. <span class="quote">« <span class="quote">The
3323 copies that others make of my work cost me nothing, and present the
3324 possibility that I’ll get something.</span> »</span>
3325     </p><p>
3326       Applying a CC license to his work increases the chances it will be shared
3327 more widely around the Web. He avoids DRM—and openly opposes the
3328 practice—for similar reasons. DRM has the effect of tying a work to a
3329 particular platform. This digital lock, in turn, strips the authors of
3330 control over their own work and hands that control over to the platform. He
3331 calls it Cory’s First Law: <span class="quote">« <span class="quote">Anytime someone puts a lock on something
3332 that belongs to you and won’t give you the key, that lock isn’t there for
3333 your benefit.</span> »</span>
3334     </p><p>
3335       Cory operates under the premise that artists benefit when there are more,
3336 rather than fewer, places where people can access their work. The Internet
3337 has opened up those avenues, but DRM is designed to limit them. <span class="quote">« <span class="quote">On
3338 the one hand, we can credibly make our work available to a widely dispersed
3339 audience,</span> »</span> he said. <span class="quote">« <span class="quote">On the other hand, the intermediaries we
3340 historically sold to are making it harder to go around them.</span> »</span> Cory
3341 continually looks for ways to reach his audience without relying upon major
3342 platforms that will try to take control over his work.
3343     </p><p>
3344       Cory says his e-book sales have been lower than those of his competitors,
3345 and he attributes some of that to the CC license making the work available
3346 for free. But he believes people are willing to pay for content they like,
3347 even when it is available for free, as long as it is easy to do. He was
3348 extremely successful using Humble Bundle, a platform that allows people to
3349 pay what they want for DRM-free versions of a bundle of a particular
3350 creator’s work. He is planning to try his own pay-what-you-want experiment
3351 soon.
3352     </p><p>
3353       Les fans sont particulièrement enclin à payer s’ils se sentent connectés
3354 personnellement avec l’artiste. Cory travaille dur pour créer cette
3355 connexion personnelle. Une des manières dont il procède est de répondre
3356 personnellement à chaque courriel qu’il reçoit. <span class="quote">« <span class="quote">Si on regarde
3357 l’histoire des artistes, la plupart meurent dans la misère</span> »</span>,
3358 dit-il. <span class="quote">« <span class="quote"> Cette réalité signifie pour les artistes que nous devons
3359 trouver des moyens de subvenir à nos besoins quand les goûts du public
3360 changent, quand le droit d’auteur cesse de produire. Assurer l’avenir de
3361 votre carrière artistique signifie, de nombreuses manières, trouver des
3362 moyens de rester en contact avec les personnes qui ont été touchées par
3363 votre travail.</span> »</span>
3364     </p><p>
3365       Cory’s realism about the difficulty of making a living in the arts does not
3366 reflect pessimism about the Internet age. Instead, he says the fact that it
3367 is hard to make a living as an artist is nothing new. What is new, he writes
3368 in his book, <span class="quote">« <span class="quote">is how many ways there are to make things, and to get
3369 them into other people’s hands and minds.</span> »</span>
3370     </p><p>
3371       It has never been easier to think like a dandelion.
3372     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Chapitre 10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3373         Figshare is a for-profit company offering an online repository where
3374 researchers can preserve and share the output of their research, including
3375 figures, data sets, images, and videos.  Founded in 2011 in the UK.
3376       </p><p>
3377           <a class="ulink" href="http://figshare.com" target="_top">http://figshare.com</a>
3378         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
3379 services to creators
3380       </p><p><span class="strong"><strong>Interview date</strong></span>: January 28, 2016
3381       </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Hahnel, founder
3382       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
3383     \textit{
3384         Profile written by Paul Stacey
3385       }
3386     \end{flushright}</td></tr></table></div><p>
3387       Figshare’s mission is to change the face of academic publishing through
3388 improved dissemination, discoverability, and reusability of scholarly
3389 research. Figshare is a repository where users can make all the output of
3390 their research available—from posters and presentations to data sets and
3391 code—in a way that’s easy to discover, cite, and share. Users can upload any
3392 file format, which can then be previewed in a Web browser. Research output
3393 is disseminated in a way that the current scholarly-publishing model does
3394 not allow.
3395     </p><p>
3396       Figshare founder Mark Hahnel often gets asked: How do you make money? How do
3397 we know you’ll be here in five years? Can you, as a for-profit venture, be
3398 trusted? Answers have evolved over time.
3399     </p><p>
3400       Mark traces the origins of Figshare back to when he was a graduate student
3401 getting his PhD in stem cell biology. His research involved working with
3402 videos of stem cells in motion. However, when he went to publish his
3403 research, there was no way for him to also publish the videos, figures,
3404 graphs, and data sets. This was frustrating. Mark believed publishing his
3405 complete research would lead to more citations and be better for his career.
3406     </p><p>
3407       Mark does not consider himself an advanced software programmer.
3408 Fortunately, things like cloud-based computing and wikis had become
3409 mainstream, and he believed it ought to be possible to put all his research
3410 online and share it with anyone. So he began working on a solution.
3411     </p><p>
3412       There were two key needs: licenses to make the data citable, and persistent
3413 identifiers— URL links that always point back to the original object
3414 ensuring the research is citable for the long term.
3415     </p><p>
3416       Mark chose Digital Object Identifiers (DOIs) to meet the need for a
3417 persistent identifier. In the DOI system, an object’s metadata is stored as
3418 a series of numbers in the DOI name. Referring to an object by its DOI is
3419 more stable than referring to it by its URL, because the location of an
3420 object (the web page or URL) can often change. Mark partnered with DataCite
3421 for the provision of DOIs for research data.
3422     </p><p>
3423       As for licenses, Mark chose Creative Commons. The open-access and
3424 open-science communities were already using and recommending Creative
3425 Commons. Based on what was happening in those communities and Mark’s
3426 dialogue with peers, he went with CC0 (in the public domain) for data sets
3427 and CC BY (Attribution) for figures, videos, and data sets.
3428     </p><p>
3429       So Mark began using DOIs and Creative Commons for his own research work. He
3430 had a science blog where he wrote about it and made all his data
3431 open. People started commenting on his blog that they wanted to do the
3432 same. So he opened it up for them to use, too.
3433     </p><p>
3434       People liked the interface and simple upload process. People started asking
3435 if they could also share theses, grant proposals, and code. Inclusion of
3436 code raised new licensing issues, as Creative Commons licenses are not used
3437 for software. To allow the sharing of software code, Mark chose the MIT
3438 license, but GNU and Apache licenses can also be used.
3439     </p><p>
3440       Mark sought investment to make this into a scalable product. After a few
3441 unsuccessful funding pitches, UK-based Digital Science expressed interest
3442 but insisted on a more viable business model.  They made an initial
3443 investment, and together they came up with a freemium-like business model.
3444     </p><p>
3445       Under the freemium model, academics upload their research to Figshare for
3446 storage and sharing for free. Each research object is licensed with Creative
3447 Commons and receives a DOI link. The premium option charges researchers a
3448 fee for gigabytes of private storage space, and for private online space
3449 designed for a set number of research collaborators, which is ideal for
3450 larger teams and geographically dispersed research groups. Figshare sums up
3451 its value proposition to researchers as <span class="quote">« <span class="quote">You retain ownership.  You
3452 license it. You get credit. We just make sure it persists.</span> »</span>
3453     </p><p>
3454       In January 2012, Figshare was launched. (The fig in Figshare stands for
3455 figures.) Using investment funds, Mark made significant improvements to
3456 Figshare. For example, researchers could quickly preview their research
3457 files within a browser without having to download them first or require
3458 third-party software. Journals who were still largely publishing articles as
3459 static noninteractive PDFs became interested in having Figshare provide that
3460 functionality for them.
3461     </p><p>
3462       Figshare diversified its business model to include services for
3463 journals. Figshare began hosting large amounts of data for the journals’
3464 online articles. This additional data improved the quality of the
3465 articles. Outsourcing this service to Figshare freed publishers from having
3466 to develop this functionality as part of their own
3467 infrastructure. Figshare-hosted data also provides a link back to the
3468 article, generating additional click-through and readership—a benefit to
3469 both journal publishers and researchers.  Figshare now provides
3470 research-data infrastructure for a wide variety of publishers including
3471 Wiley, Springer Nature, PLOS, and Taylor and Francis, to name a few, and has
3472 convinced them to use Creative Commons licenses for the data.
3473     </p><p>
3474       Governments allocate significant public funds to research. In parallel with
3475 the launch of Figshare, governments around the world began requesting the
3476 research they fund be open and accessible.  They mandated that researchers
3477 and academic institutions better manage and disseminate their research
3478 outputs. Institutions looking to comply with this new mandate became
3479 interested in Figshare. Figshare once again diversified its business model,
3480 adding services for institutions.
3481     </p><p>
3482       Figshare now offers a range of fee-based services to institutions, including
3483 their own minibranded Figshare space (called Figshare for Institutions) that
3484 securely hosts research data of institutions in the cloud. Services include
3485 not just hosting but data metrics, data dissemination, and user-group
3486 administration.  Figshare’s workflow, and the services they offer for
3487 institutions, take into account the needs of librarians and administrators,
3488 as well as of the researchers.
3489     </p><p>
3490       As with researchers and publishers, Fig-share encouraged institutions to
3491 share their research with CC BY (Attribution) and their data with CC0 (into
3492 the public domain). Funders who require researchers and institutions to use
3493 open licensing believe in the social responsibilities and benefits of making
3494 research accessible to all. Publishing research in this open way has come to
3495 be called open access. But not all funders specify CC BY; some institutions
3496 want to offer their researchers a choice, including less permissive licenses
3497 like CC BY-NC (Attribution-NonCommercial), CC BY-SA
3498 (Attribution-ShareAlike), or CC BY-ND (Attribution-NoDerivs).
3499     </p><p>
3500       For Mark this created a conflict. On the one hand, the principles and
3501 benefits of open science are at the heart of Figshare, and Mark believes CC
3502 BY is the best license for this. On the other hand, institutions were saying
3503 they wouldn’t use Figshare unless it offered a choice in licenses. He
3504 initially refused to offer anything beyond CC0 and CC BY, but after seeing
3505 an open-source CERN project offer all Creative Commons licenses without any
3506 negative repercussions, he decided to follow suit.
3507     </p><p>
3508       Mark is thinking of doing a Figshare study that tracks research
3509 dissemination according to Creative Commons license, and gathering metrics
3510 on views, citations, and downloads. You could see which license generates
3511 the biggest impact. If the data showed that CC BY is more impactful, Mark
3512 believes more and more researchers and institutions will make it their
3513 license of choice.
3514     </p><p>
3515       Figshare has an Application Programming Interface (API) that makes it
3516 possible for data to be pulled from Figshare and used in other
3517 applications. As an example, Mark shared a Figshare data set showing the
3518 journal subscriptions that higher-education institutions in the United
3519 Kingdom paid to ten major publishers.<a href="#ftn.idm1183" class="footnote" name="idm1183"><sup class="footnote">[115]</sup></a>
3520 Figshare’s API enables that data to be pulled into an app developed by a
3521 completely different researcher that converts the data into a visually
3522 interesting graph, which any viewer can alter by changing any of the
3523 variables.<a href="#ftn.idm1186" class="footnote" name="idm1186"><sup class="footnote">[116]</sup></a>
3524     </p><p>
3525       The free version of Figshare has built a community of academics, who through
3526 word of mouth and presentations have promoted and spread awareness of
3527 Figshare. To amplify and reward the community, Figshare established an
3528 Advisor program, providing those who promoted Figshare with hoodies and
3529 T-shirts, early access to new features, and travel expenses when they gave
3530 presentations outside of their area. These Advisors also helped Mark on what
3531 license to use for software code and whether to offer universities an option
3532 of using Creative Commons licenses.
3533     </p><p>
3534       Mark says his success is partly about being in the right place at the right
3535 time. He also believes that the diversification of Figshare’s model over
3536 time has been key to success. Figshare now offers a comprehensive set of
3537 services to researchers, publishers, and institutions.<a href="#ftn.idm1191" class="footnote" name="idm1191"><sup class="footnote">[117]</sup></a> If he had relied solely on revenue from premium
3538 subscriptions, he believes Figshare would have struggled. In Figshare’s
3539 early days, their primary users were early-career and late-career
3540 academics. It has only been because funders mandated open licensing that
3541 Figshare is now being used by the mainstream.
3542     </p><p>
3543       Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
3544 800,000–plus user uploads, 2 million–plus articles, 500,000-plus
3545 collections, and 5,000–plus projects. Sixty percent of their traffic comes
3546 from Google. A sister company called Altmetric tracks the use of Figshare by
3547 others, including Wikipedia and news sources.
3548     </p><p>
3549       Figshare uses the revenue it generates from the premium subscribers, journal
3550 publishers, and institutions to fund and expand what it can offer to
3551 researchers for free. Figshare has publicly stuck to its principles—keeping
3552 the free service free and requiring the use of CC BY and CC0 from the
3553 start—and from Mark’s perspective, this is why people trust Figshare. Mark
3554 sees new competitors coming forward who are just in it for money. If
3555 Figshare was only in it for the money, they wouldn’t care about offering a
3556 free version. Figshare’s principles and advocacy for openness are a key
3557 differentiator. Going forward, Mark sees Figshare not only as supporting
3558 open access to research but also enabling people to collaborate and make new
3559 discoveries.
3560     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1183" class="footnote"><p><a href="#idm1183" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1186" class="footnote"><p><a href="#idm1186" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&amp;inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&amp;inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1191" class="footnote"><p><a href="#idm1191" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>Chapitre 11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3561         Figure.NZ is a nonprofit charity that makes an online data platform designed
3562 to make data reusable and easy to understand.  Founded in 2012 in New
3563 Zealand.
3564       </p><p>
3565           <a class="ulink" href="http://figure.nz" target="_top">http://figure.nz</a>
3566         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
3567 services to creators, donations, sponsorships
3568       </p><p><span class="strong"><strong>Interview date</strong></span>: May 3, 2016
3569       </p><p><span class="strong"><strong>Interviewee</strong></span>: Lillian Grace, founder
3570       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
3571     \textit{
3572         Profile written by Paul Stacey
3573       }
3574     \end{flushright}</td></tr></table></div><p>
3575       In the paper Harnessing the Economic and Social Power of Data presented at
3576 the New Zealand Data Futures Forum in 2014,<a href="#ftn.idm1210" class="footnote" name="idm1210"><sup class="footnote">[118]</sup></a> Figure.NZ founder Lillian Grace said there are thousands of
3577 valuable and relevant data sets freely available to us right now, but most
3578 people don’t use them. She used to think this meant people didn’t care about
3579 being informed, but she’s come to see that she was wrong. Almost everyone
3580 wants to be informed about issues that matter—not only to them, but also to
3581 their families, their communities, their businesses, and their country.  But
3582 there’s a big difference between availability and accessibility of
3583 information. Data is spread across thousands of sites and is held within
3584 databases and spreadsheets that require both time and skill to engage
3585 with. To use data when making a decision, you have to know what specific
3586 question to ask, identify a source that has collected the data, and
3587 manipulate complex tools to extract and visualize the information within the
3588 data set.  Lillian established Figure.NZ to make data truly accessible to
3589 all, with a specific focus on New Zealand.
3590     </p><p>
3591       Lillian had the idea for Figure.NZ in February 2012 while working for the
3592 New Zealand Institute, a think tank concerned with improving economic
3593 prosperity, social well-being, environmental quality, and environmental
3594 productivity for New Zealand and New Zealanders. While giving talks to
3595 community and business groups, Lillian realized <span class="quote">« <span class="quote">every single issue we
3596 addressed would have been easier to deal with if more people understood the
3597 basic facts.</span> »</span> But understanding the basic facts sometimes requires
3598 data and research that you often have to pay for.
3599     </p><p>
3600       Lillian began to imagine a website that lifted data up to a visual form that
3601 could be easily understood and freely accessed.  Initially launched as Wiki
3602 New Zealand, the original idea was that people could contribute their data
3603 and visuals via a wiki.  However, few people had graphs that could be used
3604 and shared, and there were no standards or consistency around the data and
3605 the visuals. Realizing the wiki model wasn’t working, Lillian brought the
3606 process of data aggregation, curation, and visual presentation in-house, and
3607 invested in the technology to help automate some of it. Wiki New Zealand
3608 became Figure.NZ, and efforts were reoriented toward providing services to
3609 those wanting to open their data and present it visually.
3610     </p><p>
3611       Here’s how it works. Figure.NZ sources data from other organizations,
3612 including corporations, public repositories, government departments, and
3613 academics. Figure.NZ imports and extracts that data, and then validates and
3614 standardizes it—all with a strong eye on what will be best for users. They
3615 then make the data available in a series of standardized forms, both human-
3616 and machine-readable, with rich metadata about the sources, the licenses,
3617 and data types. Figure.NZ has a chart-designing tool that makes simple bar,
3618 line, and area graphs from any data source.  The graphs are posted to the
3619 Figure.NZ website, and they can also be exported in a variety of formats for
3620 print or online use.  Figure.NZ makes its data and graphs available using
3621 the Attribution (CC BY) license. This allows others to reuse, revise, remix,
3622 and redistribute Figure.NZ data and graphs as long as they give attribution
3623 to the original source and to Figure.NZ.
3624     </p><p>
3625       Lillian characterizes the initial decision to use Creative Commons as
3626 naively fortunate. It was first recommended to her by a colleague. Lillian
3627 spent time looking at what Creative Commons offered and thought it looked
3628 good, was clear, and made common sense. It was easy to use and easy for
3629 others to understand. Over time, she’s come to realize just how fortunate
3630 and important that decision turned out to be. New Zealand’s government has
3631 an open-access and licensing framework called NZGOAL, which provides
3632 guidance for agencies when they release copyrighted and noncopyrighted work
3633 and material.<a href="#ftn.idm1218" class="footnote" name="idm1218"><sup class="footnote">[119]</sup></a> It aims to standardize
3634 the licensing of works with government copyright and how they can be reused,
3635 and it does this with Creative Commons licenses. As a result, 98 percent of
3636 all government-agency data is Creative Commons licensed, fitting in nicely
3637 with Figure.NZ’s decision.
3638     </p><p>
3639       Lillian thinks current ideas of what a business is are relatively new, only
3640 a hundred years old or so. She’s convinced that twenty years from now, we
3641 will see new and different models for business.  Figure.NZ is set up as a
3642 nonprofit charity. It is purpose-driven but also strives to pay people well
3643 and thinks like a business.  Lillian sees the charity-nonprofit status as an
3644 essential element for the mission and purpose of Figure.NZ. She believes
3645 Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
3646 nonprofit status assures people who have data and people who want to use it
3647 that they can rely on Figure.NZ’s motives. People see them as a trusted
3648 wrangler and source.
3649     </p><p>
3650       Although Figure.NZ is a social enterprise that openly licenses their data
3651 and graphs for everyone to use for free, they have taken care not to be
3652 perceived as a free service all around the table. Lillian believes hundreds
3653 of millions of dollars are spent by the government and organizations to
3654 collect data. However, very little money is spent on taking that data and
3655 making it accessible, understandable, and useful for decision making.
3656 Government uses some of the data for policy, but Lillian believes that it is
3657 underutilized and the potential value is much larger.  Figure.NZ is focused
3658 on solving that problem. They believe a portion of money allocated to
3659 collecting data should go into making sure that data is useful and generates
3660 value. If the government wants citizens to understand why certain decisions
3661 are being made and to be more aware about what the government is doing, why
3662 not transform the data it collects into easily understood visuals? It could
3663 even become a way for a government or any organization to differentiate,
3664 market, and brand itself.
3665     </p><p>
3666       Figure.NZ spends a lot of time seeking to understand the motivations of data
3667 collectors and to identify the channels where it can provide value. Every
3668 part of their business model has been focused on who is going to get value
3669 from the data and visuals.
3670     </p><p>
3671       Figure.NZ has multiple lines of business. They provide commercial services
3672 to organizations that want their data publicly available and want to use
3673 Figure.NZ as their publishing platform. People who want to publish open data
3674 appreciate Figure.NZ’s ability to do it faster, more easily, and better than
3675 they can. Customers are encouraged to help their users find, use, and make
3676 things from the data they make available on Figure.NZ’s website. Customers
3677 control what is released and the license terms (although Figure.NZ
3678 encourages Creative Commons licensing). Figure.NZ also serves customers who
3679 want a specific collection of charts created—for example, for their website
3680 or annual report. Charging the organizations that want to make their data
3681 available enables Figure.NZ to provide their site free to all users, to
3682 truly democratize data.
3683     </p><p>
3684       Lillian notes that the current state of most data is terrible and often not
3685 well understood by the people who have it. This sometimes makes it difficult
3686 for customers and Figure.NZ to figure out what it would cost to import,
3687 standardize, and display that data in a useful way. To deal with this,
3688 Figure.NZ uses <span class="quote">« <span class="quote">high-trust contracts,</span> »</span> where customers allocate
3689 a certain budget to the task that Figure.NZ is then free to draw from, as
3690 long as Figure.NZ frequently reports on what they’ve produced so the
3691 customer can determine the value for money. This strategy has helped build
3692 trust and transparency about the level of effort associated with doing work
3693 that has never been done before.
3694     </p><p>
3695       A second line of business is what Figure.NZ calls partners. ASB Bank and
3696 Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
3697 example, with their support Figure.NZ has been able to create Business
3698 Figures, a special way for businesses to find useful data without having to
3699 know what questions to ask.<a href="#ftn.idm1228" class="footnote" name="idm1228"><sup class="footnote">[120]</sup></a>
3700     </p><p>
3701       Figure.NZ also has patrons.<a href="#ftn.idm1232" class="footnote" name="idm1232"><sup class="footnote">[121]</sup></a> Patrons
3702 donate to topic areas they care about, directly enabling Figure.NZ to get
3703 data together to flesh out those areas. Patrons do not direct what data is
3704 included or excluded.
3705     </p><p>
3706       Figure.NZ also accepts philanthropic donations, which are used to provide
3707 more content, extend technology, and improve services, or are targeted to
3708 fund a specific effort or provide in-kind support.  As a charity, donations
3709 are tax deductible.
3710     </p><p>
3711       Figure.NZ has morphed and grown over time. With data aggregation, curation,
3712 and visualizing services all in-house, Figure.NZ has developed a deep
3713 expertise in taking random styles of data, standardizing it, and making it
3714 useful. Lillian realized that Figure.NZ could easily become a warehouse of
3715 seventy people doing data. But for Lillian, growth isn’t always good. In her
3716 view, bigger often means less effective. Lillian set artificial constraints
3717 on growth, forcing the organization to think differently and be more
3718 efficient. Rather than in-house growth, they are growing and building
3719 external relationships.
3720     </p><p>
3721       Figure.NZ’s website displays visuals and data associated with a wide range
3722 of categories including crime, economy, education, employment, energy,
3723 environment, health, information and communications technology, industry,
3724 tourism, and many others. A search function helps users find tables and
3725 graphs. Figure.NZ does not provide analysis or interpretation of the data or
3726 visuals.  Their goal is to teach people how to think, not think for them.
3727 Figure.NZ wants to create intuitive experiences, not user manuals.
3728     </p><p>
3729       Figure.NZ believes data and visuals should be useful. They provide their
3730 customers with a data collection template and teach them why it’s important
3731 and how to use it. They’ve begun putting more emphasis on tracking what
3732 users of their website want. They also get requests from social media and
3733 through email for them to share data for a specific topic—for example, can
3734 you share data for water quality? If they have the data, they respond
3735 quickly; if they don’t, they try and identify the organizations that would
3736 have that data and forge a relationship so they can be included on
3737 Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
3738 people to be curious about, access, and interpret data on topics they are
3739 interested in.
3740     </p><p>
3741       Lillian has a deep and profound vision for Figure.NZ that goes well beyond
3742 simply providing open-data services. She says things are different now. "We
3743 used to live in a world where it was really hard to share information
3744 widely. And in that world, the best future was created by having a few great
3745 leaders who essentially had access to the information and made decisions on
3746 behalf of others, whether it was on behalf of a country or companies.
3747     </p><p>
3748       "But now we live in a world where it’s really easy to share information
3749 widely and also to communicate widely. In the world we live in now, the best
3750 future is the one where everyone can make well-informed decisions.
3751     </p><p>
3752       "The use of numbers and data as a way of making well-informed decisions is
3753 one of the areas where there is the biggest gaps. We don’t really use
3754 numbers as a part of our thinking and part of our understanding yet.
3755     </p><p>
3756       "Part of the reason is the way data is spread across hundreds of sites. In
3757 addition, for the most part, deep thinking based on data is constrained to
3758 experts because most people don’t have data literacy. There once was a time
3759 when many citizens in society couldn’t read or write. However, as a society,
3760 we’ve now come to believe that reading and writing skills should be
3761 something all citizens have. We haven’t yet adopted a similar belief around
3762 numbers and data literacy. We largely still believe that only a few
3763 specially trained people can analyze and think with numbers.
3764     </p><p>
3765       "Figure.NZ may be the first organization to assert that everyone can use
3766 numbers in their thinking, and it’s built a technological platform along
3767 with trust and a network of relationships to make that possible. What you
3768 can see on Figure.NZ are tens of thousands of graphs, maps, and data.
3769     </p><p>
3770         <span class="quote">« <span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
3771 analyze what they see around them. A way to be thoughtful and informed about
3772 society. A means of engaging in conversation and shaping decision making
3773 that transcends personal experience.  The long-term value and impact is
3774 almost impossible to measure, but the goal is to help citizens gain
3775 understanding and work together in more informed ways to shape the
3776 future.</span> »</span>
3777       </p><p>
3778       Lillian sees Figure.NZ’s model as having global potential. But for now,
3779 their focus is completely on making Figure.NZ work in New Zealand and to get
3780 the <span class="quote">« <span class="quote">network effect</span> »</span>— users dramatically increasing value for
3781 themselves and for others through use of their service. Creative Commons is
3782 core to making the network effect possible.
3783     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1210" class="footnote"><p><a href="#idm1210" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1218" class="footnote"><p><a href="#idm1218" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1228" class="footnote"><p><a href="#idm1228" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1232" class="footnote"><p><a href="#idm1232" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>Chapitre 12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
3784         Knowledge Unlatched is a not-for-profit community interest company that
3785 brings libraries together to pool funds to publish open-access
3786 books. Founded in 2012 in the UK.
3787       </p><p>
3788           <a class="ulink" href="http://knowledgeunlatched.org" target="_top">http://knowledgeunlatched.org</a>
3789         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding (specialized)
3790       </p><p><span class="strong"><strong>Interview date</strong></span>: February 26, 2016
3791       </p><p><span class="strong"><strong>Interviewee</strong></span>: Frances Pinter, founder
3792       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
3793     \textit{
3794         Profile written by Paul Stacey
3795       }
3796     \end{flushright}</td></tr></table></div><p>
3797       The serial entrepreneur Dr. Frances Pinter has been at the forefront of
3798 innovation in the publishing industry for nearly forty years. She founded
3799 the UK-based Knowledge Unlatched with a mission to enable open access to
3800 scholarly books. For Frances, the current scholarly- book-publishing system
3801 is not working for anyone, and especially not for monographs in the
3802 humanities and social sciences. Knowledge Unlatched is committed to changing
3803 this and has been working with libraries to create a sustainable alternative
3804 model for publishing scholarly books, sharing the cost of making monographs
3805 (released under a Creative Commons license)  and savings costs over the long
3806 term. Since its launch, Knowledge Unlatched has received several awards,
3807 including the IFLA/Brill Open Access award in 2014 and a Curtin University
3808 Commercial Innovation Award for Innovation in Education in 2015.
3809     </p><p>
3810       Dr. Pinter has been in academic publishing most of her career.  About ten
3811 years ago, she became acquainted with the Creative Commons founder Lawrence
3812 Lessig and got interested in Creative Commons as a tool for both protecting
3813 content online and distributing it free to users.
3814     </p><p>
3815       Not long after, she ran a project in Africa convincing publishers in Uganda
3816 and South Africa to put some of their content online for free using a
3817 Creative Commons license and to see what happened to print sales. Sales went
3818 up, not down.
3819     </p><p>
3820       In 2008, Bloomsbury Academic, a new imprint of Bloomsbury Publishing in the
3821 United Kingdom, appointed her its founding publisher in London. As part of
3822 the launch, Frances convinced Bloomsbury to differentiate themselves by
3823 putting out monographs for free online under a Creative Commons license
3824 (BY-NC or BY-NC-ND, i.e., Attribution-NonCommercial or
3825 Attribution-NonCommercial-NoDerivs). This was seen as risky, as the biggest
3826 cost for publishers is getting a book to the stage where it can be
3827 printed. If everyone read the online book for free, there would be no
3828 print-book sales at all, and the costs associated with getting the book to
3829 print would be lost.  Surprisingly, Bloomsbury found that sales of the print
3830 versions of these books were 10 to 20 percent higher than normal. Frances
3831 found it intriguing that the Creative Commons–licensed free online book acts
3832 as a marketing vehicle for the print format.
3833     </p><p>
3834       Frances began to look at customer interest in the three forms of the book:
3835 1) the Creative Commons–licensed free online book in PDF form, 2) the
3836 printed book, and 3) a digital version of the book on an aggregator platform
3837 with enhanced features. She thought of this as the <span class="quote">« <span class="quote">ice cream
3838 model</span> »</span>: the free PDF was vanilla ice cream, the printed book was an
3839 ice cream cone, and the enhanced e-book was an ice cream sundae.
3840     </p><p>
3841       After a while, Frances had an epiphany—what if there was a way to get
3842 libraries to underwrite the costs of making these books up until they’re
3843 ready be printed, in other words, cover the fixed costs of getting to the
3844 first digital copy? Then you could either bring down the cost of the printed
3845 book, or do a whole bunch of interesting things with the printed book and
3846 e-book—the ice cream cone or sundae part of the model.
3847     </p><p>
3848       This idea is similar to the article-processing charge some open-access
3849 journals charge researchers to cover publishing costs.  Frances began to
3850 imagine a coalition of libraries paying for the prepress costs—a
3851 <span class="quote">« <span class="quote">book-processing charge</span> »</span>—and providing everyone in the world
3852 with an open-access version of the books released under a Creative Commons
3853 license.
3854     </p><p>
3855       This idea really took hold in her mind. She didn’t really have a name for it
3856 but began talking about it and making presentations to see if there was
3857 interest. The more she talked about it, the more people agreed it had
3858 appeal. She offered a bottle of champagne to anyone who could come up with a
3859 good name for the idea. Her husband came up with Knowledge Unlatched, and
3860 after two years of generating interest, she decided to move forward and
3861 launch a community interest company (a UK term for not-for-profit social
3862 enterprises) in 2012.
3863     </p><p>
3864       She describes the business model in a paper called Knowledge Unlatched:
3865 Toward an Open and Networked Future for Academic Publishing:
3866     </p><div class="orderedlist"><ol class="orderedlist compact" type="1"><li class="listitem"><p>
3867           Publishers offer titles for sale reflecting origination costs only via
3868 Knowledge Unlatched.
3869         </p></li><li class="listitem"><p>
3870           Individual libraries select titles either as individual titles or as
3871 collections (as they do from library suppliers now).
3872         </p></li><li class="listitem"><p>
3873           Their selections are sent to Knowledge Unlatched specifying the titles to be
3874 purchased at the stated price(s).
3875         </p></li><li class="listitem"><p>
3876           The price, called a Title Fee (set by publishers and negotiated by Knowledge
3877 Unlatched), is paid to publishers to cover the fixed costs of publishing
3878 each of the titles that were selected by a minimum number of libraries to
3879 cover the Title Fee.
3880         </p></li><li class="listitem"><p>
3881           Publishers make the selected titles available Open Access (on a Creative
3882 Commons or similar open license) and are then paid the Title Fee which is
3883 the total collected from the libraries.
3884         </p></li><li class="listitem"><p>
3885           Publishers make print copies, e-Pub, and other digital versions of selected
3886 titles available to member libraries at a discount that reflects their
3887 contribution to the Title Fee and incentivizes membership.<a href="#ftn.idm1285" class="footnote" name="idm1285"><sup class="footnote">[122]</sup></a>
3888         </p></li></ol></div><p>
3889       The first round of this model resulted in a collection of twenty-eight
3890 current titles from thirteen recognized scholarly publishers being
3891 unlatched. The target was to have two hundred libraries participate. The
3892 cost of the package per library was capped at $1,680, which was an average
3893 price of sixty dollars per book, but in the end they had nearly three
3894 hundred libraries sharing the costs, and the price per book came in at just
3895 under forty-three dollars.
3896     </p><p>
3897       The open-access, Creative Commons versions of these twenty-eight books are
3898 still available online.<a href="#ftn.idm1290" class="footnote" name="idm1290"><sup class="footnote">[123]</sup></a> Most books have
3899 been licensed with CC BY-NC or CC BY-NC-ND. Authors are the copyright
3900 holder, not the publisher, and negotiate choice of license as part of the
3901 publishing agreement.  Frances has found that most authors want to retain
3902 control over the commercial and remix use of their work. Publishers list the
3903 book in their catalogs, and the noncommercial restriction in the Creative
3904 Commons license ensures authors continue to get royalties on sales of
3905 physical copies.
3906     </p><p>
3907       There are three cost variables to consider for each round: the overall cost
3908 incurred by the publishers, total cost for each library to acquire all the
3909 books, and the individual price per book. The fee publishers charge for each
3910 title is a fixed charge, and Knowledge Unlatched calculates the total amount
3911 for all the books being unlatched at a time. The cost of an order for each
3912 library is capped at a maximum based on a minimum number of libraries
3913 participating. If the number of participating libraries exceeds the minimum,
3914 then the cost of the order and the price per book go down for each library.
3915     </p><p>
3916       The second round, recently completed, unlatched seventy-eight books from
3917 twenty-six publishers. For this round, Frances was experimenting with the
3918 size and shape of the offerings. Books were being bundled into eight small
3919 packages separated by subject (including Anthropology, History, Literature,
3920 Media and Communications, and Politics), of around ten books per package.
3921 Three hundred libraries around the world have to commit to at least six of
3922 the eight packages to enable unlatching. The average cost per book was just
3923 under fifty dollars. The unlatching process took roughly ten months. It
3924 started with a call to publishers for titles, followed by having a library
3925 task force select the titles, getting authors’ permissions, getting the
3926 libraries to pledge, billing the libraries, and finally, unlatching.
3927     </p><p>
3928       The longest part of the whole process is getting libraries to pledge and
3929 commit funds. It takes about five months, as library buy-in has to fit
3930 within acquisition cycles, budget cycles, and library-committee meetings.
3931     </p><p>
3932       Knowledge Unlatched informs and recruits libraries through social media,
3933 mailing lists, listservs, and library associations. Of the three hundred
3934 libraries that participated in the first round, 80 percent are also
3935 participating in the second round, and there are an additional eighty new
3936 libraries taking part. Knowledge Unlatched is also working not just with
3937 individual libraries but also library consortia, which has been getting even
3938 more libraries involved.
3939     </p><p>
3940       Knowledge Unlatched is scaling up, offering 150 new titles in the second
3941 half of 2016. It will also offer backlist titles, and in 2017 will start to
3942 make journals open access too.
3943     </p><p>
3944       Knowledge Unlatched deliberately chose monographs as the initial type of
3945 book to unlatch. Monographs are foundational and important, but also
3946 problematic to keep going in the standard closed publishing model.
3947     </p><p>
3948       The cost for the publisher to get to a first digital copy of a monograph is
3949 $5,000 to $50,000. A good one costs in the $10,000 to $15,000
3950 range. Monographs typically don’t sell a lot of copies. A publisher who in
3951 the past sold three thousand copies now typically sells only three
3952 hundred. That makes unlatching monographs a low risk for publishers. For the
3953 first round, it took five months to get thirteen publishers. For the second
3954 round, it took one month to get twenty-six.
3955     </p><p>
3956       Authors don’t generally make a lot of royalties from monographs.  Royalties
3957 range from zero dollars to 5 to 10 percent of receipts.  The value to the
3958 author is the awareness it brings to them; when their book is being read, it
3959 increases their reputation. Open access through unlatching generates many
3960 more downloads and therefore awareness. (On the Knowledge Unlatched website,
3961 you can find interviews with the twenty-eight round-one authors describing
3962 their experience and the benefits of taking part.)<a href="#ftn.idm1301" class="footnote" name="idm1301"><sup class="footnote">[124]</sup></a>
3963     </p><p>
3964       Library budgets are constantly being squeezed, partly due to the inflation
3965 of journal subscriptions. But even without budget constraints, academic
3966 libraries are moving away from buying physical copies. An academic library
3967 catalog entry is typically a URL to wherever the book is hosted. Or if they
3968 have enough electronic storage space, they may download the digital file
3969 into their digital repository. Only secondarily do they consider getting a
3970 print book, and if they do, they buy it separately from the digital version.
3971     </p><p>
3972       Knowledge Unlatched offers libraries a compelling economic argument. Many of
3973 the participating libraries would have bought a copy of the monograph
3974 anyway, but instead of paying $95 for a print copy or $150 for a digital
3975 multiple-use copy, they pay $50 to unlatch. It costs them less, and it opens
3976 the book to not just the participating libraries, but to the world.
3977     </p><p>
3978       Not only do the economics make sense, but there is very strong alignment
3979 with library mandates. The participating libraries pay less than they would
3980 have in the closed model, and the open-access book is available to all
3981 libraries. While this means nonparticipating libraries could be seen as free
3982 riders, in the library world, wealthy libraries are used to paying more than
3983 poor libraries and accept that part of their money should be spent to
3984 support open access. <span class="quote">« <span class="quote">Free ride</span> »</span> is more like community
3985 responsibility. By the end of March 2016, the round-one books had been
3986 downloaded nearly eighty thousand times in 175 countries.
3987     </p><p>
3988       For publishers, authors, and librarians, the Knowledge Unlatched model for
3989 monographs is a win-win-win.
3990     </p><p>
3991       In the first round, Knowledge Unlatched’s overheads were covered by
3992 grants. In the second round, they aim to demonstrate the model is
3993 sustainable. Libraries and publishers will each pay a 7.5 percent service
3994 charge that will go toward Knowledge Unlatched’s running costs. With plans
3995 to scale up in future rounds, Frances figures they can fully recover costs
3996 when they are unlatching two hundred books at a time. Moving forward,
3997 Knowledge Unlatched is making investments in technology and
3998 processes. Future plans include unlatching journals and older books.
3999     </p><p>
4000       Frances believes that Knowledge Unlatched is tapping into new ways of
4001 valuing academic content. It’s about considering how many people can find,
4002 access, and use your content without pay barriers. Knowledge Unlatched taps
4003 into the new possibilities and behaviors of the digital world. In the
4004 Knowledge Unlatched model, the content-creation process is exactly the same
4005 as it always has been, but the economics are different. For Frances,
4006 Knowledge Unlatched is connected to the past but moving into the future, an
4007 evolution rather than a revolution.
4008     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1285" class="footnote"><p><a href="#idm1285" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1290" class="footnote"><p><a href="#idm1290" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1301" class="footnote"><p><a href="#idm1301" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>Chapitre 13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4009         Lumen Learning is a for-profit company helping educational institutions use
4010 open educational resources (OER). Founded in 2013 in the U.S.
4011       </p><p>
4012           <a class="ulink" href="http://lumenlearning.com" target="_top">http://lumenlearning.com</a>
4013         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
4014 services, grant funding
4015       </p><p><span class="strong"><strong>Interview date</strong></span>: December 21, 2015
4016       </p><p><span class="strong"><strong>Interviewees</strong></span>: David Wiley and Kim Thanos,
4017 cofounders
4018       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
4019     \textit{
4020         Profile written by Paul Stacey
4021       }
4022     \end{flushright}</td></tr></table></div><p>
4023       Cofounded by open education visionary Dr. David Wiley and
4024 education-technology strategist Kim Thanos, Lumen Learning is dedicated to
4025 improving student success, bringing new ideas to pedagogy, and making
4026 education more affordable by facilitating adoption of open educational
4027 resources. In 2012, David and Kim partnered on a grant-funded project called
4028 the Kaleidoscope Open Course Initiative.<a href="#ftn.idm1325" class="footnote" name="idm1325"><sup class="footnote">[125]</sup></a> It involved a set of fully open general-education courses across
4029 eight colleges predominantly serving at-risk students, with goals to
4030 dramatically reduce textbook costs and collaborate to improve the courses to
4031 help students succeed. David and Kim exceeded those goals: the cost of the
4032 required textbooks, replaced with OER, decreased to zero dollars, and
4033 average student-success rates improved by 5 to 10 percent when compared with
4034 previous years. After a second round of funding, a total of more than
4035 twenty-five institutions participated in and benefited from this project. It
4036 was career changing for David and Kim to see the impact this initiative had
4037 on low-income students. David and Kim sought further funding from the Bill
4038 and Melinda Gates Foundation, who asked them to define a plan to scale their
4039 work in a financially sustainable way. That is when they decided to create
4040 Lumen Learning.
4041     </p><p>
4042       David and Kim went back and forth on whether it should be a nonprofit or
4043 for- profit. A nonprofit would make it a more comfortable fit with the
4044 education sector but meant they’d be constantly fund-raising and seeking
4045 grants from philanthropies.  Also, grants usually require money to be used
4046 in certain ways for specific deliverables. If you learn things along the way
4047 that change how you think the grant money should be used, there often isn’t
4048 a lot of flexibility to do so.
4049     </p><p>
4050       But as a for-profit, they’d have to convince educational institutions to pay
4051 for what Lumen had to offer. On the positive side, they’d have more control
4052 over what to do with the revenue and investment money; they could make
4053 decisions to invest the funds or use them differently based on the situation
4054 and shifting opportunities. In the end, they chose the for-profit status,
4055 with its different model for and approach to sustainability.
4056     </p><p>
4057       Right from the start, David and Kim positioned Lumen Learning as a way to
4058 help institutions engage in open educational resources, or OER. OER are
4059 teaching, learning, and research materials, in all different media, that
4060 reside in the public domain or are released under an open license that
4061 permits free use and repurposing by others.
4062     </p><p>
4063       Originally, Lumen did custom contracts for each institution. This was
4064 complicated and challenging to manage. However, through that process
4065 patterns emerged which allowed them to generalize a set of approaches and
4066 offerings. Today they don’t customize as much as they used to, and instead
4067 they tend to work with customers who can use their off-the-shelf
4068 options. Lumen finds that institutions and faculty are generally very good
4069 at seeing the value Lumen brings and are willing to pay for it. Serving
4070 disadvantaged learner populations has led Lumen to be very pragmatic; they
4071 describe what they offer in quantitative terms—with facts and figures—and in
4072 a way that is very student-focused. Lumen Learning helps colleges and
4073 universities—
4074     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4075           replace expensive textbooks in high-enrollment courses with OER;
4076         </p></li><li class="listitem"><p>
4077           provide enrolled students day one access to Lumen’s fully customizable OER
4078 course materials through the institution’s learning-management system;
4079         </p></li><li class="listitem"><p>
4080           measure improvements in student success with metrics like passing rates,
4081 persistence, and course completion; and
4082         </p></li><li class="listitem"><p>
4083           collaborate with faculty to make ongoing improvements to OER based on
4084 student success research.
4085         </p></li></ul></div><p>
4086       Lumen has developed a suite of open, Creative Commons–licensed courseware in
4087 more than sixty-five subjects. All courses are freely and publicly available
4088 right off their website. They can be copied and used by others as long as
4089 they provide attribution to Lumen Learning following the terms of the
4090 Creative Commons license.
4091     </p><p>
4092       Then there are three types of bundled services that cost money.  One option,
4093 which Lumen calls Candela courseware, offers integration with the
4094 institution’s learning-management system, technical and pedagogical support,
4095 and tracking of effectiveness.  Candela courseware costs institutions ten
4096 dollars per enrolled student.
4097     </p><p>
4098       A second option is Waymaker, which offers the services of Candela but adds
4099 personalized learning technologies, such as study plans, automated messages,
4100 and assessments, and helps instructors find and support the students who
4101 need it most. Waymaker courses cost twenty-five dollars per enrolled
4102 student.
4103     </p><p>
4104       The third and emerging line of business for Lumen is providing guidance and
4105 support for institutions and state systems that are pursuing the development
4106 of complete OER degrees. Often called Z-Degrees, these programs eliminate
4107 textbook costs for students in all courses that make up the degree (both
4108 required and elective)  by replacing commercial textbooks and other
4109 expensive resources with OER.
4110     </p><p>
4111       Lumen generates revenue by charging for their value-added tools and services
4112 on top of their free courses, just as solar-power companies provide the
4113 tools and services that help people use a free resource—sunlight. And
4114 Lumen’s business model focuses on getting the institutions to pay, not the
4115 students. With projects they did prior to Lumen, David and Kim learned that
4116 students who have access to all course materials from day one have greater
4117 success. If students had to pay, Lumen would have to restrict access to
4118 those who paid. Right from the start, their stance was that they would not
4119 put their content behind a paywall. Lumen invests zero dollars in
4120 technologies and processes for restricting access—no digital rights
4121 management, no time bombs. While this has been a challenge from a
4122 business-model perspective, from an open-access perspective, it has
4123 generated immense goodwill in the community.
4124     </p><p>
4125       In most cases, development of their courses is funded by the institution
4126 Lumen has a contract with. When creating new courses, Lumen typically works
4127 with the faculty who are teaching the new course. They’re often part of the
4128 institution paying Lumen, but sometimes Lumen has to expand the team and
4129 contract faculty from other institutions. First, the faculty identifies all
4130 of the course’s learning outcomes. Lumen then searches for, aggregates, and
4131 curates the best OER they can find that addresses those learning needs,
4132 which the faculty reviews.
4133     </p><p>
4134       Sometimes faculty like the existing OER but not the way it is presented. The
4135 open licensing of existing OER allows Lumen to pick and choose from images,
4136 videos, and other media to adapt and customize the course. Lumen creates new
4137 content as they discover gaps in existing OER. Test-bank items and feedback
4138 for students on their progress are areas where new content is frequently
4139 needed.  Once a course is created, Lumen puts it on their platform with all
4140 the attributions and links to the original sources intact, and any of
4141 Lumen’s new content is given an Attribution (CC BY) license.
4142     </p><p>
4143       Using only OER made them experience firsthand how complex it could be to mix
4144 differently licensed work together. A common strategy with OER is to place
4145 the Creative Commons license and attribution information in the website’s
4146 footer, which stays the same for all pages. This doesn’t quite work,
4147 however, when mixing different OER together.
4148     </p><p>
4149       Remixing OER often results in multiple attributions on every page of every
4150 course—text from one place, images from another, and videos from yet
4151 another. Some are licensed as Attribution (CC BY), others as
4152 Attribution-ShareAlike (CC BY-SA). If this information is put within the
4153 text of the course, faculty members sometimes try to edit it and students
4154 find it a distraction. Lumen dealt with this challenge by capturing the
4155 license and attribution information as metadata, and getting it to show up
4156 at the end of each page.
4157     </p><p>
4158       Lumen’s commitment to open licensing and helping low-income students has led
4159 to strong relationships with institutions, open-education enthusiasts, and
4160 grant funders. People in their network generously increase the visibility of
4161 Lumen through presentations, word of mouth, and referrals. Sometimes the
4162 number of general inquiries exceed Lumen’s sales capacity.
4163     </p><p>
4164       To manage demand and ensure the success of projects, their strategy is to be
4165 proactive and focus on what’s going on in higher education in different
4166 regions of the United States, watching out for things happening at the
4167 system level in a way that fits with what Lumen offers. A great example is
4168 the Virginia community college system, which is building out
4169 Z-Degrees. David and Kim say there are nine other U.S. states with similar
4170 system-level activity where Lumen is strategically focusing its
4171 efforts. Where there are projects that would require a lot of resources on
4172 Lumen’s part, they prioritize the ones that would impact the largest number
4173 of students.
4174     </p><p>
4175       As a business, Lumen is committed to openness. There are two core
4176 nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
4177 Commons licenses, for all the materials it creates; and day-one access for
4178 students. Having clear nonnegotiables allows them to then engage with the
4179 education community to solve for other challenges and work with institutions
4180 to identify new business models that achieve institution goals, while
4181 keeping Lumen healthy.
4182     </p><p>
4183       Openness also means that Lumen’s OER must necessarily be nonexclusive and
4184 nonrivalrous. This represents several big challenges for the business model:
4185 Why should you invest in creating something that people will be reluctant to
4186 pay for? How do you ensure that the investment the diverse education
4187 community makes in OER is not exploited? Lumen thinks we all need to be
4188 clear about how we are benefiting from and contributing to the open
4189 community.
4190     </p><p>
4191       In the OER sector, there are examples of corporations, and even
4192 institutions, acting as free riders. Some simply take and use open resources
4193 without paying anything or contributing anything back.  Others give back the
4194 minimum amount so they can save face.  Sustainability will require those
4195 using open resources to give back an amount that seems fair or even give
4196 back something that is generous.
4197     </p><p>
4198       Lumen does track institutions accessing and using their free content. They
4199 proactively contact those institutions, with an estimate of how much their
4200 students are saving and encouraging them to switch to a paid model. Lumen
4201 explains the advantages of the paid model: a more interactive relationship
4202 with Lumen; integration with the institution’s learning-management system; a
4203 guarantee of support for faculty and students; and future sustainability
4204 with funding supporting the evolution and improvement of the OER they are
4205 using.
4206     </p><p>
4207       Lumen works hard to be a good corporate citizen in the OER community. For
4208 David and Kim, a good corporate citizen gives more than they take, adds
4209 unique value, and is very transparent about what they are taking from
4210 community, what they are giving back, and what they are monetizing. Lumen
4211 believes these are the building blocks of a sustainable model and strives
4212 for a correct balance of all these factors.
4213     </p><p>
4214       Licensing all the content they produce with CC BY is a key part of giving
4215 more value than they take. They’ve also worked hard at finding the right
4216 structure for their value-add and how to package it in a way that is
4217 understandable and repeatable.
4218     </p><p>
4219       As of the fall 2016 term, Lumen had eighty-six different open courses,
4220 working relationships with ninety-two institutions, and more than
4221 seventy-five thousand student enrollments. Lumen received early start-up
4222 funding from the Bill and Melinda Gates Foundation, the Hewlett Foundation,
4223 and the Shuttleworth Foundation. Since then, Lumen has also attracted
4224 investment funding. Over the last three years, Lumen has been roughly 60
4225 percent grant funded, 20 percent revenue earned, and 20 percent funded with
4226 angel capital. Going forward, their strategy is to replace grant funding
4227 with revenue.
4228     </p><p>
4229       In creating Lumen Learning, David and Kim say they’ve landed on solutions
4230 they never imagined, and there is still a lot of learning taking place. For
4231 them, open business models are an emerging field where we are all learning
4232 through sharing. Their biggest recommendations for others wanting to pursue
4233 the open model are to make your commitment to open resources public, let
4234 people know where you stand, and don’t back away from it. It really is about
4235 trust.
4236     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1325" class="footnote"><p><a href="#idm1325" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>Chapitre 14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4237         Jonathan Mann is a singer and songwriter who is most well known as the
4238 <span class="quote">« <span class="quote">Song A Day</span> »</span> guy. Based in the U.S.
4239       </p><p><a class="ulink" href="http://jonathanmann.net" target="_top">http://jonathanmann.net</a> and <a class="ulink" href="http://jonathanmann.bandcamp.com" target="_top">http://jonathanmann.bandcamp.com</a>
4240       </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
4241 services, pay-what-you-want, crowdfunding (subscription-based), charging for
4242 in-person version (speaking engagements and musical performances)
4243       </p><p><span class="strong"><strong>Interview date</strong></span>: February 22, 2016
4244       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
4245     \textit{
4246         Profile written by Sarah Hinchliff Pearson
4247       }
4248     \end{flushright}</td></tr></table></div><p>
4249       Jonathan Mann thinks of his business model as
4250 <span class="quote">« <span class="quote">hustling</span> »</span>—seizing nearly every opportunity he sees to make
4251 money. The bulk of his income comes from writing songs under commission for
4252 people and companies, but he has a wide variety of income sources. He has
4253 supporters on the crowdfunding site Patreon. He gets advertising revenue
4254 from YouTube and Bandcamp, where he posts all of his music. He gives paid
4255 speaking engagements about creativity and motivation. He has been hired by
4256 major conferences to write songs summarizing what speakers have said in the
4257 conference sessions.
4258     </p><p>
4259       His entrepreneurial spirit is coupled with a willingness to take action
4260 quickly. A perfect illustration of his ability to act fast happened in 2010,
4261 when he read that Apple was having a conference the following day to address
4262 a snafu related to the iPhone 4. He decided to write and post a song about
4263 the iPhone 4 that day, and the next day he got a call from the public
4264 relations people at Apple wanting to use and promote his video at the Apple
4265 conference. The song then went viral, and the experience landed him in Time
4266 magazine.
4267     </p><p>
4268       Jonathan’s successful <span class="quote">« <span class="quote">hustling</span> »</span> is also about old-fashioned
4269 persistence. He is currently in his eighth straight year of writing one song
4270 each day. He holds the Guinness World Record for consecutive daily
4271 songwriting, and he is widely known as the <span class="quote">« <span class="quote">song-a-day guy.</span> »</span>
4272     </p><p>
4273       He fell into this role by, naturally, seizing a random opportunity a friend
4274 alerted him to seven years ago—an event called Fun-A-Day, where people are
4275 supposed to create a piece of art every day for thirty-one days straight. He
4276 was in need of a new project, so he decided to give it a try by writing and
4277 posting a song each day.  He added a video component to the songs because he
4278 knew people were more likely to watch video online than simply listening to
4279 audio files.
4280     </p><p>
4281       He had a really good time doing the thirty-one-day challenge, so he decided
4282 to see if he could continue it for one year. He never stopped. He has
4283 written and posted a new song literally every day, seven days a week, since
4284 he began the project in 2009. When he isn’t writing songs that he is hired
4285 to write by clients, he writes songs about whatever is on his mind that
4286 day. His songs are catchy and mostly lighthearted, but they often contain at
4287 least an undercurrent of a deeper theme or meaning. Occasionally, they are
4288 extremely personal, like the song he cowrote with his exgirlfriend
4289 announcing their breakup. Rain or shine, in sickness or health, Jonathan
4290 posts and writes a song every day. If he is on a flight or otherwise
4291 incapable of getting Internet access in time to meet the deadline, he will
4292 prepare ahead and have someone else post the song for him.
4293     </p><p>
4294       Over time, the song-a-day gig became the basis of his livelihood.  In the
4295 beginning, he made money one of two ways. The first was by entering a wide
4296 variety of contests and winning a handful. The second was by having the
4297 occasional song and video go some varying degree of viral, which would bring
4298 more eyeballs and mean that there were more people wanting him to write
4299 songs for them. Today he earns most of his money this way.
4300     </p><p>
4301       His website explains his gig as <span class="quote">« <span class="quote">taking any message, from the super
4302 simple to the totally complicated, and conveying that message through a
4303 heartfelt, fun and quirky song.</span> »</span> He charges $500 to create a produced
4304 song and $300 for an acoustic song. He has been hired for product launches,
4305 weddings, conferences, and even Kickstarter campaigns like the one that
4306 funded the production of this book.
4307     </p><p>
4308       Jonathan can’t recall when exactly he first learned about Creative Commons,
4309 but he began applying CC licenses to his songs and videos as soon as he
4310 discovered the option. <span class="quote">« <span class="quote">CC seems like such a no-brainer,</span> »</span>
4311 Jonathan said. <span class="quote">« <span class="quote">I don’t understand how anything else would make
4312 sense. It seems like such an obvious thing that you would want your work to
4313 be able to be shared.</span> »</span>
4314     </p><p>
4315       His songs are essentially marketing for his services, so obviously the
4316 further his songs spread, the better. Using CC licenses helps grease the
4317 wheels, letting people know that Jonathan allows and encourages them to
4318 copy, interact with, and remix his music.  <span class="quote">« <span class="quote">If you let someone cover
4319 your song or remix it or use parts of it, that’s how music is supposed to
4320 work,</span> »</span> Jonathan said. <span class="quote">« <span class="quote">That is how music has worked since the
4321 beginning of time. Our me-me, mine-mine culture has undermined that.</span> »</span>
4322     </p><p>
4323       There are some people who cover his songs fairly regularly, and he would
4324 never shut that down. But he acknowledges there is a lot more he could do to
4325 build community. <span class="quote">« <span class="quote">There is all of this conventional wisdom about how
4326 to build an audience online, and I generally think I don’t do any of
4327 that,</span> »</span> Jonathan said.
4328     </p><p>
4329       He does have a fan community he cultivates on Bandcamp, but it isn’t his
4330 major focus. <span class="quote">« <span class="quote">I do have a core audience that has stuck around for a
4331 really long time, some even longer than I’ve been doing song-a-day,</span> »</span>
4332 he said. <span class="quote">« <span class="quote">There is also a transitional aspect that drop in and get
4333 what they need and then move on.</span> »</span> Focusing less on community building
4334 than other artists makes sense given Jonathan’s primary income source of
4335 writing custom songs for clients.
4336     </p><p>
4337       Jonathan recognizes what comes naturally to him and leverages those
4338 skills. Through the practice of daily songwriting, he realized he has a gift
4339 for distilling complicated subjects into simple concepts and putting them to
4340 music. In his song <span class="quote">« <span class="quote">How to Choose a Master Password,</span> »</span> Jonathan
4341 explained the process of creating a secure password in a silly, simple
4342 song. He was hired to write the song by a client who handed him a long
4343 technical blog post from which to draw the information. Like a good (and
4344 rare) journalist, he translated the technical concepts into something
4345 understandable.
4346     </p><p>
4347       When he is hired by a client to write a song, he first asks them to send a
4348 list of talking points and other information they want to include in the
4349 song. He puts all of that into a text file and starts moving things around,
4350 cutting and pasting until the message starts to come together. The first
4351 thing he tries to do is grok the core message and develop the chorus. Then
4352 he looks for connections or parts he can make rhyme. The entire process
4353 really does resemble good journalism, but of course the final product of his
4354 work is a song rather than news. <span class="quote">« <span class="quote">There is something about being
4355 challenged and forced to take information that doesn’t seem like it should
4356 be sung about or doesn’t seem like it lends itself to a song,</span> »</span> he
4357 said. <span class="quote">« <span class="quote">I find that creative challenge really satisfying. I enjoy
4358 getting lost in that process.</span> »</span>
4359     </p><p>
4360       Jonathan admits that in an ideal world, he would exclusively write the music
4361 he wanted to write, rather than what clients hire him to write. But his
4362 business model is about capitalizing on his strengths as a songwriter, and
4363 he has found a way to keep it interesting for himself.
4364     </p><p>
4365       Jonathan uses nearly every tool possible to make money from his art, but he
4366 does have lines he won’t cross. He won’t write songs about things he
4367 fundamentally does not believe in, and there are times he has turned down
4368 jobs on principle. He also won’t stray too much from his natural
4369 style. <span class="quote">« <span class="quote">My style is silly, so I can’t really accommodate people who
4370 want something super serious,</span> »</span> Jonathan said. <span class="quote">« <span class="quote">I do what I do
4371 very easily, and it’s part of who I am.</span> »</span> Jonathan hasn’t gotten into
4372 writing commercials for the same reasons; he is best at using his own unique
4373 style rather than mimicking others.
4374     </p><p>
4375       Jonathan’s song-a-day commitment exemplifies the power of habit and
4376 grit. Conventional wisdom about creative productivity, including advice in
4377 books like the best-seller The Creative Habit by Twyla Tharp, routinely
4378 emphasizes the importance of ritual and action. No amount of planning can
4379 replace the value of simple practice and just doing. Jonathan Mann’s work is
4380 a living embodiment of these principles.
4381     </p><p>
4382       When he speaks about his work, he talks about how much the song-a-day
4383 process has changed him. Rather than seeing any given piece of work as
4384 precious and getting stuck on trying to make it perfect, he has become
4385 comfortable with just doing. If today’s song is a bust, tomorrow’s song
4386 might be better.
4387     </p><p>
4388       Jonathan seems to have this mentality about his career more generally. He is
4389 constantly experimenting with ways to make a living while sharing his work
4390 as widely as possible, seeing what sticks. While he has major
4391 accomplishments he is proud of, like being in the Guinness World Records or
4392 having his song used by Steve Jobs, he says he never truly feels successful.
4393     </p><p><span class="quote">« <span class="quote">Success feels like it’s over,</span> »</span> he said. <span class="quote">« <span class="quote">To a certain
4394 extent, a creative person is not ever going to feel completely satisfied
4395 because then so much of what drives you would be gone.</span> »</span>
4396     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Chapitre 15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4397         The Noun Project is a for-profit company offering an online platform to
4398 display visual icons from a global network of designers. Founded in 2010 in
4399 the U.S.
4400       </p><p>
4401           <a class="ulink" href="http://thenounproject.com" target="_top">http://thenounproject.com</a>
4402         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction
4403 fee, charging for custom services
4404       </p><p><span class="strong"><strong>Interview date</strong></span>: October 6, 2015
4405       </p><p><span class="strong"><strong>Interviewee</strong></span>: Edward Boatman, cofounder
4406       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
4407     \textit{
4408         Profile written by Paul Stacey
4409       }
4410     \end{flushright}</td></tr></table></div><p>
4411       The Noun Project creates and shares visual language. There are millions who
4412 use Noun Project symbols to simplify communication across borders,
4413 languages, and cultures.
4414     </p><p>
4415       The original idea for the Noun Project came to cofounder Edward Boatman
4416 while he was a student in architecture design school. He’d always done a lot
4417 of sketches and started to draw what used to fascinate him as a child, like
4418 trains, sequoias, and bulldozers.  He began thinking how great it would be
4419 if he had a simple image or small icon of every single object or concept on
4420 the planet.
4421     </p><p>
4422       When Edward went on to work at an architecture firm, he had to make a lot of
4423 presentation boards for clients. But finding high-quality sources for
4424 symbols and icons was difficult. He couldn’t find any website that could
4425 provide them. Perhaps his idea for creating a library of icons could
4426 actually help people in similar situations.
4427     </p><p>
4428       With his partner, Sofya Polyakov, he began collecting symbols for a website
4429 and writing a business plan. Inspiration came from the book Professor and
4430 the Madman, which chronicles the use of crowdsourcing to create the Oxford
4431 English Dictionary in 1870.  Edward began to imagine crowdsourcing icons and
4432 symbols from volunteer designers around the world.
4433     </p><p>
4434       Then Edward got laid off during the recession, which turned out to be a huge
4435 catalyst. He decided to give his idea a go, and in 2010 Edward and Sofya
4436 launched the Noun Project with a Kickstarter campaign, back when Kickstarter
4437 was in its infancy.<a href="#ftn.idm1428" class="footnote" name="idm1428"><sup class="footnote">[126]</sup></a> They thought it’d
4438 be a good way to introduce the global web community to their idea. Their
4439 goal was to raise $1,500, but in twenty days they got over $14,000. They
4440 realized their idea had the potential to be something much bigger.
4441     </p><p>
4442       They created a platform where symbols and icons could be uploaded, and
4443 Edward began recruiting talented designers to contribute their designs, a
4444 process he describes as a relatively easy sell. Lots of designers have old
4445 drawings just gathering <span class="quote">« <span class="quote">digital dust</span> »</span> on their hard
4446 drives. It’s easy to convince them to finally share them with the world.
4447     </p><p>
4448       The Noun Project currently has about seven thousand designers from around
4449 the world. But not all submissions are accepted. The Noun Project’s
4450 quality-review process means that only the best works become part of its
4451 collection. They make sure to provide encouraging, constructive feedback
4452 whenever they reject a piece of work, which maintains and builds the
4453 relationship they have with their global community of designers.
4454     </p><p>
4455       Creative Commons is an integral part of the Noun Project’s business model;
4456 this decision was inspired by Chris Anderson’s book Free: The Future of
4457 Radical Price, which introduced Edward to the idea that you could build a
4458 business model around free content.
4459     </p><p>
4460       Edward knew he wanted to offer a free visual language while still providing
4461 some protection and reward for its contributors. There is a tension between
4462 those two goals, but for Edward, Creative Commons licenses bring this
4463 idealism and business opportunity together elegantly. He chose the
4464 Attribution (CC BY) license, which means people can download the icons for
4465 free and modify them and even use them commercially. The requirement to give
4466 attribution to the original creator ensures that the creator can build a
4467 reputation and get global recognition for their work. And if they simply
4468 want to offer an icon that people can use without having to give credit,
4469 they can use CC0 to put the work into the public domain.
4470     </p><p>
4471       Noun Project’s business model and means of generating revenue have evolved
4472 significantly over time. Their initial plan was to sell T-shirts with the
4473 icons on it, which in retrospect Edward says was a horrible idea. They did
4474 get a lot of email from people saying they loved the icons but asking if
4475 they could pay a fee instead of giving attribution. Ad agencies (among
4476 others) wanted to keep marketing and presentation materials clean and free
4477 of attribution statements. For Edward, <span class="quote">« <span class="quote">That’s when our lightbulb went
4478 off.</span> »</span>
4479     </p><p>
4480       They asked their global network of designers whether they’d be open to
4481 receiving modest remuneration instead of attribution.  Designers saw it as a
4482 win-win. The idea that you could offer your designs for free and have a
4483 global audience and maybe even make some money was pretty exciting for most
4484 designers.
4485     </p><p>
4486       The Noun Project first adopted a model whereby using an icon without giving
4487 attribution would cost $1.99 per icon. The model’s second iteration added a
4488 subscription component, where there would be a monthly fee to access a
4489 certain number of icons—ten, fifty, a hundred, or five hundred. However,
4490 users didn’t like these hard-count options. They preferred to try out many
4491 similar icons to see which worked best before eventually choosing the one
4492 they wanted to use. So the Noun Project moved to an unlimited model, whereby
4493 users have unlimited access to the whole library for a flat monthly
4494 fee. This service is called NounPro and costs $9.99 per month. Edward says
4495 this model is working well—good for customers, good for creators, and good
4496 for the platform.
4497     </p><p>
4498       Customers then began asking for an application-programming interface (API),
4499 which would allow Noun Project icons and symbols to be directly accessed
4500 from within other applications. Edward knew that the icons and symbols would
4501 be valuable in a lot of different contexts and that they couldn’t possibly
4502 know all of them in advance, so they built an API with a lot of
4503 flexibility.  Knowing that most API applications would want to use the icons
4504 without giving attribution, the API was built with the aim of charging for
4505 its use. You can use what’s called the <span class="quote">« <span class="quote">Playground API</span> »</span> for
4506 free to test how it integrates with your application, but full
4507 implementation will require you to purchase the API Pro version.
4508     </p><p>
4509       The Noun Project shares revenue with its international designers.  For
4510 one-off purchases, the revenue is split 70 percent to the designer and 30
4511 percent to Noun Project.
4512     </p><p>
4513       The revenue from premium purchases (the subscription and API options) is
4514 split a little differently. At the end of each month, the total revenue from
4515 subscriptions is divided by Noun Project’s total number of downloads,
4516 resulting in a rate per download—for example, it could be $0.13 per download
4517 for that month. For each download, the revenue is split 40 percent to the
4518 designer and 60 percent to the Noun Project. (For API usage, it’s per use
4519 instead of per download.) Noun Project’s share is higher this time as it’s
4520 providing more service to the user.
4521     </p><p>
4522       The Noun Project tries to be completely transparent about their royalty
4523 structure.<a href="#ftn.idm1445" class="footnote" name="idm1445"><sup class="footnote">[127]</sup></a> They tend to over
4524 communicate with creators about it because building trust is the top
4525 priority.
4526     </p><p>
4527       For most creators, contributing to the Noun Project is not a full-time job
4528 but something they do on the side. Edward categorizes monthly earnings for
4529 creators into three broad categories: enough money to buy beer; enough to
4530 pay the bills; and most successful of all, enough to pay the rent.
4531     </p><p>
4532       Recently the Noun Project launched a new app called Lingo.  Designers can
4533 use Lingo to organize not just their Noun Project icons and symbols but also
4534 their photos, illustrations, UX designs, et cetera. You simply drag any
4535 visual item directly into Lingo to save it. Lingo also works for teams so
4536 people can share visuals with each other and search across their combined
4537 collections. Lingo is free for personal use. A pro version for $9.99 per
4538 month lets you add guests. A team version for $49.95 per month allows up to
4539 twenty-five team members to collaborate, and to view, use, edit, and add new
4540 assets to each other’s collections.  And if you subscribe to NounPro, you
4541 can access Noun Project from within Lingo.
4542     </p><p>
4543       The Noun Project gives a ton of value away for free. A very large percentage
4544 of their roughly one million members have a free account, but there are
4545 still lots of paid accounts coming from digital designers, advertising and
4546 design agencies, educators, and others who need to communicate ideas
4547 visually.
4548     </p><p>
4549       For Edward, <span class="quote">« <span class="quote">creating, sharing, and celebrating the world’s visual
4550 language</span> »</span> is the most important aspect of what they do; it’s their
4551 stated mission. It differentiates them from others who offer graphics,
4552 icons, or clip art.
4553     </p><p>
4554       Noun Project creators agree. When surveyed on why they participate in the
4555 Noun Project, this is how designers rank their reasons: 1)  to support the
4556 Noun Project mission, 2) to promote their own personal brand, and 3) to
4557 generate money. It’s striking to see that money comes third, and mission,
4558 first. If you want to engage a global network of contributors, it’s
4559 important to have a mission beyond making money.
4560     </p><p>
4561       In Edward’s view, Creative Commons is central to their mission of sharing
4562 and social good. Using Creative Commons makes the Noun Project’s mission
4563 genuine and has generated a lot of their initial traction and
4564 credibility. CC comes with a built-in community of users and fans.
4565     </p><p>
4566       Edward told us, <span class="quote">« <span class="quote">Don’t underestimate the power of a passionate
4567 community around your product or your business. They are going to go to bat
4568 for you when you’re getting ripped in the media. If you go down the road of
4569 choosing to work with Creative Commons, you’re taking the first step to
4570 building a great community and tapping into a really awesome community that
4571 comes with it. But you need to continue to foster that community through
4572 other initiatives and continue to nurture it.</span> »</span>
4573     </p><p>
4574       The Noun Project nurtures their creators’ second motivation—promoting a
4575 personal brand—by connecting every icon and symbol to the creator’s name and
4576 profile page; each profile features their full collection. Users can also
4577 search the icons by the creator’s name.
4578     </p><p>
4579       The Noun Project also builds community through Iconathons—hackathons for
4580 icons.<a href="#ftn.idm1459" class="footnote" name="idm1459"><sup class="footnote">[128]</sup></a> In partnership with a sponsoring
4581 organization, the Noun Project comes up with a theme (e.g., sustainable
4582 energy, food bank, guerrilla gardening, human rights) and a list of icons
4583 that are needed, which designers are invited to create at the event.  The
4584 results are vectorized, and added to the Noun Project using CC0 so they can
4585 be used by anyone for free.
4586     </p><p>
4587       Providing a free version of their product that satisfies a lot of their
4588 customers’ needs has actually enabled the Noun Project to build the paid
4589 version, using a service-oriented model. The Noun Project’s success lies in
4590 creating services and content that are a strategic mix of free and paid
4591 while staying true to their mission—creating, sharing, and celebrating the
4592 world’s visual language. Integrating Creative Commons into their model has
4593 been key to that goal.
4594     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1428" class="footnote"><p><a href="#idm1428" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1445" class="footnote"><p><a href="#idm1445" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1459" class="footnote"><p><a href="#idm1459" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>Chapitre 16. Open Data Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4595         The Open Data Institute is an independent nonprofit that connects, equips,
4596 and inspires people around the world to innovate with data. Founded in 2012
4597 in the UK.
4598       </p><p>
4599           <a class="ulink" href="http://theodi.org" target="_top">http://theodi.org</a>
4600         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant and government
4601 funding, charging for custom services, donations
4602       </p><p><span class="strong"><strong>Interview date</strong></span>: November 11, 2015
4603       </p><p><span class="strong"><strong>Interviewee</strong></span>: Jeni Tennison, technical
4604 director
4605       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
4606     \textit{
4607         Profile written by Paul Stacey
4608       }
4609     \end{flushright}</td></tr></table></div><p>
4610       Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
4611 London-based Open Data Institute (ODI) offers data-related training, events,
4612 consulting services, and research. For ODI, Creative Commons licenses are
4613 central to making their own business model and their customers’ open. CC BY
4614 (Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the
4615 public domain)  all play a critical role in ODI’s mission to help people
4616 around the world innovate with data.
4617     </p><p>
4618       Data underpins planning and decision making across all aspects of
4619 society. Weather data helps farmers know when to plant their crops, flight
4620 time data from airplane companies helps us plan our travel, data on local
4621 housing informs city planning. When this data is not only accurate and
4622 timely, but open and accessible, it opens up new possibilities. Open data
4623 can be a resource businesses use to build new products and services. It can
4624 help governments measure progress, improve efficiency, and target
4625 investments. It can help citizens improve their lives by better
4626 understanding what is happening around them.
4627     </p><p>
4628       The Open Data Institute’s 2012–17 business plan starts out by describing its
4629 vision to establish itself as a world-leading center and to research and be
4630 innovative with the opportunities created by the UK government’s open data
4631 policy. (The government was an early pioneer in open policy and open-data
4632 initiatives.) It goes on to say that the ODI wants to—
4633     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4634           demonstrate the commercial value of open government data and how open-data
4635 policies affect this;
4636         </p></li><li class="listitem"><p>
4637           develop the economic benefits case and business models for open data;
4638         </p></li><li class="listitem"><p>
4639           help UK businesses use open data; and
4640         </p></li><li class="listitem"><p>
4641           show how open data can improve public services.<a href="#ftn.idm1488" class="footnote" name="idm1488"><sup class="footnote">[129]</sup></a>
4642         </p></li></ul></div><p>
4643       ODI is very explicit about how it wants to make open business models, and
4644 defining what this means. Jeni Tennison, ODI’s technical director, puts it
4645 this way: <span class="quote">« <span class="quote">There is a whole ecosystem of open—open-source software,
4646 open government, open-access research—and a whole ecosystem of data. ODI’s
4647 work cuts across both, with an emphasis on where they overlap—with open
4648 data.</span> »</span> ODI’s particular focus is to show open data’s potential for
4649 revenue.
4650     </p><p>
4651       As an independent nonprofit, ODI secured £10 million over five years from
4652 the UK government via Innovate UK, an agency that promotes innovation in
4653 science and technology. For this funding, ODI has to secure matching funds
4654 from other sources, some of which were met through a $4.75-million
4655 investment from the Omidyar Network.
4656     </p><p>
4657       Jeni started out as a developer and technical architect for data.gov.uk, the
4658 UK government’s pioneering open-data initiative.  She helped make data sets
4659 from government departments available as open data. She joined ODI in 2012
4660 when it was just starting up, as one of six people. It now has a staff of
4661 about sixty.
4662     </p><p>
4663       ODI strives to have half its annual budget come from the core UK government
4664 and Omidyar grants, and the other half from project-based research and
4665 commercial work. In Jeni’s view, having this balance of revenue sources
4666 establishes some stability, but also keeps them motivated to go out and
4667 generate these matching funds in response to market needs.
4668     </p><p>
4669       On the commercial side, ODI generates funding through memberships, training,
4670 and advisory services.
4671     </p><p>
4672       You can join the ODI as an individual or commercial member.  Individual
4673 membership is pay-what-you-can, with options ranging from £1 to
4674 £100. Members receive a newsletter and related communications and a discount
4675 on ODI training courses and the annual summit, and they can display an
4676 ODI-supporter badge on their website. Commercial membership is divided into
4677 two tiers: small to medium size enterprises and nonprofits at £720 a year,
4678 and corporations and government organizations at £2,200 a year.  Commercial
4679 members have greater opportunities to connect and collaborate, explore the
4680 benefits of open data, and unlock new business opportunities. (All members
4681 are listed on their website.)<a href="#ftn.idm1498" class="footnote" name="idm1498"><sup class="footnote">[130]</sup></a>
4682     </p><p>
4683       ODI provides standardized open data training courses in which anyone can
4684 enroll. The initial idea was to offer an intensive and academically oriented
4685 diploma in open data, but it quickly became clear there was no market for
4686 that. Instead, they offered a five-day-long public training course, which
4687 has subsequently been reduced to three days; now the most popular course is
4688 one day long. The fee, in addition to the time commitment, can be a barrier
4689 for participation. Jeni says, <span class="quote">« <span class="quote">Most of the people who would be able to
4690 pay don’t know they need it. Most who know they need it can’t pay.</span> »</span>
4691 Public-sector organizations sometimes give vouchers to their employees so
4692 they can attend as a form of professional development.
4693     </p><p>
4694       ODI customizes training for clients as well, for which there is more
4695 demand. Custom training usually emerges through an established relationship
4696 with an organization. The training program is based on a definition of
4697 open-data knowledge as applicable to the organization and on the skills
4698 needed by their high-level executives, management, and technical staff. The
4699 training tends to generate high interest and commitment.
4700     </p><p>
4701       Education about open data is also a part of ODI’s annual summit event, where
4702 curated presentations and speakers showcase the work of ODI and its members
4703 across the entire ecosystem. Tickets to the summit are available to the
4704 public, and hundreds of people and organizations attend and participate. In
4705 2014, there were four thematic tracks and over 750 attendees.
4706     </p><p>
4707       In addition to memberships and training, ODI provides advisory services to
4708 help with technical-data support, technology development, change management,
4709 policies, and other areas. ODI has advised large commercial organizations,
4710 small businesses, and international governments; the focus at the moment is
4711 on government, but ODI is working to shift more toward commercial
4712 organizations.
4713     </p><p>
4714       On the commercial side, the following value propositions seem to resonate:
4715     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4716           Data-driven insights. Businesses need data from outside their business to
4717 get more insight. Businesses can generate value and more effectively pursue
4718 their own goals if they open up their own data too. Big data is a hot topic.
4719         </p></li><li class="listitem"><p>
4720           Open innovation. Many large-scale enterprises are aware they don’t innovate
4721 very well. One way they can innovate is to open up their data. ODI
4722 encourages them to do so even if it exposes problems and challenges. The key
4723 is to invite other people to help while still maintaining organizational
4724 autonomy.
4725         </p></li><li class="listitem"><p>
4726           Corporate social responsibility. While this resonates with businesses, ODI
4727 cautions against having it be the sole reason for making data open. If a
4728 business is just thinking about open data as a way to be transparent and
4729 accountable, they can miss out on efficiencies and opportunities.
4730         </p></li></ul></div><p>
4731       During their early years, ODI wanted to focus solely on the United
4732 Kingdom. But in their first year, large delegations of government visitors
4733 from over fifty countries wanted to learn more about the UK government’s
4734 open-data practices and how ODI saw that translating into economic
4735 value. They were contracted as a service provider to international
4736 governments, which prompted a need to set up international ODI
4737 <span class="quote">« <span class="quote">nodes.</span> »</span>
4738     </p><p>
4739       Nodes are franchises of the ODI at a regional or city level.  Hosted by
4740 existing (for-profit or not-for-profit) organizations, they operate locally
4741 but are part of the global network. Each ODI node adopts the charter, a set
4742 of guiding principles and rules under which ODI operates. They develop and
4743 deliver training, connect people and businesses through membership and
4744 events, and communicate open-data stories from their part of the
4745 world. There are twenty-seven different nodes across nineteen countries. ODI
4746 nodes are charged a small fee to be part of the network and to use the
4747 brand.
4748     </p><p>
4749       ODI also runs programs to help start-ups in the UK and across Europe develop
4750 a sustainable business around open data, offering mentoring, advice,
4751 training, and even office space.<a href="#ftn.idm1518" class="footnote" name="idm1518"><sup class="footnote">[131]</sup></a>
4752     </p><p>
4753       A big part of ODI’s business model revolves around community
4754 building. Memberships, training, summits, consulting services, nodes, and
4755 start-up programs create an ever-growing network of open-data users and
4756 leaders. (In fact, ODI even operates something called an Open Data Leaders
4757 Network.) For ODI, community is key to success. They devote significant time
4758 and effort to build it, not just online but through face-to-face events.
4759     </p><p>
4760       ODI has created an online tool that organizations can use to assess the
4761 legal, practical, technical, and social aspects of their open data. If it is
4762 of high quality, the organization can earn ODI’s Open Data Certificate, a
4763 globally recognized mark that signals that their open data is useful,
4764 reliable, accessible, discoverable, and supported.<a href="#ftn.idm1524" class="footnote" name="idm1524"><sup class="footnote">[132]</sup></a>
4765     </p><p>
4766       Separate from commercial activities, the ODI generates funding through
4767 research grants. Research includes looking at evidence on the impact of open
4768 data, development of open-data tools and standards, and how to deploy open
4769 data at scale.
4770     </p><p>
4771       Creative Commons 4.0 licenses cover database rights and ODI recommends CC
4772 BY, CC BY-SA, and CC0 for data releases. ODI encourages publishers of data
4773 to use Creative Commons licenses rather than creating new <span class="quote">« <span class="quote">open
4774 licenses</span> »</span> of their own.
4775     </p><p>
4776       For ODI, open is at the heart of what they do. They also release any
4777 software code they produce under open-source-software licenses, and
4778 publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
4779 to connect and equip people around the world so they can innovate with
4780 data. Disseminating stories, research, guidance, and code under an open
4781 license is essential for achieving that mission. It also demonstrates that
4782 it is perfectly possible to generate sustainable revenue streams that do not
4783 rely on restrictive licensing of content, data, or code.  People pay to have
4784 ODI experts provide training to them, not for the content of the training;
4785 people pay for the advice ODI gives them, not for the methodologies they
4786 use. Producing open content, data, and source code helps establish
4787 credibility and creates leads for the paid services that they
4788 offer. According to Jeni, <span class="quote">« <span class="quote">The biggest lesson we have learned is that
4789 it is completely possible to be open, get customers, and make money.</span> »</span>
4790     </p><p>
4791       To serve as evidence of a successful open business model and return on
4792 investment, ODI has a public dashboard of key performance indicators. Here
4793 are a few metrics as of April 27, 2016:
4794     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4795           Total amount of cash investments unlocked in direct investments in ODI,
4796 competition funding, direct contracts, and partnerships, and income that ODI
4797 nodes and ODI start-ups have generated since joining the ODI program: £44.5
4798 million
4799         </p></li><li class="listitem"><p>
4800           Total number of active members and nodes across the globe: 1,350
4801         </p></li><li class="listitem"><p>
4802           Total sales since ODI began: £7.44 million
4803         </p></li><li class="listitem"><p>
4804           Total number of unique people reached since ODI began, in person and online:
4805 2.2 million
4806         </p></li><li class="listitem"><p>
4807           Total Open Data Certificates created: 151,000
4808         </p></li><li class="listitem"><p>
4809           Total number of people trained by ODI and its nodes since ODI began:
4810 5,080<a href="#ftn.idm1546" class="footnote" name="idm1546"><sup class="footnote">[133]</sup></a>
4811         </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1488" class="footnote"><p><a href="#idm1488" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1498" class="footnote"><p><a href="#idm1498" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1518" class="footnote"><p><a href="#idm1518" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1524" class="footnote"><p><a href="#idm1524" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1546" class="footnote"><p><a href="#idm1546" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Chapitre 17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
4812         Opendesk is a for-profit company offering an online platform that connects
4813 furniture designers around the world with customers and local makers who
4814 bring the designs to life.  Founded in 2014 in the UK.
4815       </p><p>
4816           <a class="ulink" href="http://www.opendesk.cc" target="_top">http://www.opendesk.cc</a>
4817         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
4818       </p><p><span class="strong"><strong>Interview date</strong></span>: November 4, 2015
4819       </p><p><span class="strong"><strong>Interviewees</strong></span>: Nick Ierodiaconou and Joni
4820 Steiner, cofounders
4821       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
4822     \textit{
4823         Profile written by Paul Stacey
4824       }
4825     \end{flushright}</td></tr></table></div><p>
4826       Opendesk is an online platform that connects furniture designers around the
4827 world not just with customers but also with local registered makers who
4828 bring the designs to life. Opendesk and the designer receive a portion of
4829 every sale that is made by a maker.
4830     </p><p>
4831       Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as
4832 architects together. They also made goods. Their first client was Mint
4833 Digital, who had an interest in open licensing. Nick and Joni were exploring
4834 digital fabrication, and Mint’s interest in open licensing got them to
4835 thinking how the open-source world may interact and apply to physical
4836 goods. They sought to design something for their client that was also
4837 reproducible. As they put it, they decided to <span class="quote">« <span class="quote">ship the recipe, but
4838 not the goods.</span> »</span> They created the design using software, put it under
4839 an open license, and had it manufactured locally near the client. This was
4840 the start of the idea for Opendesk. The idea for Wikihouse—another open
4841 project dedicated to accessible housing for all—started as discussions
4842 around the same table. The two projects ultimately went on separate paths,
4843 with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit
4844 company.
4845     </p><p>
4846       When Nick and Joni set out to create Opendesk, there were a lot of questions
4847 about the viability of distributed manufacturing. No one was doing it in a
4848 way that was even close to realistic or competitive. The design community
4849 had the intent, but fulfilling this vision was still a long way away.
4850     </p><p>
4851       And now this sector is emerging, and Nick and Joni are highly interested in
4852 the commercialization aspects of it. As part of coming up with a business
4853 model, they began investigating intellectual property and licensing
4854 options. It was a thorny space, especially for designs. Just what aspect of
4855 a design is copyrightable? What is patentable? How can allowing for digital
4856 sharing and distribution be balanced against the designer’s desire to still
4857 hold ownership? In the end, they decided there was no need to reinvent the
4858 wheel and settled on using Creative Commons.
4859     </p><p>
4860       When designing the Opendesk system, they had two goals. They wanted anyone,
4861 anywhere in the world, to be able to download designs so that they could be
4862 made locally, and they wanted a viable model that benefited designers when
4863 their designs were sold. Coming up with a business model was going to be
4864 complex.
4865     </p><p>
4866       They gave a lot of thought to three angles—the potential for social sharing,
4867 allowing designers to choose their license, and the impact these choices
4868 would have on the business model.
4869     </p><p>
4870       In support of social sharing, Opendesk actively advocates for (but doesn’t
4871 demand) open licensing. And Nick and Joni are agnostic about which Creative
4872 Commons license is used; it’s up to the designer. They can be proprietary or
4873 choose from the full suite of Creative Commons licenses, deciding for
4874 themselves how open or closed they want to be.
4875     </p><p>
4876       For the most part, designers love the idea of sharing content.  They
4877 understand that you get positive feedback when you’re attributed, what Nick
4878 and Joni called <span class="quote">« <span class="quote">reputational glow.</span> »</span> And Opendesk does an
4879 awesome job profiling the designers.<a href="#ftn.idm1572" class="footnote" name="idm1572"><sup class="footnote">[134]</sup></a>
4880     </p><p>
4881       While designers are largely OK with personal sharing, there is a concern
4882 that someone will take the design and manufacture the furniture in bulk,
4883 with the designer not getting any benefits. So most Opendesk designers
4884 choose the Attribution-NonCommercial license (CC BY-NC).
4885     </p><p>
4886       Anyone can download a design and make it themselves, provided it’s for
4887 noncommercial use — and there have been many, many downloads.  Or users can
4888 buy the product from Opendesk, or from a registered maker in Opendesk’s
4889 network, for on-demand personal fabrication.  The network of Opendesk makers
4890 currently is made up of those who do digital fabrication using a
4891 computer-controlled CNC (Computer Numeric Control) machining device that
4892 cuts shapes out of wooden sheets according to the specifications in the
4893 design file.
4894     </p><p>
4895       Makers benefit from being part of Opendesk’s network. Making furniture for
4896 local customers is paid work, and Opendesk generates business for them. Joni
4897 said, <span class="quote">« <span class="quote">Finding a whole network and community of makers was pretty easy
4898 because we built a site where people could write in about their
4899 capabilities. Building the community by learning from the maker community is
4900 how we have moved forward.</span> »</span> Opendesk now has relationships with
4901 hundreds of makers in countries all around the world.<a href="#ftn.idm1579" class="footnote" name="idm1579"><sup class="footnote">[135]</sup></a>
4902     </p><p>
4903       The makers are a critical part of the Opendesk business model.  Their model
4904 builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
4905 website:
4906     </p><p>
4907       When customers buy an Opendesk product directly from a registered maker,
4908 they pay:
4909     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4910           the manufacturing cost as set by the maker (this covers material and labour
4911 costs for the product to be manufactured and any extra assembly costs
4912 charged by the maker)
4913         </p></li><li class="listitem"><p>
4914           a design fee for the designer (a design fee that is paid to the designer
4915 every time their design is used)
4916         </p></li><li class="listitem"><p>
4917           a percentage fee to the Opendesk platform (this supports the infrastructure
4918 and ongoing development of the platform that helps us build out our
4919 marketplace)
4920         </p></li><li class="listitem"><p>
4921           a percentage fee to the channel through which the sale is made (at the
4922 moment this is Opendesk, but in the future we aim to open this up to
4923 third-party sellers who can sell Opendesk products through their own
4924 channels—this covers sales and marketing fees for the relevant channel)
4925         </p></li><li class="listitem"><p>
4926           a local delivery service charge (the delivery is typically charged by the
4927 maker, but in some cases may be paid to a third-party delivery partner)
4928         </p></li><li class="listitem"><p>
4929           charges for any additional services the customer chooses, such as on-site
4930 assembly (additional services are discretionary—in many cases makers will be
4931 happy to quote for assembly on-site and designers may offer bespoke design
4932 options)
4933         </p></li><li class="listitem"><p>
4934           local sales taxes (variable by customer and maker location)<a href="#ftn.idm1599" class="footnote" name="idm1599"><sup class="footnote">[136]</sup></a>
4935         </p></li></ul></div><p>
4936       They then go into detail how makers’ quotes are created:
4937     </p><p>
4938       When a customer wants to buy an Opendesk . . . they are provided with a
4939 transparent breakdown of fees including the manufacturing cost, design fee,
4940 Opendesk platform fee and channel fees. If a customer opts to buy by getting
4941 in touch directly with a registered local maker using a downloaded Opendesk
4942 file, the maker is responsible for ensuring the design fee, Opendesk
4943 platform fee and channel fees are included in any quote at the time of
4944 sale.  Percentage fees are always based on the underlying manufacturing cost
4945 and are typically apportioned as follows:
4946     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4947           manufacturing cost: fabrication, finishing and any other costs as set by the
4948 maker (excluding any services like delivery or on-site assembly)
4949         </p></li><li class="listitem"><p>
4950           design fee: 8 percent of the manufacturing cost
4951         </p></li><li class="listitem"><p>
4952           platform fee: 12 percent of the manufacturing cost
4953         </p></li><li class="listitem"><p>
4954           channel fee: 18 percent of the manufacturing cost
4955         </p></li><li class="listitem"><p>
4956           sales tax: as applicable (depends on product and location)
4957         </p></li></ul></div><p>
4958       Opendesk shares revenue with their community of designers.  According to
4959 Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
4960 percent is more generous, and providing a higher value to the designer.
4961     </p><p>
4962       The Opendesk website features stories of designers and makers.  Denis Fuzii
4963 published the design for the Valovi Chair from his studio in São Paulo. His
4964 designs have been downloaded over five thousand times in ninety-five
4965 countries. I.J. CNC Services is Ian Jinks, a professional maker based in the
4966 United Kingdom. Opendesk now makes up a large proportion of his business.
4967     </p><p>
4968       To manage resources and remain effective, Opendesk has so far focused on a
4969 very narrow niche—primarily office furniture of a certain simple aesthetic,
4970 which uses only one type of material and one manufacturing technique. This
4971 allows them to be more strategic and more disruptive in the market, by
4972 getting things to market quickly with competitive prices. It also reflects
4973 their vision of creating reproducible and functional pieces.
4974     </p><p>
4975       On their website, Opendesk describes what they do as <span class="quote">« <span class="quote">open
4976 making</span> »</span>: <span class="quote">« <span class="quote">Designers get a global distribution channel. Makers
4977 get profitable jobs and new customers. You get designer products without the
4978 designer price tag, a more social, eco-friendly alternative to
4979 mass-production and an affordable way to buy custom-made products.</span> »</span>
4980     </p><p>
4981       Nick and Joni say that customers like the fact that the furniture has a
4982 known provenance. People really like that their furniture was designed by a
4983 certain international designer but was made by a maker in their local
4984 community; it’s a great story to tell. It certainly sets apart Opendesk
4985 furniture from the usual mass-produced items from a store.
4986     </p><p>
4987       Nick and Joni are taking a community-based approach to define and evolve
4988 Opendesk and the <span class="quote">« <span class="quote">open making</span> »</span> business model.  They’re
4989 engaging thought leaders and practitioners to define this new movement. They
4990 have a separate Open Making site, which includes a manifesto, a field guide,
4991 and an invitation to get involved in the Open Making community.<a href="#ftn.idm1624" class="footnote" name="idm1624"><sup class="footnote">[137]</sup></a> People can submit ideas and discuss the principles
4992 and business practices they’d like to see used.
4993     </p><p>
4994       Nick and Joni talked a lot with us about intellectual property (IP) and
4995 commercialization. Many of their designers fear the idea that someone could
4996 take one of their design files and make and sell infinite number of pieces
4997 of furniture with it. As a consequence, most Opendesk designers choose the
4998 Attribution-NonCommercial license (CC BY-NC).
4999     </p><p>
5000       Opendesk established a set of principles for what their community considers
5001 commercial and noncommercial use. Their website states:
5002     </p><p>
5003       It is unambiguously commercial use when anyone:
5004     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5005           charges a fee or makes a profit when making an Opendesk
5006         </p></li><li class="listitem"><p>
5007           sells (or bases a commercial service on) an Opendesk
5008         </p></li></ul></div><p>
5009       It follows from this that noncommercial use is when you make an Opendesk
5010 yourself, with no intention to gain commercial advantage or monetary
5011 compensation. For example, these qualify as noncommercial:
5012     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5013           you are an individual with your own CNC machine, or access to a shared CNC
5014 machine, and will personally cut and make a few pieces of furniture yourself
5015         </p></li><li class="listitem"><p>
5016           you are a student (or teacher) and you use the design files for educational
5017 purposes or training (and do not intend to sell the resulting pieces)
5018         </p></li><li class="listitem"><p>
5019           you work for a charity and get furniture cut by volunteers, or by employees
5020 at a fab lab or maker space
5021         </p></li></ul></div><p>
5022       Whether or not people technically are doing things that implicate IP, Nick
5023 and Joni have found that people tend to comply with the wishes of creators
5024 out of a sense of fairness. They have found that behavioral economics can
5025 replace some of the thorny legal issues. In their business model, Nick and
5026 Joni are trying to suspend the focus on IP and build an open business model
5027 that works for all stakeholders—designers, channels, manufacturers, and
5028 customers. For them, the value Opendesk generates hangs off
5029 <span class="quote">« <span class="quote">open,</span> »</span> not IP.
5030     </p><p>
5031       The mission of Opendesk is about relocalizing manufacturing, which changes
5032 the way we think about how goods are made.  Commercialization is integral to
5033 their mission, and they’ve begun to focus on success metrics that track how
5034 many makers and designers are engaged through Opendesk in revenue-making
5035 work.
5036     </p><p>
5037       As a global platform for local making, Opendesk’s business model has been
5038 built on honesty, transparency, and inclusivity. As Nick and Joni describe
5039 it, they put ideas out there that get traction and then have faith in
5040 people.
5041     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1572" class="footnote"><p><a href="#idm1572" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1579" class="footnote"><p><a href="#idm1579" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1599" class="footnote"><p><a href="#idm1599" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1624" class="footnote"><p><a href="#idm1624" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>Chapitre 18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5042         OpenStax is a nonprofit that provides free, openly licensed textbooks for
5043 high-enrollment introductory college courses and Advanced Placement
5044 courses. Founded in 2012 in the U.S.
5045       </p><p>
5046           <a class="ulink" href="http://www.openstaxcollege.org" target="_top">http://www.openstaxcollege.org</a>
5047         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding, charging
5048 for custom services, charging for physical copies (textbook sales)
5049       </p><p><span class="strong"><strong>Interview date</strong></span>: December 16, 2015
5050       </p><p><span class="strong"><strong>Interviewee</strong></span>: David Harris,
5051 editor-in-chief
5052       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
5053     \textit{
5054         Profile written by Paul Stacey
5055       }
5056     \end{flushright}</td></tr></table></div><p>
5057       OpenStax is an extension of a program called Connexions, which was started
5058 in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of
5059 Electrical and Computer Engineering at Rice University in Houston,
5060 Texas. Frustrated by the limitations of traditional textbooks and courses,
5061 Dr. Baraniuk wanted to provide authors and learners a way to share and
5062 freely adapt educational materials such as courses, books, and
5063 reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
5064 best libraries of customizable educational materials, all licensed with
5065 Creative Commons and available to anyone, anywhere, anytime—for free.
5066     </p><p>
5067       In 2008, while in a senior leadership role at WebAssign and looking at ways
5068 to reduce the risk that came with relying on publishers, David Harris began
5069 investigating open educational resources (OER) and discovered Connexions. A
5070 year and a half later, Connexions received a grant to help grow the use of
5071 OER so that it could meet the needs of students who couldn’t afford
5072 textbooks. David came on board to spearhead this effort.  Connexions became
5073 OpenStax CNX; the program to create open textbooks became OpenStax College,
5074 now simply called OpenStax.
5075     </p><p>
5076       David brought with him a deep understanding of the best practices of
5077 publishing along with where publishers have inefficiencies. In David’s view,
5078 peer review and high standards for quality are critically important if you
5079 want to scale easily. Books have to have logical scope and sequence, they
5080 have to exist as a whole and not in pieces, and they have to be easy to
5081 find. The working hypothesis for the launch of OpenStax was to
5082 professionally produce a turnkey textbook by investing effort up front, with
5083 the expectation that this would lead to rapid growth through easy downstream
5084 adoptions by faculty and students.
5085     </p><p>
5086       In 2012, OpenStax College launched as a nonprofit with the aim of producing
5087 high-quality, peer-reviewed full-color textbooks that would be available for
5088 free for the twenty-five most heavily attended college courses in the
5089 nation. Today they are fast approaching that number. There is data that
5090 proves the success of their original hypothesis on how many students they
5091 could help and how much money they could help save.<a href="#ftn.idm1664" class="footnote" name="idm1664"><sup class="footnote">[138]</sup></a> Professionally produced content scales rapidly. All
5092 with no sales force!
5093     </p><p>
5094       OpenStax textbooks are all Attribution (CC BY) licensed, and each textbook
5095 is available as a PDF, an e-book, or web pages. Those who want a physical
5096 copy can buy one for an affordable price. Given the cost of education and
5097 student debt in North America, free or very low-cost textbooks are very
5098 appealing. OpenStax encourages students to talk to their professor and
5099 librarians about these textbooks and to advocate for their use.
5100     </p><p>
5101       Teachers are invited to try out a single chapter from one of the textbooks
5102 with students. If that goes well, they’re encouraged to adopt the entire
5103 book. They can simply paste a URL into their course syllabus, for free and
5104 unlimited access. And with the CC BY license, teachers are free to delete
5105 chapters, make changes, and customize any book to fit their needs.
5106     </p><p>
5107       Any teacher can post corrections, suggest examples for difficult concepts,
5108 or volunteer as an editor or author. As many teachers also want supplemental
5109 material to accompany a textbook, OpenStax also provides slide
5110 presentations, test banks, answer keys, and so on.
5111     </p><p>
5112       Institutions can stand out by offering students a lower-cost education
5113 through the use of OpenStax textbooks; there’s even a textbook-savings
5114 calculator they can use to see how much students would save. OpenStax keeps
5115 a running list of institutions that have adopted their
5116 textbooks.<a href="#ftn.idm1671" class="footnote" name="idm1671"><sup class="footnote">[139]</sup></a>
5117     </p><p>
5118       Unlike traditional publishers’ monolithic approach of controlling
5119 intellectual property, distribution, and so many other aspects, OpenStax has
5120 adopted a model that embraces open licensing and relies on an extensive
5121 network of partners.
5122     </p><p>
5123       Up-front funding of a professionally produced all-color turnkey textbook is
5124 expensive. For this part of their model, OpenStax relies on
5125 philanthropy. They have initially been funded by the William and Flora
5126 Hewlett Foundation, the Laura and John Arnold Foundation, the Bill and
5127 Melinda Gates Foundation, the 20 Million Minds Foundation, the Maxfield
5128 Foundation, the Calvin K. Kazanjian Foundation, and Rice University. To
5129 develop additional titles and supporting technology is probably still going
5130 to require philanthropic investment.
5131     </p><p>
5132       However, ongoing operations will not rely on foundation grants but instead
5133 on funds received through an ecosystem of over forty partners, whereby a
5134 partner takes core content from OpenStax and adds features that it can
5135 create revenue from. For example, WebAssign, an online homework and
5136 assessment tool, takes the physics book and adds algorithmically generated
5137 physics problems, with problem-specific feedback, detailed solutions, and
5138 tutorial support. WebAssign resources are available to students for a fee.
5139     </p><p>
5140       Another example is Odigia, who has turned OpenStax books into interactive
5141 learning experiences and created additional tools to measure and promote
5142 student engagement. Odigia licenses its learning platform to
5143 institutions. Partners like Odigia and WebAssign give a percentage of the
5144 revenue they earn back to OpenStax, as mission-support fees. OpenStax has
5145 already published revisions of their titles, such as Introduction to
5146 Sociology 2e, using these funds.
5147     </p><p>
5148       In David’s view, this approach lets the market operate at peak
5149 efficiency. OpenStax’s partners don’t have to worry about developing
5150 textbook content, freeing them up from those development costs and letting
5151 them focus on what they do best.  With OpenStax textbooks available at no
5152 cost, they can provide their services at a lower cost—not free, but still
5153 saving students money. OpenStax benefits not only by receiving
5154 mission-support fees but through free publicity and marketing. OpenStax
5155 doesn’t have a sales force; partners are out there showcasing their
5156 materials.
5157     </p><p>
5158       OpenStax’s cost of sales to acquire a single student is very, very low and
5159 is a fraction of what traditional players in the market face. This year,
5160 Tyton Partners is actually evaluating the costs of sales for an OER effort
5161 like OpenStax in comparison with incumbents. David looks forward to sharing
5162 these findings with the community.
5163     </p><p>
5164       While OpenStax books are available online for free, many students still want
5165 a print copy. Through a partnership with a print and courier company,
5166 OpenStax offers a complete solution that scales.  OpenStax sells tens of
5167 thousands of print books. The price of an OpenStax sociology textbook is
5168 about twenty-eight dollars, a fraction of what sociology textbooks usually
5169 cost. OpenStax keeps the prices low but does aim to earn a small margin on
5170 each book sold, which also contributes to ongoing operations.
5171     </p><p>
5172       Campus-based bookstores are part of the OpenStax solution.  OpenStax
5173 collaborates with NACSCORP (the National Association of College Stores
5174 Corporation) to provide print versions of their textbooks in the
5175 stores. While the overall cost of the textbook is significantly less than a
5176 traditional textbook, bookstores can still make a profit on sales. Sometimes
5177 students take the savings they have from the lower-priced book and use it to
5178 buy other things in the bookstore. And OpenStax is trying to break the
5179 expensive behavior of excessive returns by having a no-returns policy. This
5180 is working well, since the sell-through of their print titles is virtually a
5181 hundred percent.
5182     </p><p>
5183       David thinks of the OpenStax model as <span class="quote">« <span class="quote">OER 2.0.</span> »</span> So what is OER
5184 1.0? Historically in the OER field, many OER initiatives have been locally
5185 funded by institutions or government ministries. In David’s view, this
5186 results in content that has high local value but is infrequently adopted
5187 nationally. It’s therefore difficult to show payback over a time scale that
5188 is reasonable.
5189     </p><p>
5190       OER 2.0 is about OER intended to be used and adopted on a national level
5191 right from the start. This requires a bigger investment up front but pays
5192 off through wide geographic adoption. The OER 2.0 process for OpenStax
5193 involves two development models. The first is what David calls the
5194 acquisition model, where OpenStax purchases the rights from a publisher or
5195 author for an already published book and then extensively revises it. The
5196 OpenStax physics textbook, for example, was licensed from an author after
5197 the publisher released the rights back to the authors. The second model is
5198 to develop a book from scratch, a good example being their biology book.
5199     </p><p>
5200       The process is similar for both models. First they look at the scope and
5201 sequence of existing textbooks. They ask questions like what does the
5202 customer need? Where are students having challenges? Then they identify
5203 potential authors and put them through a rigorous evaluation—only one in ten
5204 authors make it through.  OpenStax selects a team of authors who come
5205 together to develop a template for a chapter and collectively write the
5206 first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
5207 books with just a single author as David says it risks the project going
5208 longer than scheduled.) The draft is peer-reviewed with no less than three
5209 reviewers per chapter. A second draft is generated, with artists producing
5210 illustrations and visuals to go along with the text. The book is then
5211 copyedited to ensure grammatical correctness and a singular voice. Finally,
5212 it goes into production and through a final proofread. The whole process is
5213 very time-consuming.
5214     </p><p>
5215       All the people involved in this process are paid. OpenStax does not rely on
5216 volunteers. Writers, reviewers, illustrators, and editors are all paid an
5217 up-front fee—OpenStax does not use a royalty model. A best-selling author
5218 might make more money under the traditional publishing model, but that is
5219 only maybe 5 percent of all authors. From David’s perspective, 95 percent of
5220 all authors do better under the OER 2.0 model, as there is no risk to them
5221 and they earn all the money up front.
5222     </p><p>
5223       David thinks of the Attribution license (CC BY) as the <span class="quote">« <span class="quote">innovation
5224 license.</span> »</span> It’s core to the mission of OpenStax, letting people use
5225 their textbooks in innovative ways without having to ask for permission. It
5226 frees up the whole market and has been central to OpenStax being able to
5227 bring on partners.  OpenStax sees a lot of customization of their
5228 materials. By enabling frictionless remixing, CC BY gives teachers control
5229 and academic freedom.
5230     </p><p>
5231       Using CC BY is also a good example of using strategies that traditional
5232 publishers can’t. Traditional publishers rely on copyright to prevent others
5233 from making copies and heavily invest in digital rights management to ensure
5234 their books aren’t shared.  By using CC BY, OpenStax avoids having to deal
5235 with digital rights management and its costs. OpenStax books can be copied
5236 and shared over and over again. CC BY changes the rules of engagement and
5237 takes advantage of traditional market inefficiencies.
5238     </p><p>
5239       As of September 16, 2016, OpenStax has achieved some impressive
5240 results. From the OpenStax at a Glance fact sheet from their recent press
5241 kit:
5242     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5243           Books published: 23
5244         </p></li><li class="listitem"><p>
5245           Students who have used OpenStax: 1.6 million
5246         </p></li><li class="listitem"><p>
5247           Money saved for students: $155 million
5248         </p></li><li class="listitem"><p>
5249           Money saved for students in the 2016/17 academic year: $77 million
5250         </p></li><li class="listitem"><p>
5251           Schools that have used OpenStax: 2,668 (This number reflects all
5252 institutions using at least one OpenStax textbook. Out of 2,668 schools, 517
5253 are two-year colleges, 835 four-year colleges and universities, and 344
5254 colleges and universities outside the U.S.)
5255         </p></li></ul></div><p>
5256       While OpenStax has to date been focused on the United States, there is
5257 overseas adoption especially in the science, technology, engineering, and
5258 math (STEM) fields. Large scale adoption in the United States is seen as a
5259 necessary precursor to international interest.
5260     </p><p>
5261       OpenStax has primarily focused on introductory-level college courses where
5262 there is high enrollment, but they are starting to think about verticals—a
5263 broad offering for a specific group or need. David thinks it would be
5264 terrific if OpenStax could provide access to free textbooks through the
5265 entire curriculum of a nursing degree, for example.
5266     </p><p>
5267       Enfin, pour OpenStax, le succès n’est pas seulement l’adoption de leurs
5268 manuels scolaires et les économies des étudiants. Il y a un aspect humain à
5269 leur travail qui est difficile à quantifier mais incroyablement
5270 important. Ils reçoivent des courriels d’étudiants leur disant à quel point
5271 OpenStax leur a évité de faire des choix difficiles comme acheter à manger
5272 ou un manuel scolaire. OpenStax aimerait aussi évaluer l’impact que leurs
5273 manuels ont sur l’efficacité, la persévérance et l’achèvement de
5274 l’apprentissage. En créant un modèle économique ouvert basé sur Creative
5275 Commons, OpenStax rend possible à chaque étudiant·e qui le veut d’accéder à
5276 une éducation.
5277     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1664" class="footnote"><p><a href="#idm1664" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1671" class="footnote"><p><a href="#idm1671" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>Chapitre 19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5278         Amanda Palmer is a musician, artist, and writer. Based in the U.S.
5279       </p><p>
5280           <a class="ulink" href="http://amandapalmer.net" target="_top">http://amandapalmer.net</a>
5281         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
5282 (subscription-based), pay-what-you-want, charging for physical copies (book
5283 and album sales), charg-ing for in-person version (performances), selling
5284 merchandise
5285       </p><p><span class="strong"><strong>Interview date</strong></span>: December 15, 2015
5286       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
5287     \textit{
5288         Profile written by Sarah Hinchliff Pearson
5289       }
5290     \end{flushright}</td></tr></table></div><p>
5291       Since the beginning of her career, Amanda Palmer has been on what she calls
5292 a <span class="quote">« <span class="quote">journey with no roadmap,</span> »</span> continually experimenting to find
5293 new ways to sustain her creative work.<a href="#ftn.idm1718" class="footnote" name="idm1718"><sup class="footnote">[140]</sup></a>
5294     </p><p>
5295       In her best-selling book, The Art of Asking, Amanda articulates exactly what
5296 she has been and continues to strive for—<span class="quote">« <span class="quote">the ideal sweet spot
5297 . . . in which the artist can share freely and directly feel the
5298 reverberations of their artistic gifts to the community, and make a living
5299 doing that.</span> »</span>
5300     </p><p>
5301       While she seems to have successfully found that sweet spot for herself,
5302 Amanda is the first to acknowledge there is no silver bullet. She thinks the
5303 digital age is both an exciting and frustrating time for creators. <span class="quote">« <span class="quote">On
5304 the one hand, we have this beautiful shareability,</span> »</span> Amanda
5305 said. <span class="quote">« <span class="quote">On the other, you’ve got a bunch of confused artists wondering
5306 how to make money to buy food so we can make more art.</span> »</span>
5307     </p><p>
5308       Amanda began her artistic career as a street performer. She would dress up
5309 in an antique wedding gown, paint her face white, stand on a stack of milk
5310 crates, and hand out flowers to strangers as part of a silent dramatic
5311 performance. She collected money in a hat. Most people walked by her without
5312 stopping, but an essential few stopped to watch and drop some money into her
5313 hat to show their appreciation. Rather than dwelling on the majority of
5314 people who ignored her, she felt thankful for those who stopped.  <span class="quote">« <span class="quote">All
5315 I needed was . . . some people,</span> »</span> she wrote in her book. <span class="quote">« <span class="quote">Enough
5316 people. Enough to make it worth coming back the next day, enough people to
5317 help me make rent and put food on the table. Enough so I could keep making
5318 art.</span> »</span>
5319     </p><p>
5320       Amanda has come a long way from her street-performing days, but her career
5321 remains dominated by that same sentiment—finding ways to reach <span class="quote">« <span class="quote">her
5322 crowd</span> »</span> and feeling gratitude when she does. With her band the Dresden
5323 Dolls, Amanda tried the traditional path of signing with a record label. It
5324 didn’t take for a variety of reasons, but one of them was that the label had
5325 absolutely no interest in Amanda’s view of success. They wanted hits, but
5326 making music for the masses was never what Amanda and the Dresden Dolls set
5327 out to do.
5328     </p><p>
5329       After leaving the record label in 2008, she began experimenting with
5330 different ways to make a living. She released music directly to the public
5331 without involving a middle man, releasing digital files on a <span class="quote">« <span class="quote">pay what
5332 you want</span> »</span> basis and selling CDs and vinyl. She also made money from
5333 live performances and merchandise sales. Eventually, in 2012 she decided to
5334 try her hand at the sort of crowdfunding we know so well today. Her
5335 Kickstarter project started with a goal of $100,000, and she made $1.2
5336 million. It remains one of the most successful Kickstarter projects of all
5337 time.
5338     </p><p>
5339       Today, Amanda has switched gears away from crowdfunding for specific
5340 projects to instead getting consistent financial support from her fan base
5341 on Patreon, a crowdfunding site that allows artists to get recurring
5342 donations from fans. More than eight thousand people have signed up to
5343 support her so she can create music, art, and any other creative
5344 <span class="quote">« <span class="quote">thing</span> »</span> that she is inspired to make. The recurring pledges are
5345 made on a <span class="quote">« <span class="quote">per thing</span> »</span> basis. All of the content she makes is
5346 made freely available under an Attribution-NonCommercial-ShareAlike license
5347 (CC BY-NC-SA).
5348     </p><p>
5349       Making her music and art available under Creative Commons licensing
5350 undoubtedly limits her options for how she makes a living. But sharing her
5351 work has been part of her model since the beginning of her career, even
5352 before she discovered Creative Commons. Amanda says the Dresden Dolls used
5353 to get ten emails per week from fans asking if they could use their music
5354 for different projects. They said yes to all of the requests, as long as it
5355 wasn’t for a completely for-profit venture. At the time, they used a
5356 short-form agreement written by Amanda herself. <span class="quote">« <span class="quote">I made everyone sign
5357 that contract so at least I wouldn’t be leaving the band vulnerable to
5358 someone later going on and putting our music in a Camel cigarette
5359 ad,</span> »</span> Amanda said. Once she discovered Creative Commons, adopting the
5360 licenses was an easy decision because it gave them a more formal,
5361 standardized way of doing what they had been doing all along. The
5362 NonCommercial licenses were a natural fit.
5363     </p><p>
5364       Amanda embraces the way her fans share and build upon her music.  In The Art
5365 of Asking, she wrote that some of her fans’ unofficial videos using her
5366 music surpass the official videos in number of views on YouTube. Rather than
5367 seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">« <span class="quote">We
5368 got into this because we wanted to share the joy of music,</span> »</span> she said.
5369     </p><p>
5370       This is symbolic of how nearly everything she does in her career is
5371 motivated by a desire to connect with her fans. At the start of her career,
5372 she and the band would throw concerts at house parties. As the gatherings
5373 grew, the line between fans and friends was completely blurred. <span class="quote">« <span class="quote">Not
5374 only did most our early fans know where I lived and where we practiced, but
5375 most of them had also been in my kitchen,</span> »</span> Amanda wrote in The Art of
5376 Asking.
5377     </p><p>
5378       Even though her fan base is now huge and global, she continues to seek this
5379 sort of human connection with her fans. She seeks out face-to-face contact
5380 with her fans every chance she can get. Her hugely successful Kickstarter
5381 featured fifty concerts at house parties for backers. She spends hours in
5382 the signing line after shows. It helps that Amanda has the kind of dynamic,
5383 engaging personality that instantly draws people to her, but a big component
5384 of her ability to connect with people is her willingness to
5385 listen. <span class="quote">« <span class="quote">Listening fast and caring immediately is a skill unto
5386 itself,</span> »</span> Amanda wrote.
5387     </p><p>
5388       Another part of the connection fans feel with Amanda is how much they know
5389 about her life. Rather than trying to craft a public persona or image, she
5390 essentially lives her life as an open book.  She has written openly about
5391 incredibly personal events in her life, and she isn’t afraid to be
5392 vulnerable. Having that kind of trust in her fans—the trust it takes to be
5393 truly honest—begets trust from her fans in return. When she meets fans for
5394 the first time after a show, they can legitimately feel like they know her.
5395     </p><p><span class="quote">« <span class="quote">With social media, we’re so concerned with the picture looking
5396 palatable and consumable that we forget that being human and showing the
5397 flaws and exposing the vulnerability actually create a deeper connection
5398 than just looking fantastic,</span> »</span> Amanda said. <span class="quote">« <span class="quote">Everything in our
5399 culture is telling us otherwise. But my experience has shown me that the
5400 risk of making yourself vulnerable is almost always worth it.</span> »</span>
5401     </p><p>
5402       Not only does she disclose intimate details of her life to them, she sleeps
5403 on their couches, listens to their stories, cries with them. In short, she
5404 treats her fans like friends in nearly every possible way, even when they
5405 are complete strangers. This mentality—that fans are friends—is completely
5406 intertwined with Amanda’s success as an artist. It is also intertwined with
5407 her use of Creative Commons licenses. Because that is what you do with your
5408 friends—you share.
5409     </p><p>
5410       After years of investing time and energy into building trust with her fans,
5411 she has a strong enough relationship with them to ask for support—through
5412 pay-what-you-want donations, Kickstarter, Patreon, or even asking them to
5413 lend a hand at a concert. As Amanda explains it, crowdfunding (which is
5414 really what all of these different things are) is about asking for support
5415 from people who know and trust you. People who feel personally invested in
5416 your success.
5417     </p><p><span class="quote">« <span class="quote">When you openly, radically trust people, they not only take care of
5418 you, they become your allies, your family,</span> »</span> she wrote. There really
5419 is a feeling of solidarity within her core fan base. From the beginning,
5420 Amanda and her band encouraged people to dress up for their shows. They
5421 consciously cultivated a feeling of belonging to their <span class="quote">« <span class="quote">weird little
5422 family.</span> »</span>
5423     </p><p>
5424       This sort of intimacy with fans is not possible or even desirable for every
5425 creator. <span class="quote">« <span class="quote">I don’t take for granted that I happen to be the type of
5426 person who loves cavorting with strangers,</span> »</span> Amanda said. <span class="quote">« <span class="quote">I
5427 recognize that it’s not necessarily everyone’s idea of a good time. Everyone
5428 does it differently. Replicating what I have done won’t work for others if
5429 it isn’t joyful to them. It’s about finding a way to channel energy in a way
5430 that is joyful to you.</span> »</span>
5431     </p><p>
5432       Yet while Amanda joyfully interacts with her fans and involves them in her
5433 work as much as possible, she does keep one job primarily to herself—writing
5434 the music. She loves the creativity with which her fans use and adapt her
5435 work, but she intentionally does not involve them at the first stage of
5436 creating her artistic work. And, of course, the songs and music are what
5437 initially draw people to Amanda Palmer. It is only once she has connected to
5438 people through her music that she can then begin to build ties with them on
5439 a more personal level, both in person and online. In her book, Amanda
5440 describes it as casting a net. It starts with the art and then the bond
5441 strengthens with human connection.
5442     </p><p>
5443       For Amanda, the entire point of being an artist is to establish and maintain
5444 this connection. <span class="quote">« <span class="quote">It sounds so corny,</span> »</span> she said, <span class="quote">« <span class="quote">but my
5445 experience in forty years on this planet has pointed me to an obvious
5446 truth—that connection with human beings feels so much better and more
5447 fulfilling than approaching art through a capitalist lens. There is no more
5448 satisfying end goal than having someone tell you that what you do is
5449 genuinely of value to them.</span> »</span>
5450     </p><p>
5451       As she explains it, when a fan gives her a ten-dollar bill, usually what
5452 they are saying is that the money symbolizes some deeper value the music
5453 provided them. For Amanda, art is not just a product; it’s a
5454 relationship. Viewed from this lens, what Amanda does today is not that
5455 different from what she did as a young street performer. She shares her
5456 music and other artistic gifts.  She shares herself. And then rather than
5457 forcing people to help her, she lets them.
5458     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1718" class="footnote"><p><a href="#idm1718" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>Chapitre 20. PLOS (Public Library of Science)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5459         PLOS (Public Library of Science) is a nonprofit that publishes a library of
5460 academic journals and other scientific literature.  Founded in 2000 in the
5461 U.S.
5462       </p><p>
5463           <a class="ulink" href="http://plos.org" target="_top">http://plos.org</a>
5464         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
5465 an author processing charge to be featured in the journal
5466       </p><p><span class="strong"><strong>Interview date</strong></span>: March 7, 2016
5467       </p><p><span class="strong"><strong>Interviewee</strong></span>: Louise Page, publisher
5468       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
5469     \textit{
5470         Profile written by Paul Stacey
5471       }
5472     \end{flushright}</td></tr></table></div><p>
5473       The Public Library of Science (PLOS) began in 2000 when three leading
5474 scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
5475 online petition. They were calling for scientists to stop submitting papers
5476 to journals that didn’t make the full text of their papers freely available
5477 immediately or within six months. Although tens of thousands signed the
5478 petition, most did not follow through. In August 2001, Patrick and Michael
5479 announced that they would start their own nonprofit publishing operation to
5480 do just what the petition promised. With start-up grant support from the
5481 Gordon and Betty Moore Foundation, PLOS was launched to provide new
5482 open-access journals for biomedicine, with research articles being released
5483 under Attribution (CC BY) licenses.
5484     </p><p>
5485       Traditionally, academic publishing begins with an author submitting a
5486 manuscript to a publisher. After in-house technical and ethical
5487 considerations, the article is then peer-reviewed to determine if the
5488 quality of the work is acceptable for publishing.  Once accepted, the
5489 publisher takes the article through the process of copyediting, typesetting,
5490 and eventual publishing in a print or online publication. Traditional
5491 journal publishers recover costs and earn profit by charging a subscription
5492 fee to libraries or an access fee to users wanting to read the journal or
5493 article.
5494     </p><p>
5495       For Louise Page, the current publisher of PLOS, this traditional model
5496 results in inequity. Access is restricted to those who can pay. Most
5497 research is funded through government-appointed agencies, that is, with
5498 public funds. It’s unjust that the public who funded the research would be
5499 required to pay again to access the results. Not everyone can afford the
5500 ever-escalating subscription fees publishers charge, especially when library
5501 budgets are being reduced. Restricting access to the results of scientific
5502 research slows the dissemination of this research and advancement of the
5503 field. It was time for a new model.
5504     </p><p>
5505       That new model became known as open access. That is, free and open
5506 availability on the Internet. Open-access research articles are not behind a
5507 paywall and do not require a login. A key benefit of open access is that it
5508 allows people to freely use, copy, and distribute the articles, as they are
5509 primarily published under an Attribution (CC BY) license (which only
5510 requires the user to provide appropriate attribution). And more importantly,
5511 policy makers, clinicians, entrepreneurs, educators, and students around the
5512 world have free and timely access to the latest research immediately on
5513 publication.
5514     </p><p>
5515       However, open access requires rethinking the business model of research
5516 publication. Rather than charge a subscription fee to access the journal,
5517 PLOS decided to turn the model on its head and charge a publication fee,
5518 known as an article-processing charge.  This up-front fee, generally paid by
5519 the funder of the research or the author’s institution, covers the expenses
5520 such as editorial oversight, peer-review management, journal production,
5521 online hosting, and support for discovery. Fees are per article and are
5522 billed upon acceptance for publishing. There are no additional charges based
5523 on word length, figures, or other elements.
5524     </p><p>
5525       Calculating the article-processing charge involves taking all the costs
5526 associated with publishing the journal and determining a cost per article
5527 that collectively recovers costs. For PLOS’s journals in biology, medicine,
5528 genetics, computational biology, neglected tropical diseases, and pathogens,
5529 the article-processing charge ranges from $2,250 to
5530 $2,900. Article-publication charges for PLOS ONE, a journal started in 2006,
5531 are just under $1,500.
5532     </p><p>
5533       PLOS believes that lack of funds should not be a barrier to
5534 publication. Since its inception, PLOS has provided fee support for
5535 individuals and institutions to help authors who can’t afford the
5536 article-processing charges.
5537     </p><p>
5538       Louise identifies marketing as one area of big difference between PLOS and
5539 traditional journal publishers. Traditional journals have to invest heavily
5540 in staff, buildings, and infrastructure to market their journal and convince
5541 customers to subscribe.  Restricting access to subscribers means that tools
5542 for managing access control are necessary. They spend millions of dollars on
5543 access-control systems, staff to manage them, and sales staff.  With PLOS’s
5544 open-access publishing, there’s no need for these massive expenses; the
5545 articles are free, open, and accessible to all upon
5546 publication. Additionally, traditional publishers tend to spend more on
5547 marketing to libraries, who ultimately pay the subscription fees. PLOS
5548 provides a better service for authors by promoting their research directly
5549 to the research community and giving the authors exposure. And this
5550 encourages other authors to submit their work for publication.
5551     </p><p>
5552       For Louise, PLOS would not exist without the Attribution license (CC
5553 BY). This makes it very clear what rights are associated with the content
5554 and provides a safe way for researchers to make their work available while
5555 ensuring they get recognition (appropriate attribution). For PLOS, all of
5556 this aligns with how they think research content should be published and
5557 disseminated.
5558     </p><p>
5559       PLOS also has a broad open-data policy. To get their research paper
5560 published, PLOS authors must also make their data available in a public
5561 repository and provide a data-availability statement.
5562     </p><p>
5563       Business-operation costs associated with the open-access model still largely
5564 follow the existing publishing model. PLOS journals are online only, but the
5565 editorial, peer-review, production, typesetting, and publishing stages are
5566 all the same as for a traditional publisher. The editorial teams must be top
5567 notch. PLOS has to function as well as or better than other premier
5568 journals, as researchers have a choice about where to publish.
5569     </p><p>
5570       Researchers are influenced by journal rankings, which reflect the place of a
5571 journal within its field, the relative difficulty of being published in that
5572 journal, and the prestige associated with it. PLOS journals rank high, even
5573 though they are relatively new.
5574     </p><p>
5575       The promotion and tenure of researchers are partially based how many times
5576 other researchers cite their articles. Louise says when researchers want to
5577 discover and read the work of others in their field, they go to an online
5578 aggregator or search engine, and not typically to a particular journal. The
5579 CC BY licensing of PLOS research articles ensures easy access for readers
5580 and generates more discovery and citations for authors.
5581     </p><p>
5582       Louise believes that open access has been a huge success, progressing from a
5583 movement led by a small cadre of researchers to something that is now
5584 widespread and used in some form by every journal publisher. PLOS has had a
5585 big impact. In 2012 to 2014, they published more open-access articles than
5586 BioMed Central, the original open-access publisher, or anyone else.
5587     </p><p>
5588       PLOS further disrupted the traditional journal-publishing model by
5589 pioneering the concept of a megajournal. The PLOS ONE megajournal, launched
5590 in 2006, is an open-access peer-reviewed academic journal that is much
5591 larger than a traditional journal, publishing thousands of articles per year
5592 and benefiting from economies of scale. PLOS ONE has a broad scope, covering
5593 science and medicine as well as social sciences and the humanities. The
5594 review and editorial process is less subjective. Articles are accepted for
5595 publication based on whether they are technically sound rather than
5596 perceived importance or relevance. This is very important in the current
5597 debate about the integrity and reproducibility of research because negative
5598 or null results can then be published as well, which are generally rejected
5599 by traditional journals. PLOS ONE, like all the PLOS journals, is online
5600 only with no print version. PLOS passes on the financial savings accrued
5601 through economies of scale to researchers and the public by lowering the
5602 article-processing charges, which are below that of other journals. PLOS ONE
5603 is the biggest journal in the world and has really set the bar for
5604 publishing academic journal articles on a large scale. Other publishers see
5605 the value of the PLOS ONE model and are now offering their own
5606 multidisciplinary forums for publishing all sound science.
5607     </p><p>
5608       Louise outlined some other aspects of the research-journal business model
5609 PLOS is experimenting with, describing each as a kind of slider that could
5610 be adjusted to change current practice.
5611     </p><p>
5612       One slider is time to publication. Time to publication may shorten as
5613 journals get better at providing quicker decisions to authors.  However,
5614 there is always a trade-off with scale, as the bigger the volume of
5615 articles, the more time the approval process inevitably takes.
5616     </p><p>
5617       Peer review is another part of the process that could change. It’s possible
5618 to redefine what peer review actually is, when to review, and what
5619 constitutes the final article for publication. Louise talked about the
5620 potential to shift to an open-review process, placing the emphasis on
5621 transparency rather than double-blind reviews. Louise thinks we’re moving
5622 into a direction where it’s actually beneficial for an author to know who is
5623 reviewing their paper and for the reviewer to know their review will be
5624 public. An open-review process can also ensure everyone gets credit; right
5625 now, credit is limited to the publisher and author.
5626     </p><p>
5627       Louise says research with negative outcomes is almost as important as
5628 positive results. If journals published more research with negative
5629 outcomes, we’d learn from what didn’t work. It could also reduce how much
5630 the research wheel gets reinvented around the world.
5631     </p><p>
5632       Another adjustable practice is the sharing of articles at early preprint
5633 stages. Publication of research in a peer-reviewed journal can take a long
5634 time because articles must undergo extensive peer review. The need to
5635 quickly circulate current results within a scientific community has led to a
5636 practice of distributing pre-print documents that have not yet undergone
5637 peer review. Preprints broaden the peer-review process, allowing authors to
5638 receive early feedback from a wide group of peers, which can help revise and
5639 prepare the article for submission.  Offsetting the advantages of preprints
5640 are author concerns over ensuring their primacy of being first to come up
5641 with findings based on their research. Other researches may see findings the
5642 preprint author has not yet thought of. However, preprints help researchers
5643 get their discoveries out early and establish precedence. A big challenge is
5644 that researchers don’t have a lot of time to comment on preprints.
5645     </p><p>
5646       What constitutes a journal article could also change. The idea of a research
5647 article as printed, bound, and in a library stack is outdated. Digital and
5648 online open up new possibilities, such as a living document evolving over
5649 time, inclusion of audio and video, and interactivity, like discussion and
5650 recommendations. Even the size of what gets published could change. With
5651 these changes the current form factor for what constitutes a research
5652 article would undergo transformation.
5653     </p><p>
5654       As journals scale up, and new journals are introduced, more and more
5655 information is being pushed out to readers, making the experience feel like
5656 drinking from a fire hose. To help mitigate this, PLOS aggregates and
5657 curates content from PLOS journals and their network of blogs.<a href="#ftn.idm1796" class="footnote" name="idm1796"><sup class="footnote">[141]</sup></a> It also offers something called Article-Level
5658 Metrics, which helps users assess research most relevant to the field
5659 itself, based on indicators like usage, citations, social bookmarking and
5660 dissemination activity, media and blog coverage, discussions, and
5661 ratings.<a href="#ftn.idm1799" class="footnote" name="idm1799"><sup class="footnote">[142]</sup></a> Louise believes that the
5662 journal model could evolve to provide a more friendly and interactive user
5663 experience, including a way for readers to communicate with authors.
5664     </p><p>
5665       The big picture for PLOS going forward is to combine and adjust these
5666 experimental practices in ways that continue to improve accessibility and
5667 dissemination of research, while ensuring its integrity and reliability. The
5668 ways they interlink are complex.  The process of change and adjustment is
5669 not linear. PLOS sees itself as a very flexible publisher interested in
5670 exploring all the permutations research-publishing can take, with authors
5671 and readers who are open to experimentation.
5672     </p><p>
5673       For PLOS, success is not about revenue. Success is about proving that
5674 scientific research can be communicated rapidly and economically at scale,
5675 for the benefit of researchers and society.  The CC BY license makes it
5676 possible for PLOS to publish in a way that is unfettered, open, and fast,
5677 while ensuring that the authors get credit for their work. More than two
5678 million scientists, scholars, and clinicians visit PLOS every month, with
5679 more than 135,000 quality articles to peruse for free.
5680     </p><p>
5681       Ultimately, for PLOS, its authors, and its readers, success is about making
5682 research discoverable, available, and reproducible for the advancement of
5683 science.
5684     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1796" class="footnote"><p><a href="#idm1796" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1799" class="footnote"><p><a href="#idm1799" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>Chapitre 21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5685         The Rijksmuseum is a Dutch national museum dedicated to art and
5686 history. Founded in 1800 in the Netherlands
5687       </p><p>
5688           <a class="ulink" href="http://www.rijksmuseum.nl" target="_top">http://www.rijksmuseum.nl</a>
5689         </p><p><span class="strong"><strong>Revenue model</strong></span>: grants and government
5690 funding, charging for in-person version (museum admission), selling
5691 merchandise
5692       </p><p><span class="strong"><strong>Interview date</strong></span>: December 11, 2015
5693       </p><p><span class="strong"><strong>Interviewee</strong></span>: Lizzy Jongma, the data
5694 manager of the collections information department
5695       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
5696     \textit{
5697         Profile written by Paul Stacey
5698       }
5699     \end{flushright}</td></tr></table></div><p>
5700       The Rijksmuseum, a national museum in the Netherlands dedicated to art and
5701 history, has been housed in its current building since 1885. The monumental
5702 building enjoyed more than 125 years of intensive use before needing a
5703 thorough overhaul. In 2003, the museum was closed for renovations. Asbestos
5704 was found in the roof, and although the museum was scheduled to be closed
5705 for only three to four years, renovations ended up taking ten years. During
5706 this time, the collection was moved to a different part of Amsterdam, which
5707 created a physical distance with the curators. Out of necessity, they
5708 started digitally photographing the collection and creating metadata
5709 (information about each object to put into a database). With the renovations
5710 going on for so long, the museum became largely forgotten by the public. Out
5711 of these circumstances emerged a new and more open model for the museum.
5712     </p><p>
5713       By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager,
5714 staff were fed up with the situation the museum was in.  They also realized
5715 that even with the new and larger space, it still wouldn’t be able to show
5716 very much of the whole collection—eight thousand of over one million works
5717 representing just 1 percent. Staff began exploring ways to express
5718 themselves, to have something to show for all of the work they had been
5719 doing.  The Rijksmuseum is primarily funded by Dutch taxpayers, so was there
5720 a way for the museum provide benefit to the public while it was closed? They
5721 began thinking about sharing Rijksmuseum’s collection using information
5722 technology. And they put up a card-catalog like database of the entire
5723 collection online.
5724     </p><p>
5725       It was effective but a bit boring. It was just data. A hackathon they were
5726 invited to got them to start talking about events like that as having
5727 potential. They liked the idea of inviting people to do cool stuff with
5728 their collection. What about giving online access to digital representations
5729 of the one hundred most important pieces in the Rijksmuseum collection? That
5730 eventually led to why not put the whole collection online?
5731     </p><p>
5732       Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
5733 library, museum, and archive for cultural heritage.<a href="#ftn.idm1822" class="footnote" name="idm1822"><sup class="footnote">[143]</sup></a> As an online portal to museum collections all
5734 across Europe, Europeana had become an important online platform. In October
5735 2010 Creative Commons released CC0 and its public-domain mark as tools
5736 people could use to identify works as free of known copyright. Europeana was
5737 the first major adopter, using CC0 to release metadata about their
5738 collection and the public domain mark for millions of digital works in their
5739 collection. Lizzy says the Rijksmuseum initially found this change in
5740 business practice a bit scary, but at the same time it stimulated even more
5741 discussion on whether the Rijksmuseum should follow suit.
5742     </p><p>
5743       They realized that they don’t <span class="quote">« <span class="quote">own</span> »</span> the collection and couldn’t
5744 realistically monitor and enforce compliance with the restrictive licensing
5745 terms they currently had in place. For example, many copies and versions of
5746 Vermeer’s Milkmaid (part of their collection) were already online, many of
5747 them of very poor quality. They could spend time and money policing its use,
5748 but it would probably be futile and wouldn’t make people stop using their
5749 images online. They ended up thinking it’s an utter waste of time to hunt
5750 down people who use the Rijksmuseum collection. And anyway, restricting
5751 access meant the people they were frustrating the most were schoolkids.
5752     </p><p>
5753       In 2011 the Rijksmuseum began making their digital photos of works known to
5754 be free of copyright available online, using Creative Commons CC0 to place
5755 works in the public domain. A medium-resolution image was offered for free,
5756 but a high-resolution version cost forty euros. People started paying, but
5757 Lizzy says getting the money was frequently a nightmare, especially from
5758 overseas customers. The administrative costs often offset revenue, and
5759 income above costs was relatively low. In addition, having to pay for an
5760 image of a work in the public domain from a collection owned by the Dutch
5761 government (i.e., paid for by the public) was contentious and frustrating
5762 for some. Lizzy says they had lots of fierce debates about what to do.
5763     </p><p>
5764       In 2013 the Rijksmuseum changed its business model. They Creative Commons
5765 licensed their highest-quality images and released them online for
5766 free. Digitization still cost money, however; they decided to define
5767 discrete digitization projects and find sponsors willing to fund each
5768 project. This turned out to be a successful strategy, generating high
5769 interest from sponsors and lower administrative effort for the
5770 Rijksmuseum. They started out making 150,000 high-quality images of their
5771 collection available, with the goal to eventually have the entire collection
5772 online.
5773     </p><p>
5774       Releasing these high-quality images for free reduced the number of
5775 poor-quality images that were proliferating. The high-quality image of
5776 Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
5777 month. On the Internet, images from a source like the Rijksmuseum are more
5778 trusted, and releasing them with a Creative Commons CC0 means they can
5779 easily be found in other platforms. For example, Rijksmuseum images are now
5780 used in thousands of Wikipedia articles, receiving ten to eleven million
5781 views per month. This extends Rijksmuseum’s reach far beyond the scope of
5782 its website. Sharing these images online creates what Lizzy calls the
5783 <span class="quote">« <span class="quote">Mona Lisa effect,</span> »</span> where a work of art becomes so famous that
5784 people want to see it in real life by visiting the actual museum.
5785     </p><p>
5786       Every museum tends to be driven by the number of physical visitors. The
5787 Rijksmuseum is primarily publicly funded, receiving roughly 70 percent of
5788 its operating budget from the government.  But like many museums, it must
5789 generate the rest of the funding through other means. The admission fee has
5790 long been a way to generate revenue generation, including for the
5791 Rijksmuseum.
5792     </p><p>
5793       As museums create a digital presence for themselves and put up digital
5794 representations of their collection online, there’s frequently a worry that
5795 it will lead to a drop in actual physical visits. For the Rijksmuseum, this
5796 has not turned out to be the case. Lizzy told us the Rijksmuseum used to get
5797 about one million visitors a year before closing and now gets more than two
5798 million a year. Making the collection available online has generated
5799 publicity and acts as a form of marketing. The Creative Commons mark
5800 encourages reuse as well. When the image is found on protest leaflets, milk
5801 cartons, and children’s toys, people also see what museum the image comes
5802 from and this increases the museum’s visibility.
5803     </p><p>
5804       In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
5805 a new web presence that would be different from any other museum’s. In
5806 addition to redesigning their main website to be mobile friendly and
5807 responsive to devices like the iPad, the Rijksmuseum also created the
5808 Rijksstudio, where users and artists could use and do various things with
5809 the Rijksmuseum collection.<a href="#ftn.idm1834" class="footnote" name="idm1834"><sup class="footnote">[144]</sup></a>
5810     </p><p>
5811       The Rijksstudio gives users access to over two hundred thousand high-quality
5812 digital representations of masterworks from the collection. Users can zoom
5813 in to any work and even clip small parts of images they like. Rijksstudio is
5814 a bit like Pinterest.  You can <span class="quote">« <span class="quote">like</span> »</span> works and compile your
5815 personal favorites, and you can share them with friends or download them
5816 free of charge. All the images in the Rijksstudio are copyright and royalty
5817 free, and users are encouraged to use them as they like, for private or even
5818 commercial purposes.
5819     </p><p>
5820       Users have created over 276,000 Rijksstudios, generating their own themed
5821 virtual exhibitions on a wide variety of topics ranging from tapestries to
5822 ugly babies and birds. Sets of images have also been created for educational
5823 purposes including use for school exams.
5824     </p><p>
5825       Some contemporary artists who have works in the Rijksmuseum collection
5826 contacted them to ask why their works were not included in the
5827 Rijksstudio. The answer was that contemporary artists’ works are still bound
5828 by copyright. The Rijksmuseum does encourage contemporary artists to use a
5829 Creative Commons license for their works, usually a CC BY-SA license
5830 (Attribution-ShareAlike), or a CC BY-NC (Attribution-NonCommercial) if they
5831 want to preclude commercial use. That way, their works can be made available
5832 to the public, but within limits the artists have specified.
5833     </p><p>
5834       The Rijksmuseum believes that art stimulates entrepreneurial activity. The
5835 line between creative and commercial can be blurry.  As Lizzy says, even
5836 Rembrandt was commercial, making his livelihood from selling his
5837 paintings. The Rijksmuseum encourages entrepreneurial commercial use of the
5838 images in Rijksstudio.  They’ve even partnered with the DIY marketplace Etsy
5839 to inspire people to sell their creations. One great example you can find on
5840 Etsy is a kimono designed by Angie Johnson, who used an image of an
5841 elaborate cabinet along with an oil painting by Jan Asselijn called The
5842 Threatened Swan.<a href="#ftn.idm1842" class="footnote" name="idm1842"><sup class="footnote">[145]</sup></a>
5843     </p><p>
5844       In 2013 the Rijksmuseum organized their first high-profile design
5845 competition, known as the Rijksstudio Award.<a href="#ftn.idm1846" class="footnote" name="idm1846"><sup class="footnote">[146]</sup></a> With the call to action Make Your Own Masterpiece, the competition
5846 invites the public to use Rijksstudio images to make new creative designs. A
5847 jury of renowned designers and curators selects ten finalists and three
5848 winners. The final award comes with a prize of €10,000. The second edition
5849 in 2015 attracted a staggering 892 top-class entries. Some award winners end
5850 up with their work sold through the Rijksmuseum store, such as the 2014
5851 entry featuring makeup based on a specific color scheme of a work of
5852 art.<a href="#ftn.idm1851" class="footnote" name="idm1851"><sup class="footnote">[147]</sup></a> The Rijksmuseum has been thrilled
5853 with the results.  Entries range from the fun to the weird to the
5854 inspirational. The third international edition of the Rijksstudio Award
5855 started in September 2016.
5856     </p><p>
5857       For the next iteration of the Rijksstudio, the Rijksmuseum is considering an
5858 upload tool, for people to upload their own works of art, and enhanced
5859 social elements so users can interact with each other more.
5860     </p><p>
5861       Going with a more open business model generated lots of publicity for the
5862 Rijksmuseum. They were one of the first museums to open up their collection
5863 (that is, give free access) with high-quality images. This strategy, along
5864 with the many improvements to the Rijksmuseum’s website, dramatically
5865 increased visits to their website from thirty-five thousand visits per month
5866 to three hundred thousand.
5867     </p><p>
5868       The Rijksmuseum has been experimenting with other ways to invite the public
5869 to look at and interact with their collection. On an international day
5870 celebrating animals, they ran a successful bird-themed event. The museum put
5871 together a showing of two thousand works that featured birds and invited
5872 bird-watchers to identify the birds depicted. Lizzy notes that while museum
5873 curators know a lot about the works in their collections, they may not know
5874 about certain details in the paintings such as bird species. Over eight
5875 hundred different birds were identified, including a specific species of
5876 crane bird that was unknown to the scientific community at the time of the
5877 painting.
5878     </p><p>
5879       For the Rijksmuseum, adopting an open business model was scary.  They came
5880 up with many worst-case scenarios, imagining all kinds of awful things
5881 people might do with the museum’s works. But Lizzy says those fears did not
5882 come true because <span class="quote">« <span class="quote">ninety-nine percent of people have respect for
5883 great art.</span> »</span> Many museums think they can make a lot of money by
5884 selling things related to their collection. But in Lizzy’s experience,
5885 museums are usually bad at selling things, and sometimes efforts to generate
5886 a small amount of money block something much bigger—the real value that the
5887 collection has. For Lizzy, clinging to small amounts of revenue is being
5888 penny-wise but pound-foolish. For the Rijksmuseum, a key lesson has been to
5889 never lose sight of its vision for the collection. Allowing access to and
5890 use of their collection has generated great promotional value—far more than
5891 the previous practice of charging fees for access and use. Lizzy sums up
5892 their experience: <span class="quote">« <span class="quote">Give away; get something in return.  Generosity
5893 makes people happy to join you and help out.</span> »</span>
5894     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1822" class="footnote"><p><a href="#idm1822" class="para"><sup class="para">[143] </sup></a><a class="ulink" href="http://www.europeana.eu/portal/en" target="_top">http://www.europeana.eu/portal/en</a></p></div><div id="ftn.idm1834" class="footnote"><p><a href="#idm1834" class="para"><sup class="para">[144] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio" target="_top">http://www.rijksmuseum.nl/en/rijksstudio</a></p></div><div id="ftn.idm1842" class="footnote"><p><a href="#idm1842" class="para"><sup class="para">[145] </sup></a><a class="ulink" href="http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe" target="_top">http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe</a></p></div><div id="ftn.idm1846" class="footnote"><p><a href="#idm1846" class="para"><sup class="para">[146] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award</a>; the 2014
5895 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2014" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2014</a>;
5896 the 2015 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1851" class="footnote"><p><a href="#idm1851" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Chapitre 22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
5897         Shareable is an online magazine about sharing. Founded in 2009 in the U.S.
5898       </p><p>
5899           <a class="ulink" href="http://www.shareable.net" target="_top">http://www.shareable.net</a>
5900         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding,
5901 crowdfunding (project-based), donations, sponsorships
5902       </p><p><span class="strong"><strong>Interview date</strong></span>: February 24, 2016
5903       </p><p><span class="strong"><strong>Interviewee</strong></span>: Neal Gorenflo, cofounder and
5904 executive editor
5905       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
5906     \textit{
5907         Profile written by Sarah Hinchliff Pearson
5908       }
5909     \end{flushright}</td></tr></table></div><p>
5910       In 2013, Shareable faced an impasse. The nonprofit online publication had
5911 helped start a sharing movement four years prior, but over time, they
5912 watched one part of the movement stray from its ideals. As giants like Uber
5913 and Airbnb gained ground, attention began to center on the <span class="quote">« <span class="quote">sharing
5914 economy</span> »</span> we know now—profit-driven, transactional, and loaded with
5915 venture-capital money. Leaders of corporate start-ups in this domain invited
5916 Shareable to advocate for them. The magazine faced a choice: ride the wave
5917 or stand on principle.
5918     </p><p>
5919       As an organization, Shareable decided to draw a line in the sand.  In 2013,
5920 the cofounder and executive editor Neal Gorenflo wrote an opinion piece in
5921 the PandoDaily that charted Shareable’s new critical stance on the Silicon
5922 Valley version of the sharing economy, while contrasting it with aspects of
5923 the real sharing economy like open-source software, participatory budgeting
5924 (where citizens decide how a public budget is spent), cooperatives, and
5925 more. He wrote, <span class="quote">« <span class="quote">It’s not so much that collaborative consumption is
5926 dead, it’s more that it risks dying as it gets absorbed by the
5927 <span class="quote">“<span class="quote">Borg.</span>”</span></span> »</span>
5928     </p><p>
5929       Neal said their public critique of the corporate sharing economy defined
5930 what Shareable was and is. He does not think the magazine would still be
5931 around had they chosen differently. <span class="quote">« <span class="quote">We would have gotten another type
5932 of audience, but it would have spelled the end of us,</span> »</span> he
5933 said. <span class="quote">« <span class="quote">We are a small, mission-driven organization. We would never
5934 have been able to weather the criticism that Airbnb and Uber are getting
5935 now.</span> »</span>
5936     </p><p>
5937       Interestingly, impassioned supporters are only a small sliver of Shareable’s
5938 total audience. Most are casual readers who come across a Shareable story
5939 because it happens to align with a project or interest they have. But
5940 choosing principles over the possibility of riding the coattails of the
5941 major corporate players in the sharing space saved Shareable’s
5942 credibility. Although they became detached from the corporate sharing
5943 economy, the online magazine became the voice of the <span class="quote">« <span class="quote">real sharing
5944 economy</span> »</span> and continued to grow their audience.
5945     </p><p>
5946       Shareable is a magazine, but the content they publish is a means to
5947 furthering their role as a leader and catalyst of a movement.  Shareable
5948 became a leader in the movement in 2009. <span class="quote">« <span class="quote">At that time, there was a
5949 sharing movement bubbling beneath the surface, but no one was connecting the
5950 dots,</span> »</span> Neal said. <span class="quote">« <span class="quote">We decided to step into that space and take
5951 on that role.</span> »</span> The small team behind the nonprofit publication truly
5952 believed sharing could be central to solving some of the major problems
5953 human beings face—resource inequality, social isolation, and global warming.
5954     </p><p>
5955       They have worked hard to find ways to tell stories that show different
5956 metrics for success. <span class="quote">« <span class="quote">We wanted to change the notion of what
5957 constitutes the good life,</span> »</span> Neal said. While they started out with a
5958 very broad focus on sharing generally, today they emphasize stories about
5959 the physical commons like <span class="quote">« <span class="quote">sharing cities</span> »</span> (i.e., urban areas
5960 managed in a sustainable, cooperative way), as well as digital platforms
5961 that are run democratically. They particularly focus on how-to content that
5962 help their readers make changes in their own lives and communities.
5963     </p><p>
5964       More than half of Shareable’s stories are written by paid journalists that
5965 are contracted by the magazine.  <span class="quote">« <span class="quote">Particularly in content areas that
5966 are a priority for us, we really want to go deep and control the
5967 quality,</span> »</span> Neal said. The rest of the content is either contributed by
5968 guest writers, often for free, or written by other publications from their
5969 network of content publishers. Shareable is a member of the Post Growth
5970 Alliance, which facilitates the sharing of content and audiences among a
5971 large and growing group of mostly nonprofits.  Each organization gets a
5972 chance to present stories to the group, and the organizations can use and
5973 promote each other’s stories.  Much of the content created by the network is
5974 licensed with Creative Commons.
5975     </p><p>
5976       All of Shareable’s original content is published under the Attribution
5977 license (CC BY), meaning it can be used for any purpose as long as credit is
5978 given to Shareable. Creative Commons licensing is aligned with Shareable’s
5979 vision, mission, and identity. That alone explains the organization’s
5980 embrace of the licenses for their content, but Neal also believes CC
5981 licensing helps them increase their reach. <span class="quote">« <span class="quote">By using CC
5982 licensing,</span> »</span> he said, <span class="quote">« <span class="quote">we realized we could reach far more
5983 people through a formal and informal network of republishers or
5984 affiliates. That has definitely been the case. It’s hard for us to measure
5985 the reach of other media properties, but most of the outlets who republish
5986 our work have much bigger audiences than we do.</span> »</span>
5987     </p><p>
5988       In addition to their regular news and commentary online, Shareable has also
5989 experimented with book publishing. In 2012, they worked with a traditional
5990 publisher to release Share or Die: Voices of the Get Lost Generation in an
5991 Age of Crisis. The CC-licensed book was available in print form for purchase
5992 or online for free. To this day, the book—along with their CC-licensed guide
5993 Policies for Shareable Cities—are two of the biggest generators of traffic
5994 on their website.
5995     </p><p>
5996       In 2016, Shareable self-published a book of curated Shareable stories called
5997 How to: Share, Save Money and Have Fun. The book was available for sale, but
5998 a PDF version of the book was available for free. Shareable plans to offer
5999 the book in upcoming fund-raising campaigns.
6000     </p><p>
6001       This recent book is one of many fund-raising experiments Shareable has
6002 conducted in recent years. Currently, Shareable is primarily funded by
6003 grants from foundations, but they are actively moving toward a more
6004 diversified model. They have organizational sponsors and are working to
6005 expand their base of individual donors.  Ideally, they will eventually be a
6006 hundred percent funded by their audience. Neal believes being fully
6007 community-supported will better represent their vision of the world.
6008     </p><p>
6009       For Shareable, success is very much about their impact on the world. This is
6010 true for Neal, but also for everyone who works for Shareable. <span class="quote">« <span class="quote">We
6011 attract passionate people,</span> »</span> Neal said.  At times, that means
6012 employees work so hard they burn out. Neal tries to stress to the Shareable
6013 team that another part of success is having fun and taking care of yourself
6014 while you do something you love. <span class="quote">« <span class="quote">A central part of human beings is
6015 that we long to be on a great adventure with people we love,</span> »</span> he
6016 said.  <span class="quote">« <span class="quote">We are a species who look over the horizon and imagine and
6017 create new worlds, but we also seek the comfort of hearth and home.</span> »</span>
6018     </p><p>
6019       In 2013, Shareable ran its first crowdfunding campaign to launch their
6020 Sharing Cities Network. Neal said at first they were on pace to fail
6021 spectacularly. They called in their advisers in a panic and asked for
6022 help. The advice they received was simple—<span class="quote">« <span class="quote">Sit your ass in a chair and
6023 start making calls.</span> »</span> That’s exactly what they did, and they ended up
6024 reaching their $50,000 goal. Neal said the campaign helped them reach new
6025 people, but the vast majority of backers were people in their existing base.
6026     </p><p>
6027       For Neal, this symbolized how so much of success comes down to
6028 relationships. Over time, Shareable has invested time and energy into the
6029 relationships they have forged with their readers and supporters. They have
6030 also invested resources into building relationships between their readers
6031 and supporters.
6032     </p><p>
6033       Shareable began hosting events in 2010. These events were designed to bring
6034 the sharing community together. But over time they realized they could reach
6035 far more people if they helped their readers to host their own
6036 events. <span class="quote">« <span class="quote">If we wanted to go big on a conference, there was a huge risk
6037 and huge staffing needs, plus only a fraction of our community could travel
6038 to the event,</span> »</span> Neal said. Enabling others to create their own events
6039 around the globe allowed them to scale up their work more effectively and
6040 reach far more people. Shareable has catalyzed three hundred different
6041 events reaching over twenty thousand people since implementing this strategy
6042 three years ago. Going forward, Shareable is focusing the network on
6043 creating and distributing content meant to spur local action. For instance,
6044 Shareable will publish a new CC-licensed book in 2017 filled with ideas for
6045 their network to implement.
6046     </p><p>
6047       Neal says Shareable stumbled upon this strategy, but it seems to perfectly
6048 encapsulate just how the commons is supposed to work.  Rather than a
6049 one-size-fits-all approach, Shareable puts the tools out there for people
6050 take the ideas and adapt them to their own communities.
6051     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Chapitre 23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6052         Siyavula is a for-profit educational-technology company that creates
6053 textbooks and integrated learning experiences. Founded in 2012 in South
6054 Africa.
6055       </p><p>
6056           <a class="ulink" href="http://www.siyavula.com" target="_top">http://www.siyavula.com</a>
6057         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
6058 services, sponsorships
6059       </p><p><span class="strong"><strong>Interview date</strong></span>: April 5, 2016
6060       </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Horner, CEO
6061       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
6062     \textit{
6063         Profile written by Paul Stacey
6064       }
6065     \end{flushright}</td></tr></table></div><p>
6066       Openness is a key principle for Siyavula. They believe that every learner
6067 and teacher should have access to high-quality educational resources, as
6068 this forms the basis for long-term growth and development. Siyavula has been
6069 a pioneer in creating high-quality open textbooks on mathematics and science
6070 subjects for grades 4 to 12 in South Africa.
6071     </p><p>
6072       In terms of creating an open business model that involves Creative Commons,
6073 Siyavula—and its founder, Mark Horner—have been around the block a few
6074 times. Siyavula has significantly shifted directions and strategies to
6075 survive and prosper. Mark says it’s been very organic.
6076     </p><p>
6077       It all started in 2002, when Mark and several other colleagues at the
6078 University of Cape Town in South Africa founded the Free High School Science
6079 Texts project. Most students in South Africa high schools didn’t have access
6080 to high-quality, comprehensive science and math textbooks, so Mark and his
6081 colleagues set out to write them and make them freely available.
6082     </p><p>
6083       As physicists, Mark and his colleagues were advocates of open-source
6084 software. To make the books open and free, they adopted the Free Software
6085 Foundation’s GNU Free Documentation License.<a href="#ftn.idm1924" class="footnote" name="idm1924"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
6086 documents, to author the books. Over a period of five years, the Free High
6087 School Science Texts project produced math and physical-science textbooks
6088 for grades 10 to 12.
6089     </p><p>
6090       In 2007, the Shuttleworth Foundation offered funding support to make the
6091 textbooks available for trial use at more schools.  Surveys before and after
6092 the textbooks were adopted showed there were no substantial criticisms of
6093 the textbooks’ pedagogical content. This pleased both the authors and
6094 Shuttleworth; Mark remains incredibly proud of this accomplishment.
6095     </p><p>
6096       But the development of new textbooks froze at this stage. Mark shifted his
6097 focus to rural schools, which didn’t have textbooks at all, and looked into
6098 the printing and distribution options. A few sponsors came on board but not
6099 enough to meet the need.
6100     </p><p>
6101       In 2007, Shuttleworth and the Open Society Institute convened a group of
6102 open-education activists for a small but lively meeting in Cape Town. One
6103 result was the Cape Town Open Education Declaration, a statement of
6104 principles, strategies, and commitment to help the open-education movement
6105 grow.<a href="#ftn.idm1930" class="footnote" name="idm1930"><sup class="footnote">[149]</sup></a> Shuttleworth also invited Mark to
6106 run a project writing open content for all subjects for K–12 in
6107 English. That project became Siyavula.
6108     </p><p>
6109       They wrote six original textbooks. A small publishing company offered
6110 Shuttleworth the option to buy out the publisher’s existing K–9 content for
6111 every subject in South African schools in both English and Afrikaans. A deal
6112 was struck, and all the acquired content was licensed with Creative Commons,
6113 significantly expanding the collection beyond the six original books.
6114     </p><p>
6115       Mark wanted to build out the remaining curricula collaboratively through
6116 communities of practice—that is, with fellow educators and writers. Although
6117 sharing is fundamental to teaching, there can be a few challenges when you
6118 create educational resources collectively. One concern is legal. It is
6119 standard practice in education to copy diagrams and snippets of text, but of
6120 course this doesn’t always comply with copyright law. Another concern is
6121 transparency. Sharing what you’ve authored means everyone can see it and
6122 opens you up to criticism. To alleviate these concerns, Mark adopted a
6123 team-based approach to authoring and insisted the curricula be based
6124 entirely on resources with Creative Commons licenses, thereby ensuring they
6125 were safe to share and free from legal repercussions.
6126     </p><p>
6127       Not only did Mark want the resources to be shareable, he wanted all teachers
6128 to be able to remix and edit the content. Mark and his team had to come up
6129 with an open editable format and provide tools for editing. They ended up
6130 putting all the books they’d acquired and authored on a platform called
6131 Connexions.<a href="#ftn.idm1936" class="footnote" name="idm1936"><sup class="footnote">[150]</sup></a> Siyavula trained many
6132 teachers to use Connexions, but it proved to be too complex and the
6133 textbooks were rarely edited.
6134     </p><p>
6135       Then the Shuttleworth Foundation decided to completely restructure its work
6136 as a foundation into a fellowship model (for reasons completely unrelated to
6137 Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
6138 an independent entity and took ownership over it as a Shuttleworth fellow.
6139     </p><p>
6140       Mark and his team experimented with several different strategies.  They
6141 tried creating an authoring and hosting platform called Full Marks so that
6142 teachers could share assessment items. They tried creating a service called
6143 Open Press, where teachers could ask for open educational resources to be
6144 aggregated into a package and printed for them. These services never really
6145 panned out.
6146     </p><p>
6147       Then the South African government approached Siyavula with an interest in
6148 printing out the original six Free High School Science Texts (math and
6149 physical-science textbooks for grades 10 to 12)  for all high school
6150 students in South Africa. Although at this point Siyavula was a bit
6151 discouraged by open educational resources, they saw this as a big
6152 opportunity.
6153     </p><p>
6154       They began to conceive of the six books as having massive marketing
6155 potential for Siyavula. Printing Siyavula books for every kid in South
6156 Africa would give their brand huge exposure and could drive vast amounts of
6157 traffic to their website. In addition to print books, Siyavula could also
6158 make the books available on their website, making it possible for learners
6159 to access them using any device—computer, tablet, or mobile phone.
6160     </p><p>
6161       Mark and his team began imagining what they could develop beyond what was in
6162 the textbooks as a service they charge for. One key thing you can’t do well
6163 in a printed textbook is demonstrate solutions. Typically, a one-line answer
6164 is given at the end of the book but nothing on the process for arriving at
6165 that solution.  Mark and his team developed practice items and detailed
6166 solutions, giving learners plenty of opportunity to test out what they’ve
6167 learned. Furthermore, an algorithm could adapt these practice items to the
6168 individual needs of each learner. They called this service Intelligent
6169 Practice and embedded links to it in the open textbooks.
6170     </p><p>
6171       The costs for using Intelligent Practice were set very low, making it
6172 accessible even to those with limited financial means. Siyavula was going
6173 for large volumes and wide-scale use rather than an expensive product
6174 targeting only the high end of the market.
6175     </p><p>
6176       The government distributed the books to 1.5 million students, but there was
6177 an unexpected wrinkle: the books were delivered late.  Rather than wait,
6178 schools who could afford it provided students with a different textbook. The
6179 Siyavula books were eventually distributed, but with well-off schools mainly
6180 using a different book, the primary market for Siyavula’s Intelligent
6181 Practice service inadvertently became low-income learners.
6182     </p><p>
6183       Siyavula’s site did see a dramatic increase in traffic. They got five
6184 hundred thousand visitors per month to their math site and the same number
6185 to their science site. Two-fifths of the traffic was reading on a
6186 <span class="quote">« <span class="quote">feature phone</span> »</span> (a nonsmartphone with no apps). People on basic
6187 phones were reading math and science on a two-inch screen at all hours of
6188 the day. To Mark, it was quite amazing and spoke to a need they were
6189 servicing.
6190     </p><p>
6191       At first, the Intelligent Practice services could only be paid using a
6192 credit card. This proved problematic, especially for those in the low-income
6193 demographic, as credit cards were not prevalent.  Mark says Siyavula got a
6194 harsh business-model lesson early on. As he describes it, it’s not just
6195 about product, but how you sell it, who the market is, what the price is,
6196 and what the barriers to entry are.
6197     </p><p>
6198       Mark describes this as the first version of Siyavula’s business model: open
6199 textbooks serving as marketing material and driving traffic to your site,
6200 where you can offer a related service and convert some people into a paid
6201 customer.
6202     </p><p>
6203       For Mark a key decision for Siyavula’s business was to focus on how they can
6204 add value on top of their basic service. They’ll charge only if they are
6205 adding unique value. The actual content of the textbook isn’t unique at all,
6206 so Siyavula sees no value in locking it down and charging for it. Mark
6207 contrasts this with traditional publishers who charge over and over again
6208 for the same content without adding value.
6209     </p><p>
6210       Version two of Siyavula’s business model was a big, ambitious idea—scale
6211 up. They also decided to sell the Intelligent Practice service to schools
6212 directly. Schools can subscribe on a per-student, per-subject basis. A
6213 single subscription gives a learner access to a single subject, including
6214 practice content from every grade available for that subject. Lower
6215 subscription rates are provided when there are over two hundred students,
6216 and big schools have a price cap. A 40 percent discount is offered to
6217 schools where both the science and math departments subscribe.
6218     </p><p>
6219       Teachers get a dashboard that allows them to monitor the progress of an
6220 entire class or view an individual learner’s results. They can see the
6221 questions that learners are working on, identify areas of difficulty, and be
6222 more strategic in their teaching. Students also have their own personalized
6223 dashboard, where they can view the sections they’ve practiced, how many
6224 points they’ve earned, and how their performance is improving.
6225     </p><p>
6226       Based on the success of this effort, Siyavula decided to substantially
6227 increase the production of open educational resources so they could provide
6228 the Intelligent Practice service for a wider range of books. Grades 10 to 12
6229 math and science books were reworked each year, and new books created for
6230 grades 4 to 6 and later grades 7 to 9.
6231     </p><p>
6232       In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula
6233 produced a series of natural sciences and technology workbooks for grades 4
6234 to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1955" class="footnote" name="idm1955"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
6235 teacher’s guides and other resources.
6236     </p><p>
6237       Through this experience, Siyavula learned they could get sponsors to help
6238 fund openly licensed textbooks. It helped that Siyavula had by this time
6239 nailed the production model. It cost roughly $150,000 to produce a book in
6240 two languages. Sponsors liked the social-benefit aspect of textbooks
6241 unlocked via a Creative Commons license. They also liked the exposure their
6242 brand got. For roughly $150,000, their logo would be visible on books
6243 distributed to over one million students.
6244     </p><p>
6245       The Siyavula books that are reviewed, approved, and branded by the
6246 government are freely and openly available on Siyavula’s website under an
6247 Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
6248 cannot be modified. Non-government-branded books are available under an
6249 Attribution license (CC BY), allowing others to modify and redistribute the
6250 books.
6251     </p><p>
6252       Although the South African government paid to print and distribute hard
6253 copies of the books to schoolkids, Siyavula itself received no funding from
6254 the government. Siyavula initially tried to convince the government to
6255 provide them with five rand per book (about US35¢). With those funds, Mark
6256 says that Siyavula could have run its entire operation, built a
6257 community-based model for producing more books, and provide Intelligent
6258 Practice for free to every child in the country. But after a lengthy
6259 negotiation, the government said no.
6260     </p><p>
6261       Using Siyavula books generated huge savings for the government.  Providing
6262 students with a traditionally published grade 12 science or math textbook
6263 costs around 250 rand per book (about US$18).  Providing the Siyavula
6264 version cost around 36 rand (about $2.60), a savings of over 200 rand per
6265 book. But none of those savings were passed on to Siyavula. In retrospect,
6266 Mark thinks this may have turned out in their favor as it allowed them to
6267 remain independent from the government.
6268     </p><p>
6269       Just as Siyavula was planning to scale up the production of open textbooks
6270 even more, the South African government changed its textbook policy. To save
6271 costs, the government declared there would be only one authorized textbook
6272 for each grade and each subject. There was no guarantee that Siyavula’s
6273 would be chosen.  This scared away potential sponsors.
6274     </p><p>
6275       Rather than producing more textbooks, Siyavula focused on improving its
6276 Intelligent Practice technology for its existing books. Mark calls this
6277 version three of Siyavula’s business model—focusing on the technology that
6278 provides the revenue-generating service and generating more users of this
6279 service. Version three got a significant boost in 2014 with an investment by
6280 the Omidyar Network (the philanthropic venture started by eBay founder
6281 Pierre Omidyar and his spouse), and continues to be the model Siyavula uses
6282 today.
6283     </p><p>
6284       Mark says sales are way up, and they are really nailing Intelligent
6285 Practice. Schools continue to use their open textbooks. The
6286 government-announced policy that there would be only one textbook per
6287 subject turned out to be highly contentious and is in limbo.
6288     </p><p>
6289       Siyavula is exploring a range of enhancements to their business model. These
6290 include charging a small amount for assessment services provided over the
6291 phone, diversifying their market to all English-speaking countries in
6292 Africa, and setting up a consortium that makes Intelligent Practice free to
6293 all kids by selling the nonpersonal data Intelligent Practice collects.
6294     </p><p>
6295       Siyavula is a for-profit business but one with a social mission.  Their
6296 shareholders’ agreement lists lots of requirements around openness for
6297 Siyavula, including stipulations that content always be put under an open
6298 license and that they can’t charge for something that people volunteered to
6299 do for them. They believe each individual should have access to the
6300 resources and support they need to achieve the education they
6301 deserve. Having educational resources openly licensed with Creative Commons
6302 means they can fulfill their social mission, on top of which they can build
6303 revenue-generating services to sustain the ongoing operation of Siyavula. In
6304 terms of open business models, Mark and Siyavula may have been around the
6305 block a few times, but both he and the company are stronger for it.
6306     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1924" class="footnote"><p><a href="#idm1924" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1930" class="footnote"><p><a href="#idm1930" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1936" class="footnote"><p><a href="#idm1936" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1955" class="footnote"><p><a href="#idm1955" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>Chapitre 24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6307         SparkFun is an online electronics retailer specializing in open
6308 hardware. Founded in 2003 in the U.S.
6309       </p><p>
6310           <a class="ulink" href="http://www.sparkfun.com" target="_top">http://www.sparkfun.com</a>
6311         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
6312 copies (electronics sales)
6313       </p><p><span class="strong"><strong>Interview date</strong></span>: February 29, 2016
6314       </p><p><span class="strong"><strong>Interviewee</strong></span>: Nathan Seidle, founder
6315       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
6316     \textit{
6317         Profile written by Sarah Hinchliff Pearson
6318       }
6319     \end{flushright}</td></tr></table></div><p>
6320       SparkFun founder and former CEO Nathan Seidle has a picture of himself
6321 holding up a clone of a SparkFun product in an electronics market in China,
6322 with a huge grin on his face. He was traveling in China when he came across
6323 their LilyPad wearable technology being made by someone else. His reaction
6324 was glee.
6325     </p><p><span class="quote">« <span class="quote">Being copied is the greatest earmark of flattery and success,</span> »</span>
6326 Nathan said. <span class="quote">« <span class="quote">I thought it was so cool that they were selling to a
6327 market we were never going to get access to otherwise. It was evidence of
6328 our impact on the world.</span> »</span>
6329     </p><p>
6330       This worldview runs through everything SparkFun does. SparkFun is an
6331 electronics manufacturer. The company sells its products directly to the
6332 public online, and it bundles them with educational tools to sell to schools
6333 and teachers. SparkFun applies Creative Commons licenses to all of its
6334 schematics, images, tutorial content, and curricula, so anyone can make
6335 their products on their own. Being copied is part of the design.
6336     </p><p>
6337       Nathan believes open licensing is good for the world. <span class="quote">« <span class="quote">It touches on
6338 our natural human instinct to share,</span> »</span> he said.  But he also strongly
6339 believes it makes SparkFun better at what they do. They encourage copying,
6340 and their products are copied at a very fast rate, often within ten to
6341 twelve weeks of release.  This forces the company to compete on something
6342 other than product design, or what most commonly consider their intellectual
6343 property.
6344     </p><p><span class="quote">« <span class="quote">We compete on business principles,</span> »</span> Nathan said.
6345 <span class="quote">« <span class="quote">Claiming your territory with intellectual property allows you to get
6346 comfy and rest on your laurels. It gives you a safety net. We took away that
6347 safety net.</span> »</span>
6348     </p><p>
6349       The result is an intense company-wide focus on product development and
6350 improvement. <span class="quote">« <span class="quote">Our products are so much better than they were five
6351 years ago,</span> »</span> Nathan said. <span class="quote">« <span class="quote">We used to just sell products. Now
6352 it’s a product plus a video, a seventeen-page hookup guide, and example
6353 firmware on three different platforms to get you up and running faster. We
6354 have gotten better because we had to in order to compete. As painful as it
6355 is for us, it’s better for the customers.</span> »</span>
6356     </p><p>
6357       SparkFun parts are available on eBay for lower prices. But people come
6358 directly to SparkFun because SparkFun makes their lives easier. The example
6359 code works; there is a service number to call; they ship replacement parts
6360 the day they get a service call. They invest heavily in service and
6361 support. <span class="quote">« <span class="quote">I don’t believe businesses should be competing with IP
6362 [intellectual property] barriers,</span> »</span> Nathan said. <span class="quote">« <span class="quote">This is the
6363 stuff they should be competing on.</span> »</span>
6364     </p><p>
6365       SparkFun’s company history began in Nathan’s college dorm room. He spent a
6366 lot of time experimenting with and building electronics, and he realized
6367 there was a void in the market. <span class="quote">« <span class="quote">If you wanted to place an order for
6368 something,</span> »</span> he said, <span class="quote">« <span class="quote">you first had to search far and wide to
6369 find it, and then you had to call or fax someone.</span> »</span> In 2003, during
6370 his third year of college, he registered <a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a>
6371 and started reselling products out of his bedroom. After he graduated, he
6372 started making and selling his own products.
6373     </p><p>
6374       Once he started designing his own products, he began putting the software
6375 and schematics online to help with technical support.  After doing some
6376 research on licensing options, he chose Creative Commons licenses because he
6377 was drawn to the <span class="quote">« <span class="quote">human-readable deeds</span> »</span> that explain the
6378 licensing terms in simple terms.  SparkFun still uses CC licenses for all of
6379 the schematics and firmware for the products they create.
6380     </p><p>
6381       The company has grown from a solo project to a corporation with 140
6382 employees. In 2015, SparkFun earned $33 million in revenue.  Selling
6383 components and widgets to hobbyists, professionals, and artists remains a
6384 major part of SparkFun’s business. They sell their own products, but they
6385 also partner with Arduino (also profiled in this book) by manufacturing
6386 boards for resale using Arduino’s brand.
6387     </p><p>
6388       SparkFun also has an educational department dedicated to creating a hands-on
6389 curriculum to teach students about electronics using prototyping
6390 parts. Because SparkFun has always been dedicated to enabling others to
6391 re-create and fix their products on their own, the more recent focus on
6392 introducing young people to technology is a natural extension of their core
6393 business.
6394     </p><p><span class="quote">« <span class="quote">We have the burden and opportunity to educate the next generation of
6395 technical citizens,</span> »</span> Nathan said. <span class="quote">« <span class="quote">Our goal is to affect the
6396 lives of three hundred and fifty thousand high school students by
6397 2020.</span> »</span>
6398     </p><p>
6399       The Creative Commons license underlying all of SparkFun’s products is
6400 central to this mission. The license not only signals a willingness to
6401 share, but it also expresses a desire for others to get in and tinker with
6402 their products, both to learn and to make their products better. SparkFun
6403 uses the Attribution-ShareAlike license (CC BY-SA), which is a
6404 <span class="quote">« <span class="quote">copyleft</span> »</span> license that allows people to do anything with the
6405 content as long as they provide credit and make any adaptations available
6406 under the same licensing terms.
6407     </p><p>
6408       From the beginning, Nathan has tried to create a work environment at
6409 SparkFun that he himself would want to work in. The result is what appears
6410 to be a pretty fun workplace. The U.S. company is based in Boulder,
6411 Colorado. They have an eighty-thousand-square-foot facility (approximately
6412 seventy-four-hundred square meters), where they design and manufacture their
6413 products. They offer public tours of the space several times a week, and
6414 they open their doors to the public for a competition once a year.
6415     </p><p>
6416       The public event, called the Autonomous Vehicle Competition, brings in a
6417 thousand to two thousand customers and other technology enthusiasts from
6418 around the area to race their own self-created bots against each other,
6419 participate in training workshops, and socialize. From a business
6420 perspective, Nathan says it’s a terrible idea. But they don’t hold the event
6421 for business reasons. <span class="quote">« <span class="quote">The reason we do it is because I get to travel
6422 and have interactions with our customers all the time, but most of our
6423 employees don’t,</span> »</span> he said. <span class="quote">« <span class="quote">This event gives our employees the
6424 opportunity to get face-to-face contact with our customers.</span> »</span> The
6425 event infuses their work with a human element, which makes it more
6426 meaningful.
6427     </p><p>
6428       Nathan has worked hard to imbue a deeper meaning into the work SparkFun
6429 does. The company is, of course, focused on being fiscally responsible, but
6430 they are ultimately driven by something other than money. <span class="quote">« <span class="quote">Profit is
6431 not the goal; it is the outcome of a well-executed plan,</span> »</span> Nathan
6432 said. <span class="quote">« <span class="quote">We focus on having a bigger impact on the world.</span> »</span> Nathan
6433 believes they get some of the brightest and most amazing employees because
6434 they aren’t singularly focused on the bottom line.
6435     </p><p>
6436       The company is committed to transparency and shares all of its financials
6437 with its employees. They also generally strive to avoid being another
6438 soulless corporation. They actively try to reveal the humans behind the
6439 company, and they work to ensure people coming to their site don’t find only
6440 unchanging content.
6441     </p><p>
6442       SparkFun’s customer base is largely made up of industrious electronics
6443 enthusiasts. They have customers who are regularly involved in the company’s
6444 customer support, independently responding to questions in forums and
6445 product-comment sections.  Customers also bring product ideas to the
6446 company. SparkFun regularly sifts through suggestions from customers and
6447 tries to build on them where they can. <span class="quote">« <span class="quote">From the beginning, we have
6448 been listening to the community,</span> »</span> Nathan said.  <span class="quote">« <span class="quote">Customers
6449 would identify a pain point, and we would design something to address
6450 it.</span> »</span>
6451     </p><p>
6452       However, this sort of customer engagement does not always translate to
6453 people actively contributing to SparkFun’s projects.  The company has a
6454 public repository of software code for each of its devices online. On a
6455 particularly active project, there will only be about two dozen people
6456 contributing significant improvements. The vast majority of projects are
6457 relatively untouched by the public. <span class="quote">« <span class="quote">There is a theory that if you
6458 open-source it, they will come,</span> »</span> Nathan said. <span class="quote">« <span class="quote">That’s not
6459 really true.</span> »</span>
6460     </p><p>
6461       Rather than focusing on cocreation with their customers, SparkFun instead
6462 focuses on enabling people to copy, tinker, and improve products on their
6463 own. They heavily invest in tutorials and other material designed to help
6464 people understand how the products work so they can fix and improve things
6465 independently. <span class="quote">« <span class="quote">What gives me joy is when people take open-source
6466 layouts and then build their own circuit boards from our designs,</span> »</span>
6467 Nathan said.
6468     </p><p>
6469       Obviously, opening up the design of their products is a necessary step if
6470 their goal is to empower the public. Nathan also firmly believes it makes
6471 them more money because it requires them to focus on how to provide maximum
6472 value. Rather than designing a new product and protecting it in order to
6473 extract as much money as possible from it, they release the keys necessary
6474 for others to build it themselves and then spend company time and resources
6475 on innovation and service. From a short-term perspective, SparkFun may lose
6476 a few dollars when others copy their products. But in the long run, it makes
6477 them a more nimble, innovative business. In other words, it makes them the
6478 kind of company they set out to be.
6479     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Chapitre 25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6480         TeachAIDS is a nonprofit that creates educational materials designed to
6481 teach people around the world about HIV and AIDS.  Founded in 2005 in the
6482 U.S.
6483       </p><p>
6484           <a class="ulink" href="http://teachaids.org" target="_top">http://teachaids.org</a>
6485         </p><p><span class="strong"><strong>Revenue model</strong></span>: sponsorships
6486       </p><p><span class="strong"><strong>Interview date</strong></span>: March 24, 2016
6487       </p><p><span class="strong"><strong>Interviewees</strong></span>: Piya Sorcar, the CEO, and
6488 Shuman Ghosemajumder, the chair
6489       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
6490     \textit{
6491         Profile written by Sarah Hinchliff Pearson
6492       }
6493     \end{flushright}</td></tr></table></div><p>
6494       TeachAIDS is an unconventional media company with a conventional revenue
6495 model. Like most media companies, they are subsidized by
6496 advertising. Corporations pay to have their logos appear on the educational
6497 materials TeachAIDS distributes.
6498     </p><p>
6499       But unlike most media companies, Teach-AIDS is a nonprofit organization with
6500 a purely social mission. TeachAIDS is dedicated to educating the global
6501 population about HIV and AIDS, particularly in parts of the world where
6502 education efforts have been historically unsuccessful. Their educational
6503 content is conveyed through interactive software, using methods based on the
6504 latest research about how people learn. TeachAIDS serves content in more
6505 than eighty countries around the world. In each instance, the content is
6506 translated to the local language and adjusted to conform to local norms and
6507 customs. All content is free and made available under a Creative Commons
6508 license.
6509     </p><p>
6510       TeachAIDS is a labor of love for founder and CEO Piya Sorcar, who earns a
6511 salary of one dollar per year from the nonprofit. The project grew out of
6512 research she was doing while pursuing her doctorate at Stanford
6513 University. She was reading reports about India, noting it would be the next
6514 hot zone of people living with HIV. Despite international and national
6515 entities pouring in hundreds of millions of dollars on HIV-prevention
6516 efforts, the reports showed knowledge levels were still low. People were
6517 unaware of whether the virus could be transmitted through coughing and
6518 sneezing, for instance. Supported by an interdisciplinary team of experts at
6519 Stanford, Piya conducted similar studies, which corroborated the previous
6520 research. They found that the primary cause of the limited understanding was
6521 that HIV, and issues relating to it, were often considered too taboo to
6522 discuss comprehensively. The other major problem was that most of the
6523 education on this topic was being taught through television advertising,
6524 billboards, and other mass-media campaigns, which meant people were only
6525 receiving bits and pieces of information.
6526     </p><p>
6527       In late 2005, Piya and her team used research-based design to create new
6528 educational materials and worked with local partners in India to help
6529 distribute them. As soon as the animated software was posted online, Piya’s
6530 team started receiving requests from individuals and governments who were
6531 interested in bringing this model to more countries. <span class="quote">« <span class="quote">We realized
6532 fairly quickly that educating large populations about a topic that was
6533 considered taboo would be challenging. We began by identifying optimal local
6534 partners and worked toward creating an effective, culturally appropriate
6535 education,</span> »</span> Piya said.
6536     </p><p>
6537       Very shortly after the initial release, Piya’s team decided to spin the
6538 endeavor into an independent nonprofit out of Stanford University. They also
6539 decided to use Creative Commons licenses on the materials.
6540     </p><p>
6541       Given their educational mission, TeachAIDS had an obvious interest in seeing
6542 the materials as widely shared as possible. But they also needed to preserve
6543 the integrity of the medical information in the content. They chose the
6544 Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which essentially
6545 gives the public the right to distribute only verbatim copies of the
6546 content, and for noncommercial purposes. <span class="quote">« <span class="quote">We wanted attribution for
6547 TeachAIDS, and we couldn’t stand by derivatives without vetting
6548 them,</span> »</span> the cofounder and chair Shuman Ghosemajumder said.  <span class="quote">« <span class="quote">It
6549 was almost a no-brainer to go with a CC license because it was a
6550 plug-and-play solution to this exact problem. It has allowed us to scale our
6551 materials safely and quickly worldwide while preserving our content and
6552 protecting us at the same time.</span> »</span>
6553     </p><p>
6554       Choosing a license that does not allow adaptation of the content was an
6555 outgrowth of the careful precision with which TeachAIDS crafts their
6556 content. The organization invests heavily in research and testing to
6557 determine the best method of conveying the information. <span class="quote">« <span class="quote">Creating
6558 high-quality content is what matters most to us,</span> »</span> Piya
6559 said. <span class="quote">« <span class="quote">Research drives everything we do.</span> »</span>
6560     </p><p>
6561       One important finding was that people accept the message best when it comes
6562 from familiar voices they trust and admire. To achieve this, TeachAIDS
6563 researches cultural icons that would best resonate with their target
6564 audiences and recruits them to donate their likenesses and voices for use in
6565 the animated software. The celebrities involved vary for each localized
6566 version of the materials.
6567     </p><p>
6568       Localization is probably the single-most important aspect of the way
6569 TeachAIDS creates its content. While each regional version builds from the
6570 same core scientific materials, they pour a lot of resources into
6571 customizing the content for a particular population. Because they use a CC
6572 license that does not allow the public to adapt the content, TeachAIDS
6573 retains careful control over the localization process. The content is
6574 translated into the local language, but there are also changes in substance
6575 and format to reflect cultural differences. This process results in minor
6576 changes, like choosing different idioms based on the local language, and
6577 significant changes, like creating gendered versions for places where people
6578 are more likely to accept information from someone of the same gender.
6579     </p><p>
6580       The localization process relies heavily on volunteers. Their volunteer base
6581 is deeply committed to the cause, and the organization has had better luck
6582 controlling the quality of the materials when they tap volunteers instead of
6583 using paid translators. For quality control, TeachAIDS has three separate
6584 volunteer teams translate the materials from English to the local language
6585 and customize the content based on local customs and norms. Those three
6586 versions are then analyzed and combined into a single master
6587 translation. TeachAIDS has additional teams of volunteers then translate
6588 that version back into English to see how well it lines up with the original
6589 materials. They repeat this process until they reach a translated version
6590 that meets their standards. For the Tibetan version, they went through this
6591 cycle eleven times.
6592     </p><p>
6593       TeachAIDS employs full-time employees, contractors, and volunteers, all in
6594 different capacities and organizational configurations. They are careful to
6595 use people from diverse backgrounds to create the materials, including
6596 teachers, students, and doctors, as well as individuals experienced in
6597 working in the NGO space. This diversity and breadth of knowledge help
6598 ensure their materials resonate with people from all walks of life.
6599 Additionally, TeachAIDS works closely with film writers and directors to
6600 help keep the concepts entertaining and easy to understand. The inclusive,
6601 but highly controlled, creative process is undertaken entirely by people who
6602 are specifically brought on to help with a particular project, rather than
6603 ongoing staff. The final product they create is designed to require zero
6604 training for people to implement in practice. <span class="quote">« <span class="quote">In our research, we
6605 found we can’t depend on people passing on the information correctly, even
6606 if they have the best of intentions,</span> »</span> Piya said.  <span class="quote">« <span class="quote">We need
6607 materials where you can push play and they will work.</span> »</span>
6608     </p><p>
6609       Piya’s team was able to produce all of these versions over several years
6610 with a head count that never exceeded eight full-time employees. The
6611 organization is able to reduce costs by relying heavily on volunteers and
6612 in-kind donations. Nevertheless, the nonprofit needed a sustainable revenue
6613 model to subsidize content creation and physical distribution of the
6614 materials. Charging even a low price was simply not an
6615 option. <span class="quote">« <span class="quote">Educators from various nonprofits around the world were just
6616 creating their own materials using whatever they could find for free
6617 online,</span> »</span> Shuman said. <span class="quote">« <span class="quote">The only way to persuade them to use our
6618 highly effective model was to make it completely free.</span> »</span>
6619     </p><p>
6620       Like many content creators offering their work for free, they settled on
6621 advertising as a funding model. But they were extremely careful not to let
6622 the advertising compromise their credibility or undermine the heavy
6623 investment they put into creating quality content. Sponsors of the content
6624 have no ability to influence the substance of the content, and they cannot
6625 even create advertising content. Sponsors only get the right to have their
6626 logo appear before and after the educational content. All of the content
6627 remains branded as TeachAIDS.
6628     </p><p>
6629       TeachAIDS is careful not to seek funding to cover the costs of a specific
6630 project. Instead, sponsorships are structured as unrestricted donations to
6631 the nonprofit. This gives the nonprofit more stability, but even more
6632 importantly, it enables them to subsidize projects being localized for an
6633 area with no sponsors.  <span class="quote">« <span class="quote">If we just created versions based on where we
6634 could get sponsorships, we would only have materials for wealthier
6635 countries,</span> »</span> Shuman said.
6636     </p><p>
6637       As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">« <span class="quote">When we go into a new
6638 country, various companies hear about us and reach out to us,</span> »</span> Piya
6639 said. <span class="quote">« <span class="quote">We don’t have to do much to find or attract them.</span> »</span> They
6640 believe the sponsorships are easy to sell because they offer so much value
6641 to sponsors. TeachAIDS sponsorships give corporations the chance to reach
6642 new eyeballs with their brand, but at a much lower cost than other
6643 advertising channels. The audience for TeachAIDS content also tends to skew
6644 young, which is often a desirable demographic for brands. Unlike traditional
6645 advertising, the content is not time-sensitive, so an investment in a
6646 sponsorship can benefit a brand for many years to come.
6647     </p><p>
6648       Importantly, the value to corporate sponsors goes beyond commercial
6649 considerations. As a nonprofit with a clearly articulated social mission,
6650 corporate sponsorships are donations to a cause. <span class="quote">« <span class="quote">This is something
6651 companies can be proud of internally,</span> »</span> Shuman said. Some companies
6652 have even built publicity campaigns around the fact that they have sponsored
6653 these initiatives.
6654     </p><p>
6655       The core mission of TeachAIDS—ensuring global access to life-saving
6656 education—is at the root of everything the organization does. It underpins
6657 the work; it motivates the funders. The CC license on the materials they
6658 create furthers that mission, allowing them to safely and quickly scale
6659 their materials worldwide. <span class="quote">« <span class="quote">The Creative Commons license has been a
6660 game changer for TeachAIDS,</span> »</span> Piya said.
6661     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Chapitre 26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6662         Tribe of Noise is a for-profit online music platform serving the film, TV,
6663 video, gaming, and in-store-media industries. Founded in 2008 in the
6664 Netherlands.
6665       </p><p>
6666           <a class="ulink" href="http://www.tribeofnoise.com" target="_top">http://www.tribeofnoise.com</a>
6667         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
6668       </p><p><span class="strong"><strong>Interview date</strong></span>: January 26, 2016
6669       </p><p><span class="strong"><strong>Interviewee</strong></span>: Hessel van Oorschot,
6670 cofounder
6671       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
6672     \textit{
6673         Profile written by Paul Stacey
6674       }
6675     \end{flushright}</td></tr></table></div><p>
6676       In the early 2000s, Hessel van Oorschot was an entrepreneur running a
6677 business where he coached other midsize entrepreneurs how to create an
6678 online business. He also coauthored a number of workbooks for small- to
6679 medium-size enterprises to use to optimize their business for the
6680 Web. Through this early work, Hessel became familiar with the principles of
6681 open licensing, including the use of open-source software and Creative
6682 Commons.
6683     </p><p>
6684       In 2005, Hessel and Sandra Brandenburg launched a niche video-production
6685 initiative. Almost immediately, they ran into issues around finding and
6686 licensing music tracks. All they could find was standard, cold
6687 stock-music. They thought of looking up websites where you could license
6688 music directly from the musician without going through record labels or
6689 agents. But in 2005, the ability to directly license music from a rights
6690 holder was not readily available.
6691     </p><p>
6692       They hired two lawyers to investigate further, and while they uncovered five
6693 or six examples, Hessel found the business models lacking. The lawyers
6694 expressed interest in being their legal team should they decide to pursue
6695 this as an entrepreneurial opportunity. Hessel says, <span class="quote">« <span class="quote">When lawyers are
6696 interested in a venture like this, you might have something special.</span> »</span>
6697 So after some more research, in early 2008, Hessel and Sandra decided to
6698 build a platform.
6699     </p><p>
6700       Building a platform posed a real chicken-and-egg problem. The platform had
6701 to build an online community of music-rights holders and, at the same time,
6702 provide the community with information and ideas about how the new economy
6703 works. Community willingness to try new music business models requires a
6704 trust relationship.
6705     </p><p>
6706       In July 2008, Tribe of Noise opened its virtual doors with a couple hundred
6707 musicians willing to use the CC BY-SA license (Attribution-ShareAlike) for a
6708 limited part of their repertoire.  The two entrepreneurs wanted to take the
6709 pain away for media makers who wanted to license music and solve the
6710 problems the two had personally experienced finding this music.
6711     </p><p>
6712       As they were growing the community, Hessel got a phone call from a company
6713 that made in-store music playlists asking if they had enough music licensed
6714 with Creative Commons that they could use.  Stores need quality,
6715 good-listening music but not necessarily hits, a bit like a radio show
6716 without the DJ. This opened a new opportunity for Tribe of Noise. They
6717 started their In-store Music Service, using music (licensed with CC BY-SA)
6718 uploaded by the Tribe of Noise community of musicians.<a href="#ftn.idm2090" class="footnote" name="idm2090"><sup class="footnote">[152]</sup></a>
6719     </p><p>
6720       In most countries, artists, authors, and musicians join a collecting society
6721 that manages the licensing and helps collect the royalties. Copyright
6722 collecting societies in the European Union usually hold monopolies in their
6723 respective national markets. In addition, they require their members to
6724 transfer exclusive administration rights to them of all of their works.
6725 This complicates the picture for Tribe of Noise, who wants to represent
6726 artists, or at least a portion of their repertoire.  Hessel and his legal
6727 team reached out to collecting societies, starting with those in the
6728 Netherlands. What would be the best legal way forward that would respect the
6729 wishes of composers and musicians who’d be interested in trying out new
6730 models like the In-store Music Service? Collecting societies at first were
6731 hesitant and said no, but Tribe of Noise persisted arguing that they
6732 primarily work with unknown artists and provide them exposure in parts of
6733 the world where they don’t get airtime normally and a source of revenue—and
6734 this convinced them that it was OK. However, Hessel says, <span class="quote">« <span class="quote">We are
6735 still fighting for a good cause every single day.</span> »</span>
6736     </p><p>
6737       Instead of building a large sales force, Tribe of Noise partnered with big
6738 organizations who have lots of clients and can act as a kind of Tribe of
6739 Noise reseller. The largest telecom network in the Netherlands, for example,
6740 sells Tribe’s In-store Music Service subscriptions to their business
6741 clients, which include fashion retailers and fitness centers. They have a
6742 similar deal with the leading trade association representing hotels and
6743 restaurants in the country. Hessel hopes to <span class="quote">« <span class="quote">copy and paste</span> »</span>
6744 this service into other countries where collecting societies understand what
6745 you can do with Creative Commons. Outside of the Netherlands, early
6746 adoptions have happened in Scandinavia, Belgium, and the U.S.
6747     </p><p>
6748       Tribe of Noise doesn’t pay the musicians up front; they get paid when their
6749 music ends up in Tribe of Noise’s in-store music channels. The musicians’
6750 share is 42.5 percent. It’s not uncommon in a traditional model for the
6751 artist to get only 5 to 10 percent, so a share of over 40 percent is a
6752 significantly better deal.  Here’s how they give an example on their
6753 website:
6754     </p><p>
6755       A few of your songs [licensed with CC BY-SA], for example five in total, are
6756 selected for a bespoke in-store music channel broadcasting at a large
6757 retailer with 1,000 stores nationwide. In this case the overall playlist
6758 contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
6759 agreed with this retailer is US$12 per month per play-out. So if 42.5% is
6760 shared with the Tribe musicians in this playlist and your share is 1.43%,
6761 you end up with US$12 * 1000 stores * 0.425 * 0.0143 = US$73 per
6762 month.<a href="#ftn.idm2099" class="footnote" name="idm2099"><sup class="footnote">[153]</sup></a>
6763     </p><p>
6764       Tribe of Noise has another model that does not involve Creative Commons. In
6765 a survey with members, most said they liked the exposure using Creative
6766 Commons gets them and the way it lets them reach out to others to share and
6767 remix. However, they had a bit of a mental struggle with Creative Commons
6768 licenses being perpetual.  A lot of musicians have the mind-set that one day
6769 one of their songs may become an overnight hit. If that happened the CC
6770 BY-SA license would preclude them getting rich off the sale of that song.
6771     </p><p>
6772       Hessel’s legal team took this feedback and created a second model and
6773 separate area of the platform called Tribe of Noise Pro. Songs uploaded to
6774 Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
6775 instead created a <span class="quote">« <span class="quote">nonexclusive exploitation</span> »</span> contract, similar
6776 to a Creative Commons license but allowing musicians to opt out whenever
6777 they want. When you opt out, Tribe of Noise agrees to take your music off
6778 the Tribe of Noise platform within one to two months. This lets the musician
6779 reuse their song for a better deal.
6780     </p><p>
6781       Tribe of Noise Pro is primarily geared toward media makers who are looking
6782 for music. If they buy a license from this catalog, they don’t have to state
6783 the name of the creator; they just license the song for a specific
6784 amount. This is a big plus for media makers.  And musicians can pull their
6785 repertoire at any time. Hessel sees this as a more direct and clean deal.
6786     </p><p>
6787       Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and
6788 the community area of Tribe of Noises. There aren’t that many artists who
6789 upload only to Tribe of Noise Pro, which has a smaller repertoire of music
6790 than the community area.
6791     </p><p>
6792       Hessel sees the two as complementary. Both are needed for the model to
6793 work. With a whole generation of musicians interested in the sharing
6794 economy, the community area of Tribe of Noise is where they can build trust,
6795 create exposure, and generate money. And after that, musicians may become
6796 more interested in exploring other models like Tribe of Noise Pro.
6797     </p><p>
6798       Every musician who joins Tribe of Noise gets their own home page and free
6799 unlimited Web space to upload as much of their own music as they like. Tribe
6800 of Noise is also a social network; fellow musicians and professionals can
6801 vote for, comment on, and like your music. Community managers interact with
6802 and support members, and music supervisors pick and choose from the uploaded
6803 songs for in-store play or to promote them to media producers. Members
6804 really like having people working for the platform who truly engage with
6805 them.
6806     </p><p>
6807       Another way Tribe of Noise creates community and interest is with contests,
6808 which are organized in partnership with Tribe of Noise clients. The client
6809 specifies what they want, and any member can submit a song. Contests usually
6810 involve prizes, exposure, and money. In addition to building member
6811 engagement, contests help members learn how to work with clients: listening
6812 to them, understanding what they want, and creating a song to meet that
6813 need.
6814     </p><p>
6815       Tribe of Noise now has twenty-seven thousand members from 192 countries, and
6816 many are exploring do-it-yourself models for generating revenue. Some came
6817 from music labels and publishers, having gone through the traditional way of
6818 music licensing and now seeing if this new model makes sense for
6819 them. Others are young musicians, who grew up with a DIY mentality and see
6820 little reason to sign with a third party or hand over some of the
6821 control. Still a small but growing group of Tribe members are pursuing a
6822 hybrid model by licensing some of their songs under CC BY-SA and opting in
6823 others with collecting societies like ASCAP or BMI.
6824     </p><p>
6825       It’s not uncommon for performance-rights organizations, record labels, or
6826 music publishers to sign contracts with musicians based on exclusivity. Such
6827 an arrangement prevents those musicians from uploading their music to Tribe
6828 of Noise. In the United States, you can have a collecting society handle
6829 only some of your tracks, whereas in many countries in Europe, a collecting
6830 society prefers to represent your entire repertoire (although the European
6831 Commission is making some changes). Tribe of Noise deals with this issue all
6832 the time and gives you a warning whenever you upload a song. If collecting
6833 societies are willing to be open and flexible and do the most they can for
6834 their members, then they can consider organizations like Tribe of Noise as a
6835 nice add-on, generating more exposure and revenue for the musicians they
6836 represent. So far, Tribe of Noise has been able to make all this work
6837 without litigation.
6838     </p><p>
6839       For Hessel the key to Tribe of Noise’s success is trust. The fact that
6840 Creative Commons licenses work the same way all over the world and have been
6841 translated into all languages really helps build that trust. Tribe of Noise
6842 believes in creating a model where they work together with musicians. They
6843 can only do that if they have a live and kicking community, with people who
6844 think that the Tribe of Noise team has their best interests in
6845 mind. Creative Commons makes it possible to create a new business model for
6846 music, a model that’s based on trust.
6847     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2090" class="footnote"><p><a href="#idm2090" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2099" class="footnote"><p><a href="#idm2099" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>Chapitre 27. Wikimedia Foundation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
6848         The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia
6849 and its sister projects. Founded in 2003 in the U.S.
6850       </p><p>
6851           <a class="ulink" href="http://wikimediafoundation.org" target="_top">http://wikimediafoundation.org</a>
6852         </p><p><span class="strong"><strong>Revenue model</strong></span>: donations
6853       </p><p><span class="strong"><strong>Interview date</strong></span>: December 18, 2015
6854       </p><p><span class="strong"><strong>Interviewees</strong></span>: Luis Villa, former Chief
6855 Officer of Community Engagement, and Stephen LaPorte, legal counsel
6856       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
6857     \textit{
6858         Profile written by Sarah Hinchliff Pearson
6859       }
6860     \end{flushright}</td></tr></table></div><p>
6861       Nearly every person with an online presence knows Wikipedia.
6862     </p><p>
6863       In many ways, it is the preeminent open project: The online encyclopedia is
6864 created entirely by volunteers. Anyone in the world can edit the
6865 articles. All of the content is available for free to anyone online. All of
6866 the content is released under a Creative Commons license that enables people
6867 to reuse and adapt it for any purpose.
6868     </p><p>
6869       As of December 2016, there were more than forty-two million articles in the
6870 295 language editions of the online encyclopedia, according to—what
6871 else?—the Wikipedia article about Wikipedia.
6872     </p><p>
6873       The Wikimedia Foundation is a U.S.-based nonprofit organization that owns
6874 the Wikipedia domain name and hosts the site, along with many other related
6875 sites like Wikidata and Wikimedia Commons. The foundation employs about two
6876 hundred and eighty people, who all work to support the projects it
6877 hosts. But the true heart of Wikipedia and its sister projects is its
6878 community. The numbers of people in the community are variable, but about
6879 seventy-five thousand volunteers edit and improve Wikipedia articles every
6880 month. Volunteers are organized in a variety of ways across the globe,
6881 including formal Wikimedia chapters (mostly national), groups focused on a
6882 particular theme, user groups, and many thousands who are not connected to a
6883 particular organization.
6884     </p><p>
6885       As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">« <span class="quote">There is a common
6886 saying that Wikipedia works in practice but not in theory.</span> »</span> While it
6887 undoubtedly has its challenges and flaws, Wikipedia and its sister projects
6888 are a striking testament to the power of human collaboration.
6889     </p><p>
6890       Because of its extraordinary breadth and scope, it does feel a bit like a
6891 unicorn. Indeed, there is nothing else like Wikipedia.  Still, much of what
6892 makes the projects successful—community, transparency, a strong mission,
6893 trust—are consistent with what it takes to be successfully Made with
6894 Creative Commons more generally. With Wikipedia, everything just happens at
6895 an unprecedented scale.
6896     </p><p>
6897       The story of Wikipedia has been told many times. For our purposes, it is
6898 enough to know the experiment started in 2001 at a small scale, inspired by
6899 the crazy notion that perhaps a truly open, collaborative project could
6900 create something meaningful. At this point, Wikipedia is so ubiquitous and
6901 ingrained in our digital lives that the fact of its existence seems less
6902 remarkable. But outside of software, Wikipedia is perhaps the single most
6903 stunning example of successful community cocreation. Every day, seven
6904 thousand new articles are created on Wikipedia, and nearly fifteen thousand
6905 edits are made every hour.
6906     </p><p>
6907       The nature of the content the community creates is ideal for asynchronous
6908 cocreation. <span class="quote">« <span class="quote">An encyclopedia is something where incremental community
6909 improvement really works,</span> »</span> Luis Villa, former Chief Officer of
6910 Community Engagement, told us. The rules and processes that govern
6911 cocreation on Wikipedia and its sister projects are all community-driven and
6912 vary by language edition. There are entire books written on the intricacies
6913 of their systems, but generally speaking, there are very few exceptions to
6914 the rule that anyone can edit any article, even without an account on their
6915 system. The extensive peer-review process includes elaborate systems to
6916 resolve disputes, methods for managing particularly controversial subject
6917 areas, talk pages explaining decisions, and much, much more. The Wikimedia
6918 Foundation’s decision to leave governance of the projects to the community
6919 is very deliberate. <span class="quote">« <span class="quote">We look at the things that the community can do
6920 well, and we want to let them do those things,</span> »</span> Stephen told
6921 us. Instead, the foundation focuses its time and resources on what the
6922 community cannot do as effectively, like the software engineering that
6923 supports the technical infrastructure of the sites. In 2015-16, about half
6924 of the foundation’s budget went to direct support for the Wikimedia sites.
6925     </p><p>
6926       Some of that is directed at servers and general IT support, but the
6927 foundation also invests a significant amount on architecture designed to
6928 help the site function as effectively as possible.  <span class="quote">« <span class="quote">There is a
6929 constantly evolving system to keep the balance in place to avoid Wikipedia
6930 becoming the world’s biggest graffiti wall,</span> »</span> Luis said. Depending on
6931 how you measure it, somewhere between 90 to 98 percent of edits to Wikipedia
6932 are positive. Some portion of that success is attributable to the tools
6933 Wikimedia has in place to try to incentivize good actors.  <span class="quote">« <span class="quote">The secret
6934 to having any healthy community is bringing back the right people,</span> »</span>
6935 Luis said. <span class="quote">« <span class="quote">Vandals tend to get bored and go away. That is partially
6936 our model working, and partially just human nature.</span> »</span> Most of the
6937 time, people want to do the right thing.
6938     </p><p>
6939       Wikipedia not only relies on good behavior within its community and on its
6940 sites, but also by everyone else once the content leaves Wikipedia. All of
6941 the text of Wikipedia is available under an Attribution-ShareAlike license
6942 (CC BY-SA), which means it can be used for any purpose and modified so long
6943 as credit is given and anything new is shared back with the public under the
6944 same license. In theory, that means anyone can copy the content and start a
6945 new Wikipedia. But as Stephen explained, <span class="quote">« <span class="quote">Being open has only made
6946 Wikipedia bigger and stronger. The desire to protect is not always what is
6947 best for everyone.</span> »</span>
6948     </p><p>
6949       Of course, the primary reason no one has successfully co-opted Wikipedia is
6950 that copycat efforts do not have the Wikipedia community to sustain what
6951 they do. Wikipedia is not simply a source of up-to-the-minute content on
6952 every given topic—it is also a global patchwork of humans working together
6953 in a million different ways, in a million different capacities, for a
6954 million different reasons. While many have tried to guess what makes
6955 Wikipedia work as well it does, the fact is there is no single
6956 explanation. <span class="quote">« <span class="quote">In a movement as large as ours, there is an incredible
6957 diversity of motivations,</span> »</span> Stephen said. For example, there is one
6958 editor of the English Wikipedia edition who has corrected a single
6959 grammatical error in articles more than forty-eight thousand
6960 times.<a href="#ftn.idm2145" class="footnote" name="idm2145"><sup class="footnote">[154]</sup></a> Only a fraction of Wikipedia
6961 users are also editors.  But editing is not the only way to contribute to
6962 Wikipedia.  <span class="quote">« <span class="quote">Some donate text, some donate images, some donate
6963 financially,</span> »</span> Stephen told us. <span class="quote">« <span class="quote">They are all
6964 contributors.</span> »</span>
6965     </p><p>
6966       But the vast majority of us who use Wikipedia are not contributors; we are
6967 passive readers. The Wikimedia Foundation survives primarily on individual
6968 donations, with about $15 as the average. Because Wikipedia is one of the
6969 ten most popular websites in terms of total page views, donations from a
6970 small portion of that audience can translate into a lot of money. In the
6971 2015-16 fiscal year, they received more than $77 million from more than five
6972 million donors.
6973     </p><p>
6974       The foundation has a fund-raising team that works year-round to raise money,
6975 but the bulk of their revenue comes in during the December campaign in
6976 Australia, Canada, Ireland, New Zealand, the United Kingdom, and the United
6977 States. They engage in extensive user testing and research to maximize the
6978 reach of their fund-raising campaigns. Their basic fund-raising message is
6979 simple: We provide our readers and the world immense value, so give
6980 back. Every little bit helps. With enough eyeballs, they are right.
6981     </p><p>
6982       The vision of the Wikimedia Foundation is a world in which every single
6983 human being can freely share in the sum of all knowledge.  They work to
6984 realize this vision by empowering people around the globe to create
6985 educational content made freely available under an open license or in the
6986 public domain. Stephen and Luis said the mission, which is rooted in the
6987 same philosophy behind Creative Commons, drives everything the foundation
6988 does.
6989     </p><p>
6990       The philosophy behind the endeavor also enables the foundation to be
6991 financially sustainable. It instills trust in their readership, which is
6992 critical for a revenue strategy that relies on reader donations. It also
6993 instills trust in their community.
6994     </p><p>
6995       Any given edit on Wikipedia could be motivated by nearly an infinite number
6996 of reasons. But the social mission of the project is what binds the global
6997 community together. <span class="quote">« <span class="quote">Wikipedia is an example of how a mission can
6998 motivate an entire movement,</span> »</span> Stephen told us.
6999     </p><p>
7000       Of course, what results from that movement is one of the Internet’s great
7001 public resources. <span class="quote">« <span class="quote">The Internet has a lot of businesses and stores,
7002 but it is missing the digital equivalent of parks and open public
7003 spaces,</span> »</span> Stephen said.  <span class="quote">« <span class="quote">Wikipedia has found a way to be that
7004 open public space.</span> »</span>
7005     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2145" class="footnote"><p><a href="#idm2145" class="para"><sup class="para">[154] </sup></a><a class="ulink" href="http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/" target="_top">http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/</a></p></div></div></div></div>\chapter*{<title>Bibliography</title>}\addcontentsline{toc}{chapter}{<title>Bibliography</title>}<p>
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7063     City of Bologna. Regulation on Collaboration between Citizens and the City
7064 for the Care and Regeneration of Urban Commons. Translated by LabGov
7065 (LABoratory for the GOVernance of Commons). Bologna, Italy: City of Bologna,
7066 2014).  <a class="ulink" href="http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf" target="_top">http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf</a>.
7067   </p><p>
7068     Cole, Daniel H. <span class="quote">« <span class="quote">Learning from Lin: Lessons and Cautions from the
7069 Natural Commons for the Knowledge Commons.</span> »</span> Chap. 2 in Frischmann,
7070 Madison, and Strandburg, Governing Knowledge Commons.
7071   </p><p>
7072     Creative Commons. 2015 State of the Commons. Mountain View, CA: Creative
7073 Commons, 2015.  <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
7074   </p><p>
7075     Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the Internet
7076 Age. San Francisco: McSweeney’s, 2014.
7077   </p><p>
7078     Eckhardt, Giana, and Fleura Bardhi. <span class="quote">« <span class="quote">The Sharing Economy Isn’t about
7079 Sharing at All.</span> »</span> Harvard Business Review, January 28, 2015.  <a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
7080   </p><p>
7081     Elliott, Patricia W., and Daryl H. Hepting, eds. (2015). Free Knowledge:
7082 Confronting the Commodification of Human Discovery.  Regina, SK: University
7083 of Regina Press, 2015.  <a class="ulink" href="http://uofrpress.ca/publications/Free-Knowledge" target="_top">http://uofrpress.ca/publications/Free-Knowledge</a> (licensed under CC
7084 BY-NC-ND).
7085   </p><p>
7086     Eyal, Nir. Hooked: How to Build Habit-Forming Products. With Ryan
7087 Hoover. New York: Portfolio, 2014.
7088   </p><p>
7089     Farley, Joshua, and Ida Kubiszewski. <span class="quote">« <span class="quote">The Economics of Information in
7090 a Post-Carbon Economy.</span> »</span> Chap. 11 in Elliott and Hepting, Free
7091 Knowledge.
7092   </p><p>
7093     Foster, William Landes, Peter Kim, and Barbara Christiansen.  <span class="quote">« <span class="quote">Ten
7094 Nonprofit Funding Models.</span> »</span> Stanford Social Innovation Review, Spring
7095 2009.  <a class="ulink" href="http://ssir.org/articles/entry/ten_nonprofit_funding_models" target="_top">http://ssir.org/articles/entry/ten_nonprofit_funding_models</a>.
7096   </p><p>
7097     Frischmann, Brett M. Infrastructure: The Social Value of Shared
7098 Resources. New York: Oxford University Press, 2012.
7099   </p><p>
7100     Frischmann, Brett M., Michael J. Madison, and Katherine J.  Strandburg,
7101 eds. Governing Knowledge Commons. New York: Oxford University Press, 2014.
7102   </p><p>
7103     Frischmann, Brett M., Michael J. Madison, and Katherine J.
7104 Strandburg. <span class="quote">« <span class="quote">Governing Knowledge Commons.</span> »</span> Chap. 1 in
7105 Frischmann, Madison, and Strandburg, Governing Knowledge Commons.
7106   </p><p>
7107     Gansky, Lisa. The Mesh: Why the Future of Business Is Sharing.  Reprint with
7108 new epilogue. New York: Portfolio, 2012.
7109   </p><p>
7110     Grant, Adam. Give and Take: Why Helping Others Drives Our Success.  New
7111 York: Viking, 2013.
7112   </p><p>
7113     Haiven, Max. Crises of Imagination, Crises of Power: Capitalism, Creativity
7114 and the Commons. New York: Zed Books, 2014.
7115   </p><p>
7116     Harris, Malcom, ed. Share or Die: Voices of the Get Lost Generation in the
7117 Age of Crisis. With Neal Gorenflo. Gabriola Island, BC: New Society, 2012.
7118   </p><p>
7119     Hermida, Alfred. Tell Everyone: Why We Share and Why It Matters.  Toronto:
7120 Doubleday Canada, 2014.
7121   </p><p>
7122     Hyde, Lewis. Common as Air: Revolution, Art, and Ownership. New York:
7123 Farrar, Straus and Giroux, 2010.
7124   </p><p>
7125     ———. The Gift: Creativity and the Artist in the Modern World. 2nd Vintage
7126 Books edition. New York: Vintage Books, 2007.
7127   </p><p>
7128     Kelley, Tom, and David Kelley. Creative Confidence: Unleashing the Potential
7129 within Us All. New York: Crown, 2013.
7130   </p><p>
7131     Kelly, Marjorie. Owning Our Future: The Emerging Ownership Revolution;
7132 Journeys to a Generative Economy. San Francisco: Berrett-Koehler, 2012.
7133   </p><p>
7134     Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and Get
7135 Discovered. New York: Workman, 2014.
7136   </p><p>
7137     ———. Steal Like an Artist: 10 Things Nobody Told You about Being
7138 Creative. New York: Workman, 2012.
7139   </p><p>
7140     Kramer, Bryan. Shareology: How Sharing Is Powering the Human Economy. New
7141 York: Morgan James, 2016.
7142   </p><p>
7143     Lee, David. <span class="quote">« <span class="quote">Inside Medium: An Attempt to Bring Civility to the
7144 Internet.</span> »</span> BBC News, March 3, 2016.  <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>
7145   </p><p>
7146     Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid
7147 Economy. New York: Penguin Press, 2008.
7148   </p><p>
7149     Menzies, Heather. Reclaiming the Commons for the Common Good: A Memoir and
7150 Manifesto. Gabriola Island, BC: New Society, 2014.
7151   </p><p>
7152     Mason, Paul. Postcapitalism: A Guide to Our Future. New York: Farrar, Straus
7153 and Giroux, 2015.
7154   </p><p>
7155     New York Times Customer Insight Group. The Psychology of Sharing: Why Do
7156 People Share Online? New York: New York Times Customer Insight Group, 2011.
7157 <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
7158   </p><p>
7159     Osterwalder, Alex, and Yves Pigneur. Business Model Generation.  Hoboken,
7160 NJ: John Wiley and Sons, 2010. A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
7161   </p><p>
7162     Osterwalder, Alex, Yves Pigneur, Greg Bernarda, and Adam Smith.  Value
7163 Proposition Design. Hoboken, NJ: John Wiley and Sons, 2014. A preview of the
7164 book is available at <a class="ulink" href="http://strategyzer.com/books/value-proposition-design" target="_top">http://strategyzer.com/books/value-proposition-design</a>.
7165   </p><p>
7166     Palmer, Amanda. The Art of Asking: Or How I Learned to Stop Worrying and Let
7167 People Help. New York: Grand Central, 2014.
7168   </p><p>
7169     Pekel, Joris. Democratising the Rijksmuseum: Why Did the Rijksmuseum Make
7170 Available Their Highest Quality Material without Restrictions, and What Are
7171 the Results? The Hague, Netherlands: Europeana Foundation, 2014.  <a class="ulink" href="http://pro.europeana.eu/publication/democratising-the-rijksmuseum" target="_top">http://pro.europeana.eu/publication/democratising-the-rijksmuseum</a>
7172 (licensed under CC BY-SA).
7173   </p><p>
7174     Ramos, José Maria, ed. The City as Commons: A Policy Reader.  Melbourne,
7175 Australia: Commons Transition Coalition, 2016.  <a class="ulink" href="http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader" target="_top">http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader</a>
7176 (licensed under CC BY-NC-ND).
7177   </p><p>
7178     Raymond, Eric S. The Cathedral and the Bazaar: Musings on Linux and Open
7179 Source by an Accidental Revolutionary. Rev. ed. Sebastopol, CA: O’Reilly
7180 Media, 2001. See esp. <span class="quote">« <span class="quote">The Magic Cauldron.</span> »</span> <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
7181   </p><p>
7182     Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous
7183 Innovation to Create Radically Successful Businesses. New York: Crown
7184 Business, 2011.
7185   </p><p>
7186     Rifkin, Jeremy. The Zero Marginal Cost Society: The Internet of Things, the
7187 Collaborative Commons, and the Eclipse of Capitalism.  New York: Palgrave
7188 Macmillan, 2014.
7189   </p><p>
7190     Rowe, Jonathan. Our Common Wealth. San Francisco: Berrett-Koehler, 2013.
7191   </p><p>
7192     Rushkoff, Douglas. Throwing Rocks at the Google Bus: How Growth Became the
7193 Enemy of Prosperity. New York: Portfolio, 2016.
7194   </p><p>
7195     Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets. New
7196 York: Farrar, Straus and Giroux, 2012.
7197   </p><p>
7198     Shirky, Clay. Cognitive Surplus: How Technology Makes Consumers into
7199 Collaborators. London, England: Penguin Books, 2010.
7200   </p><p>
7201     Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York: OR
7202 Books, 2015.
7203   </p><p>
7204     Stephany, Alex. The Business of Sharing: Making in the New Sharing
7205 Economy. New York: Palgrave Macmillan, 2015.
7206   </p><p>
7207     Stepper, John. Working Out Loud: For a Better Career and Life. New York:
7208 Ikigai Press, 2015.
7209   </p><p>
7210     Sull, Donald, and Kathleen M. Eisenhardt. Simple Rules: How to Thrive in a
7211 Complex World. Boston: Houghton Mifflin Harcourt, 2015.
7212   </p><p>
7213     Sundararajan, Arun. The Sharing Economy: The End of Employment and the Rise
7214 of Crowd-Based Capitalism. Cambridge, MA: MIT Press, 2016.
7215   </p><p>
7216     Surowiecki, James. The Wisdom of Crowds. New York: Anchor Books, 2005.
7217   </p><p>
7218     Tapscott, Don, and Alex Tapscott. Blockchain Revolution: How the Technology
7219 Behind Bitcoin Is Changing Money, Business, and the World. Toronto:
7220 Portfolio, 2016.
7221   </p><p>
7222     Tharp, Twyla. The Creative Habit: Learn It and Use It for Life. With Mark
7223 Reiter. New York: Simon and Schuster, 2006.
7224   </p><p>
7225     Tkacz, Nathaniel. Wikipedia and the Politics of Openness. Chicago:
7226 University of Chicago Press, 2015.
7227   </p><p>
7228     Van Abel, Bass, Lucas Evers, Roel Klaassen, and Peter Troxler, eds.  Open
7229 Design Now: Why Design Cannot Remain Exclusive. Amsterdam: BIS Publishers,
7230 with Creative Commons Netherlands; Premsela, the Netherlands Institute for
7231 Design and Fashion; and the Waag Society, 2011. <a class="ulink" href="http://opendesignnow.org" target="_top">http://opendesignnow.org</a> (licensed under CC BY-NC-SA).
7232   </p><p>
7233     Van den Hoff, Ronald. Mastering the Global Transition on Our Way to Society
7234 3.0. Utrecht, the Netherlands: Society 3.0 Foundation, 2014.  <a class="ulink" href="http://society30.com/get-the-book/" target="_top">http://society30.com/get-the-book/</a> (licensed under CC BY-NC-ND).
7235   </p><p>
7236     Von Hippel, Eric. Democratizing Innovation. London: MIT Press, 2005.  <a class="ulink" href="http://web.mit.edu/evhippel/www/democ1.htm" target="_top">http://web.mit.edu/evhippel/www/democ1.htm</a> (licensed under CC
7237 BY-NC-ND).
7238   </p><p>
7239     Whitehurst, Jim. The Open Organization: Igniting Passion and
7240 Performance. Boston: Harvard Business Review Press, 2015.
7241   </p>\chapter*{<title>Remerciements</title>}\addcontentsline{toc}{chapter}{<title>Remerciements</title>}<p>
7242     We extend special thanks to Creative Commons CEO Ryan Merkley, the Creative
7243 Commons Board, and all of our Creative Commons colleagues for
7244 enthusiastically supporting our work. Special gratitude to the William and
7245 Flora Hewlett Foundation for the initial seed funding that got us started on
7246 this project.
7247   </p><p>
7248     Huge appreciation to all the Made with Creative Commons interviewees for
7249 sharing their stories with us. You make the commons come alive.  Thanks for
7250 the inspiration.
7251   </p><p>
7252     We interviewed more than the twenty-four organizations profiled in this
7253 book. We extend special thanks to Gooru, OERu, Sage Bionetworks, and Medium
7254 for sharing their stories with us. While not featured as case studies in
7255 this book, you all are equally interesting, and we encourage our readers to
7256 visit your sites and explore your work.
7257   </p><p>
7258     Ce livre a été rendu possible par les généreux 1 687 soutiens de Kickstarter
7259 énumérés ci-dessous. Nous remercions tout particulièrement nos nombreux
7260 co-rédacteurs de Kickstarter qui ont lu les premières ébauches de notre
7261 travail et nous ont fait part de leurs précieux commentaires. Nous vous
7262 remercions tous sincèrement.
7263   </p><p>
7264     Co-editor Kickstarter backers (alphabetically by first name): Abraham
7265 Taherivand, Alan Graham, Alfredo Louro, Anatoly Volynets, Aurora Thornton,
7266 Austin Tolentino, Ben Sheridan, Benedikt Foit, Benjamin Costantini, Bernd
7267 Nurnberger, Bernhard Seefeld, Bethanye Blount, Bradford Benn, Bryan Mock,
7268 Carmen Garcia Wiedenhoeft, Carolyn Hinchliff, Casey Milford, Cat Cooper,
7269 Chip McIntosh, Chris Thorne, Chris Weber, Chutika Udomsinn, Claire Wardle,
7270 Claudia Cristiani, Cody Allard, Colleen Cressman, Craig Thomler, Creative
7271 Commons Uruguay, Curt McNamara, Dan Parson, Daniel Dominguez, Daniel Morado,
7272 Darius Irvin, Dave Taillefer, David Lewis, David Mikula, David Varnes, David
7273 Wiley, Deborah Nas, Diderik van Wingerden, Dirk Kiefer, Dom Lane, Domi
7274 Enders, Douglas Van Houweling, Dylan Field, Einar Joergensen, Elad Wieder,
7275 Elie Calhoun, Erika Reid, Evtim Papushev, Fauxton Software, Felix
7276 Maximiliano Obes, Ferdies Food Lab, Gatien de Broucker, Gaurav Kapil, Gavin
7277 Romig-Koch, George Baier IV, George De Bruin, Gianpaolo Rando, Glenn Otis
7278 Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan,
7279 Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie
7280 Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M
7281 Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
7282 Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
7283 Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
7284 Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
7285 Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie
7286 Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen,
7287 Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos
7288 Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi
7289 Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley,
7290 MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black,
7291 Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
7292 Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike
7293 Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall
7294 McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman,
7295 Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
7296 Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny
7297 Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv
7298 Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones,
7299 Robert Thompson, Ronald van den Hoff, Rusi Popov, Ryan Merkley, S Searle,
7300 Salomon Riedo, Samuel A. Rebelsky, Samuel Tait, Sarah McGovern, Scott
7301 Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio,
7302 Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun,
7303 Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent,
7304 Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
7305 Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh,
7306 William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque,
7307 Yancey Strickler
7308   </p><p>
7309     Tous les soutiens sur Kickstarter (alphabétiquement par prénom) : A.  Lee,
7310 Aaron C. Rathbun, Aaron Stubbs, Aaron Suggs, Abdul Razak Manaf, Abraham
7311 Taherivand, Adam Croom, Adam Finer, Adam Hansen, Adam Morris, Adam Procter,
7312 Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam Zimmerman,
7313 Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain
7314 Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert
7315 O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
7316 Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown,
7317 Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar,
7318 Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre
7319 Rafalovitch, Alexey Volkow, Alexi Wheeler, Alexis Sevault, Alfredo Louro,
7320 Ali Sternburg, Alicia Gibb &amp; Lunchbox Electronics, Alison Link, Alison
7321 Pentecost, Alistair Boettiger, Alistair Walder, Alix Bernier, Allan
7322 Callaghan, Allen Riddell, Allison Breland Crotwell, Allison Jane Smith,
7323 Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
7324 Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
7325 Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
7326 Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas
7327 Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew
7328 Hearse, Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew
7329 Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve, Andy
7330 Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan, Anne-Marie Scott,
7331 Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton
7332 Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
7333 publishing, April Johnson, Aria F.  Chernik, Ariane Allan, Ariel Katz,
7334 Arithmomaniac, Arnaud Tessier, Arnim Sommer, Ashima Bawa, Ashley Elsdon,
7335 Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin
7336 Hartzheim, Austin Tolentino, Avner Shanan, Axel Pettersson, Axel
7337 Stieglbauer, Ay Okpokam, Barb Bartkowiak, Barbara Lindsey, Barry Dayton,
7338 Bastian Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben
7339 Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini,
7340 Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
7341 Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth
7342 Tillinghast, Bethanye Blount, Bill Bonwitt, Bill Browne, Bill Keaggy, Bill
7343 Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker,
7344 Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
7345 Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak,
7346 Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden Hassett, Bradford
7347 Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
7348 Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
7349 Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian
7350 S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke
7351 Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin, Bryan
7352 Mock, Bryant Durrell, Bryce Barbato, Buzz Technology Limited, Byung-Geun
7353 Jeon, C. Glen Williams, C. L. Couch, Cable Green, Callum Gare, Cameron
7354 Callahan, Cameron Colby Thomson, Cameron Mulder, Camille Bissuel / Nylnook,
7355 Candace Robertson, Carl Morris, Carl Perry, Carl Rigney, Carles Mateu,
7356 Carlos Correa Loyola, Carlos Solis, Carmen Garcia Wiedenhoeft, Carol Long,
7357 Carol marquardsen, Caroline Calomme, Caroline Mailloux, Carolyn Hinchliff,
7358 Carolyn Rude, Carrie Cousins, Carrie Watkins, Casey Hunt, Casey Milford,
7359 Casey Powell Shorthouse, Cat Cooper, Cecilie Maria, Cedric Howe, Cefn Hoile,
7360 @ShrimpingIt, Celia Muller, Ces Keller, Chad Anderson, Charles Butler,
7361 Charles Carstensen, Charles Chi Thoi Le, Charles Kobbe, Charles S. Tritt,
7362 Charles Stanhope, Charlotte Ong-Wisener, Chealsye Bowley, Chelle Destefano,
7363 Chenpang Chou, Cheryl Corte, Cheryl Todd, Chip Dickerson, Chip McIntosh,
7364 Chris Bannister, Chris Betcher, Chris Coleman, Chris Conway, Chris Foote
7365 (Spike), Chris Hurst, Chris Mitchell, Chris Muscat Azzopardi, Chris
7366 Niewiarowski, Chris Opperwall, Chris Stieha, Chris Thorne, Chris Weber,
7367 Chris Woolfrey, Chris Zabriskie, Christi Reid, Christian Holzberger,
7368 Christian Schubert, Christian Sheehy, Christian Thibault, Christian Villum,
7369 Christian Wachter, Christina Bennett, Christine Henry, Christine Rico,
7370 Christopher Burrows, Christopher Chan, Christopher Clay, Christopher Harris,
7371 Christopher Opiah, Christopher Swenson, Christos Keramitsis, Chuck Roslof,
7372 Chutika Udomsinn, Claire Wardle, Clare Forrest, Claudia Cristiani, Claudio
7373 Gallo, Claudio Ruiz, Clayton Dewey, Clement Delort, Cliff Church, Clint
7374 Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
7375 Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
7376 Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
7377 Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney,
7378 Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini,
7379 Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei,
7380 Dagmar M. Meyer, Dan Mcalister, Dan Mohr, Dan Parson, Dana Freeman, Dana
7381 Ospina, Dani Leviss, Daniel Bustamante, Daniel Demmel, Daniel Dominguez,
7382 Daniel Dultz, Daniel Gallant, Daniel Kossmann, Daniel Kruse, Daniel Morado,
7383 Daniel Morgan, Daniel Pimley, Daniel Sabo, Daniel Sobey, Daniel Stein,
7384 Daniel Wildt, Daniele Prati, Danielle Moss, Danny Mendoza, Dario
7385 Taraborelli, Darius Irvin, Darius Whelan, Darla Anderson, Dasha Brezinova,
7386 Dave Ainscough, Dave Bull, Dave Crosby, Dave Eagle, Dave Moskovitz, Dave
7387 Neeteson, Dave Taillefer, Dave Witzel, David Bailey, David Cheung, David
7388 Eriksson, David Gallagher, David H. Bronke, David Hartley, David Hellam,
7389 David Hood, David Hunter, David jlaietta, David Lewis, David Mason, David
7390 Mcconville, David Mikula, David Nelson, David Orban, David Parry, David
7391 Spira, David T.  Kindler, David Varnes, David Wiley, David Wormley, Deborah
7392 Nas, Denis Jean, dennis straub, Dennis Whittle, Denver Gingerich, Derek
7393 Slater, Devon Cooke, Diana Pasek-Atkinson, Diane Johnston Graves, Diane
7394 K. Kovacs, Diane Trout, Diderik van Wingerden, Diego Cuevas, Diego De La
7395 Cruz, Dimitrie Grigorescu, Dina Marie Rodriguez, Dinah Fabela, Dirk Haun,
7396 Dirk Kiefer, Dirk Loop, DJ Fusion - FuseBox Radio Broadcast, Dom jurkewitz,
7397 Dom Lane, Domi Enders, Domingo Gallardo, Dominic de Haas, Dominique
7398 Karadjian, Dongpo Deng, Donnovan Knight, Door de Flines, Doug Fitzpatrick,
7399 Doug Hoover, Douglas Craver, Douglas Van Camp, Douglas Van Houweling,
7400 Dr. Braddlee, Drew Spencer, Duncan Sample, Durand D’souza, Dylan Field, E C
7401 Humphries, Eamon Caddigan, Earleen Smith, Eden Sarid, Eden Spodek, Eduardo
7402 Belinchon, Eduardo Castro, Edwin Vandam, Einar Joergensen, Ejnar Brendsdal,
7403 Elad Wieder, Elar Haljas, Elena Valhalla, Eli Doran, Elias Bouchi, Elie
7404 Calhoun, Elizabeth Holloway, Ellen Buecher, Ellen Kaye- Cheveldayoff, Elli
7405 Verhulst, Elroy Fernandes, Emery Hurst Mikel, Emily Catedral, Enrique
7406 Mandujano R., Eric Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric
7407 Hellman, Eric Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard,
7408 Erika Reid, Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan
7409 Bousse, Erwin Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan
7410 Tangman, Evonne Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton
7411 Software, Felix Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix
7412 Schmidt, Felix Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe
7413 Rodrigues, Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer,
7414 Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
7415 Games, Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois
7416 Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
7417 Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
7418 Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
7419 Gary Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de
7420 Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George
7421 Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman,
7422 Geronimo de la Lama, Gianpaolo Rando, Gil Stendig, Gino Cingolani Trucco,
7423 Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives
7424 Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman,
7425 Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg
7426 Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
7427 Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho
7428 Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
7429 Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de
7430 Raad, Hans Vd Horst, Harold van Ingen, Harold Watson, Harry Chapman, Harry
7431 Kaczka, Harry Torque, Hayden Glass, Hayley Rosenblum, Heather Leson, Helen
7432 Crisp, Helen Michaud, Helen Qubain, Helle Rekdal Schønemann, Henrique Flach
7433 Latorre Moreno, Henry Finn, Henry Kaiser, Henry Lahore, Henry Steingieser,
7434 Hermann Paar, Hillary Miller, Hironori Kuriaki, Holly Dykes, Holly Lyne,
7435 Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
7436 Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider,
7437 Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah
7438 Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek
7439 Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
7440 Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach,
7441 James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James
7442 Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol,
7443 Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park,
7444 Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason
7445 E. Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy
7446 Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
7447 Jean-Philippe Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff
7448 De Cagna, Jeff Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff
7449 Rasalla, Jeff Ski Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen
7450 Garcia, Jens Erat, Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell,
7451 Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
7452 Jessica Dickinson Goodman, Jessica Litman, Jessica Mackay, Jessy Kate
7453 Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
7454 O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
7455 Allum, Joachim Brandon LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim
7456 Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
7457 Sandfort, Joe Cardillo, Joe Carpita, Joe Moross, Joerg Fricke, Johan Adda,
7458 Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
7459 Bevan, John C Patterson, John Crumrine, John Dimatos, John Feyler, John
7460 Huntsman, John Manoogian III, John Muller, John Ober, John Paul Blodgett,
7461 John Pearce, John Shale, John Sharp, John Simpson, John Sumser, John Weeks,
7462 John Wilbanks, John Worland, Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon
7463 Andersen, Jon Cohrs, Jon Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith,
7464 Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
7465 Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
7466 Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
7467 Sullivan, Joseph Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP
7468 Rangaswami, Juan Carlos Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo
7469 Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
7470 Julia Devonshire, Julian Fietkau, Julie Harboe, Julien Brossoit, Julien
7471 Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
7472 Grimes, Justin Jones, Justin Szlasa, Justin Walsh, JustinChung.com, K. J.
7473 Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
7474 Kara Monroe, Karen Pe, Karl Jahn, Karl Jonsson, Karl Nelson, Kasia
7475 Zygmuntowicz, Kat Lim, Kate Chapman, Kate Stewart, Kathleen Beck, Kathleen
7476 Hanrahan, Kathryn Abuzzahab, Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie
7477 Lynn Daniels, Katie Meek, Katie Teague, Katrina Hennessy, Katriona Main,
7478 Kavan Antani, Keith Adams, Keith Berndtson, MD, Keith Luebke, Kellie
7479 Higginbottom, Ken Friis Larsen, Ken Haase, Ken Torbeck, Kendel Ratley,
7480 Kendra Byrne, Kerry Hicks, Kevin Brown, Kevin Coates, Kevin Flynn, Kevin
7481 Rumon, Kevin Shannon, Kevin Taylor, Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane
7482 l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
7483 Rennert, Kris Kasianovitz, Kristian Lundquist, Kristin Buxton, Kristina
7484 Popova, Kristofer Bratt, Kristoffer Steen, Kumar McMillan, Kurt Whittemore,
7485 Kyle Pinches, Kyle Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry
7486 Garfield, Larry Singer, Lars Josephsen, Lars Klaeboe, Laura Anne Brown,
7487 Laura Billings, Laura Ferejohn, Lauren Pedersen, Laurence Gonsalves, Laurent
7488 Muchacho, Laurie Racine, Laurie Reynolds, Lawrence M. Schoen, Leandro
7489 Pangilinan, Leigh Verlandson, Lenka Gondolova, Leonardo Bueno Postacchini,
7490 leonardo menegola, Lesley Mitchell, Leslie Krumholz, Leticia Britos
7491 Cavagnaro, Levi Bostian, Leyla Acaroglu, Liisa Ummelas, Lilly Kashmir
7492 Marques, Lior Mazliah, Lisa Bjerke, Lisa Brewster, Lisa Canning, Lisa
7493 Cronin, Lisa Di Valentino, Lisandro Gaertner, Livia Leskovec, Liynn
7494 Worldlaw, Liz Berg, Liz White, Logan Cox, Loki Carbis, Lora Lynn, Lorna
7495 Prescott, Lou Yufan, Louie Amphlett, Louis-David Benyayer, Louise Denman,
7496 Luca Corsato, Luca Lesinigo, Luca Palli, Luca Pianigiani, Luca S.G. de
7497 Marinis, Lucas Lopez, Lukas Mathis, Luke Chamberlin, Luke Chesser, Luke
7498 Woodbury, Lulu Tang, Lydia Pintscher, M Alexander Jurkat, Maarten Sander,
7499 Macie J Klosowski, Magnus Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh,
7500 Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
7501 Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich, Marc Harpster, Marc
7502 Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
7503 Leeuwe, Marcel Hill, Marcia Hofmann, Marcin Olender, Marco Massarotto, Marco
7504 Montanari, Marco Morales, Marcos Medionegro, Marcus Bitzl, Marcus Norrgren,
7505 Margaret Gary, Mari Moreshead, Maria Liberman, Marielle Hsu, Marino
7506 Hernandez, Mario Lurig, Mario R. Hemsley, MD, Marissa Demers, Mark Chandler,
7507 Mark Cohen, Mark De Solla Price, Mark Gabby, Mark Gray, Mark Koudritsky,
7508 Mark Kupfer, Mark Lednor, Mark McGuire, Mark Moleda, Mark Mullen, Mark
7509 Murphy, Mark Perot, Mark Reeder, Mark Spickett, Mark Vincent Adams, Mark
7510 Waks, Mark Zuccarell II, Markus Deimann, Markus Jaritz, Markus Luethi,
7511 Marshal Miller, Marshall Warner, Martijn Arets, Martin Beaudoin, Martin
7512 Decky, Martin DeMello, Martin Humpolec, Martin Mayr, Martin Peck, Martin
7513 Sanchez, Martino Loco, Martti Remmelgas, Martyn Eggleton, Martyn Lewis, Mary
7514 Ellen Davis, Mary Heacock, Mary Hess, Mary Mi, Masahiro Takagi, Mason Du,
7515 Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
7516 Kruk, Matija Nalis, Matt Alcock, Matt Black, Matt Broach, Matt Hall, Matt
7517 Haughey, Matt Lee, Matt Plec, Matt Skoss, Matt Thompson, Matt Vance, Matt
7518 Wagstaff, Matteo Cocco, Matthew Bendert, Matthew Bergholt, Matthew Darlison,
7519 Matthew Epler, Matthew Hawken, Matthew Heimbecker, Matthew Orstad, Matthew
7520 Peterworth, Matthew Sheehy, Matthew Tucker, Adaptive Handy Apps, LLC,
7521 Mattias Axell, Max Green, Max Kossatz, Max lupo, Max Temkin, Max van
7522 Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
7523 Finlayson, Melissa Aho, Melissa Sterry, Melle Funambuline, Menachem
7524 Goldstein, Micah Bridges, Michael Ailberto, Michael Anderson, Michael
7525 Andersson Skane, Michael C. Stewart, Michael Carroll, Michael Cavette,
7526 Michael Crees, Michael David Johas Teener, Michael Dennis Moore, Michael
7527 Freundt Karlsen, Michael Harries, Michael Hawel, Michael Lewis, Michael May,
7528 Michael Murphy, Michael Murvine, Michael Perkins, Michael Sauers, Michael
7529 St.Onge, Michael Stanford, Michael Stanley, Michael Underwood, Michael
7530 Weiss, Michael Wright, Michael-Andreas Kuttner, Michaela Voigt, Michal
7531 Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
7532 You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike Chelen, Mike Habicher,
7533 Mike Maloney, Mike Masnick, Mike McDaniel, Mike Pouraryan, Mike Sheldon,
7534 Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
7535 Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko
7536 <span class="quote">« <span class="quote">Macro</span> »</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
7537 Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, Moritz
7538 Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
7539 Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, Nah Wee Yang,
7540 Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey, Nathan Miller,
7541 Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele Wollert,
7542 Neuchee Chang, Niall McDonagh, Niall Twohig, Nic McPhee, Nicholas Bentley,
7543 Nicholas Koran, Nicholas Norfolk, Nicholas Potter, Nick Bell, Nick Coghlan,
7544 Nick Isaacs, Nick M. Daly, Nick Vance, Nickolay Vedernikov, Nicky
7545 Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole Hickman, Niek
7546 Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola Chernev,
7547 Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-Fein, Noah
7548 Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
7549 Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle Ahnve, Omar
7550 Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
7551 Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
7552 Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat
7553 Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf,
7554 Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, Patrick
7555 McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik
7556 Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey,
7557 Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul
7558 Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
7559 Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
7560 Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
7561 Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter
7562 O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
7563 Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip
7564 Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer,
7565 Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels,
7566 Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill,
7567 Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer,
7568 Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani,
7569 Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
7570 Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
7571 Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich
7572 McCue, Richard <span class="quote">« <span class="quote">TalkToMeGuy</span> »</span> Olson, Richard Best, Richard
7573 Blumberg, Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly,
7574 Richard Littauer, Richard Sobey, Richard White, Richard Winchell, Rik
7575 ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley,
7576 Rob Bertholf, Rob Emanuele, Rob McAuliffe, Rob McKaughan, Rob Tillie, Rob
7577 Utter, Rob Vincent, Robert Gaffney, Robert Jones, Robert Kelly, Robert
7578 Lawlis, Robert McDonald, Robert Orzanna, Robert Paterson Hunter, Robert
7579 R. Daniel Jr., Robert Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto
7580 Selvaggio, Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon,
7581 Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
7582 Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald
7583 Bissell, Ronald van den Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay,
7584 Ross Pruden, Ross Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert
7585 Hitzenberger, Rusi Popov, Russ Antonucci, Russ Spollin, Russell Brand, Rute
7586 Correia, Ruth Ann Carpenter, Ruth White, Ryan Mentock, Ryan Merkley, Ryan
7587 Price, Ryan Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin
7588 Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin,
7589 Samantha-Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel
7590 A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
7591 Cersosimo, Samuel Tait, Sandra Fauconnier, Sandra Markus, Sandy Bjar, Sandy
7592 ONeil, Sang-Phil Ju, Sanjay Basu, Santiago Garcia, Sara Armstrong, Sara
7593 Lucca, Sara Rodriguez Marin, Sarah Brand, Sarah Cove, Sarah Curran, Sarah
7594 Gold, Sarah McGovern, Sarah Smith, Sarinee Achavanuntakul, Sasha Moss, Sasha
7595 VanHoven, Saul Gasca, Scott Abbott, Scott Akerman, Scott Beattie, Scott
7596 Bruinooge, Scott Conroy, Scott Gillespie, Scott Williams, Sean Anderson,
7597 Sean Johnson, Sean Lim, Sean Wickett, Seb Schmoller, Sebastiaan Bekker,
7598 Sebastiaan ter Burg, Sebastian Makowiecki, Sebastian Meyer, Sebastian
7599 Schweizer, Sebastian Sigloch, Sebastien Huchet, Seokwon Yang, Sergey
7600 Chernyshev, Sergey Storchay, Sergio Cardoso, Seth Drebitko, Seth Gover, Seth
7601 Lepore, Shannon Turner, Sharon Clapp, Shauna Redmond, Shawn Gaston, Shawn
7602 Martin, Shay Knohl, Shelby Hatfield, Sheldon (Vila) Widuch, Sheona Thomson,
7603 Si Jie, Sicco van Sas, Siena Oristaglio, Simon Glover, Simon John King,
7604 Simon Klose, Simon Law, Simon Linder, Simon Moffitt, Solomon Kahn, Solomon
7605 Simon, Soujanna Sarkar, Stanislav Trifonov, Stefan Dumont, Stefan Jansson,
7606 Stefan Langer, Stefan Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan
7607 Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
7608 Stephen Pearce, Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson,
7609 Steve Battle, Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve
7610 Ingram, Steve Kroy, Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven
7611 Knudsen, Steven Melvin, Stig-Jørund B. Ö.  Arnesen, Stuart Drewer, Stuart
7612 Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
7613 Susan R Grossman, Suzie Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle,
7614 Sylvain Chery, Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz,
7615 T. L. Mason, Tanbir Baeg, Tanya Hart, Tara Tiger Brown, Tara Westover, Tarmo
7616 Toikkanen, Tasha Turner Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan,
7617 Teresa Gonczy, Terry Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo,
7618 Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
7619 Chang, Thomas Hartman, Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds,
7620 Thomas Thrush, Thomas Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim
7621 Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
7622 Timothy Arfsten, Timothy Hinchliff, Timothy Vollmer, Tina Coffman, Tisza
7623 Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
7624 Bamford, Tom Caswell, Tom Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom
7625 Merkli, Tom Merritt, Tom Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti,
7626 Tommy Dahlen, Tony Ciak, Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin,
7627 Tracey Henton, Tracey James, Traci Long DeForge, Trent Yarwood, Trevor
7628 Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
7629 Tyler Occhiogrosso, Udo Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum,
7630 Vaughan jenkins, Veethika Mishra, Vic King, Vickie Goode, Victor DePina,
7631 Victor Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture, Vikas
7632 Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
7633 Gentilini, Virginia Kopelman, Vitor Menezes, Vivian Marthell, Wayne
7634 Mackintosh, Wendy Keenan, Werner Wiethege, Wesley Derbyshire, Widar Hellwig,
7635 Willa Köerner, William Bettridge-Radford, William Jefferson, William
7636 Marshall, William Peter Nash, William Ray, William Robins, Willow Rosenberg,
7637 Winie Evers, Wolfgang Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier
7638 Moisant, Xueqi Li, Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian
7639 Sun, Yves Deruisseau, Zach Chandler, Zak Zebrowski, Zane Amiralis and Joshua
7640 de Haan, ZeMarmot Open Movie
7641   </p></div></body></html>