public/MadewithCreativeCommonsmostup-to-dateversion.html

   1 <html><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8"><title>Made with 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="en" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Made with 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     This book is published under a CC BY-SA license, which means that
   3     you can copy, redistribute, remix, transform, and build upon the
   4     content for any purpose, even commercially, as long as you give
   5     appropriate credit, provide a link to the license, and indicate if
   6     changes were made. If you remix, transform, or build upon the
   7     material, you must distribute your contributions under the same
   8     license as the original. License details:
   9     <a class="ulink" href="http://creativecommons.org/licenses/by-sa/4.0/" target="_top">http://creativecommons.org/licenses/by-sa/4.0/</a>
  10   </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>I don’t know a whole lot about nonfiction journalism. . . The
  11     way that I think about these things, and in terms of what I can do
  12     is. . . essays like this are occasions to watch somebody reasonably
  13     bright but also reasonably average pay far closer attention and
  14     think at far more length about all sorts of different stuff than
  15     most of us have a chance to in our daily lives.</p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
  16     \textit{  David Foster Wallace }
  17     \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Table of Contents</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Foreword</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. Acknowledgments</a></span></dt></dl></div><div class="list-of-figures"><p><b>List of Figures</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and
  18         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
  19           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
  20         today.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Foreword</h1></div></div></div><p>
  21     Three years ago, just after I was hired as CEO of Creative Commons,
  22     I met with Cory Doctorow in the hotel bar of Toronto’s Gladstone
  23     Hotel. As one of CC’s most well-known proponents—one who has also
  24     had a successful career as a writer who shares his work using CC—I
  25     told him I thought CC had a role in defining and advancing open
  26     business models. He kindly disagreed, and called the pursuit of
  27     viable business models through CC <span class="quote">“<span class="quote">a red herring.</span>”</span>
  28   </p><p>
  29     He was, in a way, completely correct—those who make things with
  30     Creative Commons have ulterior motives, as Paul Stacey explains in
  31     this book: <span class="quote">“<span class="quote">Regardless of legal status, they all have a social
  32     mission. Their primary reason for being is to make the world a
  33     better place, not to profit. Money is a means to a social end, not
  34     the end itself.</span>”</span>
  35   </p><p>
  36     In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites
  37     Cory’s words from his book Information Doesn’t Want to Be Free:
  38     <span class="quote">“<span class="quote">Entering the arts because you want to get rich is like buying
  39     lottery tickets because you want to get rich. It might work, but it
  40     almost certainly won’t. Though, of course, someone always wins the
  41     lottery.</span>”</span>
  42   </p><p>
  43     Today, copyright is like a lottery ticket—everyone has one, and
  44     almost nobody wins. What they don’t tell you is that if you choose
  45     to share your work, the returns can be significant and long-lasting.
  46     This book is filled with stories of those who take much greater
  47     risks than the two dollars we pay for a lottery ticket, and instead
  48     reap the rewards that come from pursuing their passions and living
  49     their values.
  50   </p><p>
  51     So it’s not about the money. Also: it is. Finding the means to
  52     continue to create and share often requires some amount of income.
  53     Max Temkin of Cards Against Humanity says it best in their case
  54     study: <span class="quote">“<span class="quote">We don’t make jokes and games to make money—we make
  55     money so we can make more jokes and games.</span>”</span>
  56   </p><p>
  57     Creative Commons’ focus is on building a vibrant, usable commons,
  58     powered by collaboration and gratitude. Enabling communities of
  59     collaboration is at the heart of our strategy. With that in mind,
  60     Creative Commons began this book project. Led by Paul and Sarah, the
  61     project set out to define and advance the best open business models.
  62     Paul and Sarah were the ideal authors to write Made with Creative
  63     Commons.
  64   </p><p>
  65     Paul dreams of a future where new models of creativity and
  66     innovation overpower the inequality and scarcity that today define
  67     the worst parts of capitalism. He is driven by the power of human
  68     connections between communities of creators. He takes a longer view
  69     than most, and it’s made him a better educator, an insightful
  70     researcher, and also a skilled gardener. He has a calm, cool voice
  71     that conveys a passion that inspires his colleagues and community.
  72   </p><p>
  73     Sarah is the best kind of lawyer—a true advocate who believes in the
  74     good of people, and the power of collective acts to change the
  75     world. Over the past year I’ve seen Sarah struggle with the
  76     heartbreak that comes from investing so much into a political
  77     campaign that didn’t end as she’d hoped. Today, she’s more
  78     determined than ever to live with her values right out on her
  79     sleeve. I can always count on Sarah to push Creative Commons to
  80     focus on our impact—to make the main thing the main thing. She’s
  81     practical, detail-oriented, and clever. There’s no one on my team
  82     that I enjoy debating more.
  83   </p><p>
  84     As coauthors, Paul and Sarah complement each other perfectly. They
  85     researched, analyzed, argued, and worked as a team, sometimes
  86     together and sometimes independently. They dove into the research
  87     and writing with passion and curiosity, and a deep respect for what
  88     goes into building the commons and sharing with the world. They
  89     remained open to new ideas, including the possibility that their
  90     initial theories would need refinement or might be completely wrong.
  91     That’s courageous, and it has made for a better book that is
  92     insightful, honest, and useful.
  93   </p><p>
  94     From the beginning, CC wanted to develop this project with the
  95     principles and values of open collaboration. The book was funded,
  96     developed, researched, and written in the open. It is being shared
  97     openly under a CC BY-SA license for anyone to use, remix, or adapt
  98     with attribution. It is, in itself, an example of an open business
  99     model.
 100   </p><p>
 101     For 31 days in August of 2015, Sarah took point to organize and
 102     execute a Kickstarter campaign to generate the core funding for the
 103     book. The remainder was provided by CC’s generous donors and
 104     supporters. In the end, it became one of the most successful book
 105     projects on Kickstarter, smashing through two stretch goals and
 106     engaging over 1,600 donors—the majority of them new supporters of
 107     Creative Commons.
 108   </p><p>
 109     Paul and Sarah worked openly throughout the project, publishing the
 110     plans, drafts, case studies, and analysis, early and often, and they
 111     engaged communities all over the world to help write this book. As
 112     their opinions diverged and their interests came into focus, they
 113     divided their voices and decided to keep them separate in the final
 114     product. Working in this way requires both humility and
 115     self-confidence, and without question it has made Made with Creative
 116     Commons a better project.
 117   </p><p>
 118     Those who work and share in the commons are not typical creators.
 119     They are part of something greater than themselves, and what they
 120     offer us all is a profound gift. What they receive in return is
 121     gratitude and a community.
 122   </p><p>
 123     Jonathan Mann, who is profiled in this book, writes a song a day.
 124     When I reached out to ask him to write a song for our Kickstarter
 125     (and to offer himself up as a Kickstarter benefit), he agreed
 126     immediately. Why would he agree to do that? Because the commons has
 127     collaboration at its core, and community as a key value, and because
 128     the CC licenses have helped so many to share in the ways that they
 129     choose with a global audience.
 130   </p><p>
 131     Sarah writes, <span class="quote">“<span class="quote">Endeavors that are Made with Creative Commons
 132     thrive when community is built around what they do. This may mean a
 133     community collaborating together to create something new, or it may
 134     simply be a collection of like-minded people who get to know each
 135     other and rally around common interests or beliefs. To a certain
 136     extent, simply being Made with Creative Commons automatically brings
 137     with it some element of community, by helping connect you to
 138     like-minded others who recognize and are drawn to the values
 139     symbolized by using CC.</span>”</span> Amanda Palmer, the other musician
 140     profiled in the book, would surely add this from her case study:
 141     <span class="quote">“<span class="quote">There is no more satisfying end goal than having someone tell
 142     you that what you do is genuinely of value to them.</span>”</span>
 143   </p><p>
 144     This is not a typical business book. For those looking for a recipe
 145     or a roadmap, you might be disappointed. But for those looking to
 146     pursue a social end, to build something great through collaboration,
 147     or to join a powerful and growing global community, they’re sure to
 148     be satisfied. Made with Creative Commons offers a world-changing set
 149     of clearly articulated values and principles, some essential tools
 150     for exploring your own business opportunities, and two dozen doses
 151     of pure inspiration.
 152   </p><p>
 153     In a 1996 Stanford Law Review article <span class="quote">“<span class="quote">The Zones of
 154     Cyberspace</span>”</span>, CC founder Lawrence Lessig wrote,
 155     <span class="quote">“<span class="quote">Cyberspace is a place. People live there. They experience all
 156     the sorts of things that they experience in real space, there. For
 157     some, they experience more. They experience this not as isolated
 158     individuals, playing some high tech computer game; they experience
 159     it in groups, in communities, among strangers, among people they
 160     come to know, and sometimes like.</span>”</span>
 161   </p><p>
 162     I’m incredibly proud that Creative Commons is able to publish this
 163     book for the many communities that we have come to know and like.
 164     I’m grateful to Paul and Sarah for their creativity and insights,
 165     and to the global communities that have helped us bring it to you.
 166     As CC board member Johnathan Nightingale often says, <span class="quote">“<span class="quote">It’s all
 167     made of people.</span>”</span>
 168   </p><p>
 169     That’s the true value of things that are Made with Creative Commons.
 170   </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}
 171     \textit{ Ryan Merkley, CEO, Creative Commons}
 172     \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>
 173     This book shows the world how sharing can be good for business—but
 174     with a twist.
 175   </p><p>
 176     We began the project intending to explore how creators,
 177     organizations, and businesses make money to sustain what they do
 178     when they share their work using Creative Commons licenses. Our goal
 179     was not to identify a formula for business models that use Creative
 180     Commons but instead gather fresh ideas and dynamic examples that
 181     spark new, innovative models and help others follow suit by building
 182     on what already works. At the onset, we framed our investigation in
 183     familiar business terms. We created a blank <span class="quote">“<span class="quote">open business
 184     model canvas,</span>”</span> an interactive online tool that would help
 185     people design and analyze their business model.
 186   </p><p>
 187     Through the generous funding of Kickstarter backers, we set about
 188     this project first by identifying and selecting a diverse group of
 189     creators, organizations, and businesses who use Creative Commons in
 190     an integral way—what we call being Made with Creative Commons. We
 191     interviewed them and wrote up their stories. We analyzed what we
 192     heard and dug deep into the literature.
 193   </p><p>
 194     But as we did our research, something interesting happened. Our
 195     initial way of framing the work did not match the stories we were
 196     hearing.
 197   </p><p>
 198     Those we interviewed were not typical businesses selling to
 199     consumers and seeking to maximize profits and the bottom line.
 200     Instead, they were sharing to make the world a better place,
 201     creating relationships and community around the works being shared,
 202     and generating revenue not for unlimited growth but to sustain the
 203     operation.
 204   </p><p>
 205     They often didn’t like hearing what they do described as an open
 206     business model. Their endeavor was something more than that.
 207     Something different. Something that generates not just economic
 208     value but social and cultural value. Something that involves human
 209     connection. Being Made with Creative Commons is not <span class="quote">“<span class="quote">business
 210     as usual.</span>”</span>
 211   </p><p>
 212     We had to rethink the way we conceived of this project. And it
 213     didn’t happen overnight. From the fall of 2015 through 2016, we
 214     documented our thoughts in blog posts on Medium and with regular
 215     updates to our Kickstarter backers. We shared drafts of case studies
 216     and analysis with our Kickstarter cocreators, who provided
 217     invaluable edits, feedback, and advice. Our thinking changed
 218     dramatically over the course of a year and a half.
 219   </p><p>
 220     Throughout the process, the two of us have often had very different
 221     ways of understanding and describing what we were learning. Learning
 222     from each other has been one of the great joys of this work, and, we
 223     hope, something that has made the final product much richer than it
 224     ever could have been if either of us undertook this project alone.
 225     We have preserved our voices throughout, and you’ll be able to sense
 226     our different but complementary approaches as you read through our
 227     different sections.
 228   </p><p>
 229     While we recommend that you read the book from start to finish, each
 230     section reads more or less independently. The book is structured
 231     into two main parts.
 232   </p><p>
 233     Part one, the overview, begins with a big-picture framework written
 234     by Paul. He provides some historical context for the digital
 235     commons, describing the three ways society has managed resources and
 236     shared wealth—the commons, the market, and the state. He advocates
 237     for thinking beyond business and market terms and eloquently makes
 238     the case for sharing and enlarging the digital commons.
 239   </p><p>
 240     The overview continues with Sarah’s chapter, as she considers what
 241     it means to be successfully Made with Creative Commons. While making
 242     money is one piece of the pie, there is also a set of public-minded
 243     values and the kind of human connections that make sharing truly
 244     meaningful. This section outlines the ways the creators,
 245     organizations, and businesses we interviewed bring in revenue, how
 246     they further the public interest and live out their values, and how
 247     they foster connections with the people with whom they share.
 248   </p><p>
 249     And to end part one, we have a short section that explains the
 250     different Creative Commons licenses. We talk about the misconception
 251     that the more restrictive licenses—the ones that are closest to the
 252     all-rights-reserved model of traditional copyright—are the only ways
 253     to make money.
 254   </p><p>
 255     Part two of the book is made up of the twenty-four stories of the
 256     creators, businesses, and organizations we interviewed. While both
 257     of us participated in the interviews, we divided up the writing of
 258     these profiles.
 259   </p><p>
 260     Of course, we are pleased to make the book available using a
 261     Creative Commons Attribution-ShareAlike license. Please copy,
 262     distribute, translate, localize, and build upon this work.
 263   </p><p>
 264     Writing this book has transformed and inspired us. The way we now
 265     look at and think about what it means to be Made with Creative
 266     Commons has irrevocably changed. We hope this book inspires you and
 267     your enterprise to use Creative Commons and in so doing contribute
 268     to the transformation of our economy and world for the better.
 269   </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}
 270     \textit{ Paul and Sarah }
 271     \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Part I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Table of Contents</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>Chapter 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Table of Contents</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}
 272     \textit{ Paul Stacey}
 273     \end{flushright}</td></tr></table></div><p>
 274       Jonathan Rowe eloquently describes the commons as <span class="quote">“<span class="quote">the air
 275       and oceans, the web of species, wilderness and flowing water—all
 276       are parts of the commons. So are language and knowledge, sidewalks
 277       and public squares, the stories of childhood and the processes of
 278       democracy. Some parts of the commons are gifts of nature, others
 279       the product of human endeavor. Some are new, such as the Internet;
 280       others are as ancient as soil and calligraphy.</span>”</span><a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
 281     </p><p>
 282       In Made with Creative Commons, we focus on our current era of
 283       digital commons, a commons of human-produced works. This commons
 284       cuts across a broad range of areas including cultural heritage,
 285       education, research, technology, art, design, literature,
 286       entertainment, business, and data. Human-produced works in all
 287       these areas are increasingly digital. The Internet is a kind of
 288       global, digital commons. The individuals, organizations, and
 289       businesses we profile in our case studies use Creative Commons to
 290       share their resources online over the Internet.
 291     </p><p>
 292       The commons is not just about shared resources, however. It’s also
 293       about the social practices and values that manage them. A resource
 294       is a noun, but to common—to put the resource into the commons—is a
 295       verb.<a href="#ftn.idm115" class="footnote" name="idm115"><sup class="footnote">[2]</sup></a> The creators, organizations, and businesses we profile
 296       are all engaged with commoning. Their use of Creative Commons
 297       involves them in the social practice of commoning, managing
 298       resources in a collective manner with a community of
 299       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
 300       balance the costs and benefits of the enterprise with those of the
 301       community. Special regard is given to equitable access, use, and
 302       sustainability.
 303     </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>
 304         Historically, there have been three ways to manage resources and
 305         share wealth: the commons (managed collectively), the state
 306         (i.e., the government), and the market—with the last two being
 307         the dominant forms today.<a href="#ftn.idm122" class="footnote" name="idm122"><sup class="footnote">[4]</sup></a>
 308       </p><p>
 309         The organizations and businesses in our case studies are unique
 310         in the way they participate in the commons while still engaging
 311         with the market and/or state. The extent of engagement with
 312         market or state varies. Some operate primarily as a commons with
 313         minimal or no reliance on the market or state.<a href="#ftn.idm125" class="footnote" name="idm125"><sup class="footnote">[5]</sup></a> Others are very much a part of the market or state,
 314         depending on them for financial sustainability. All operate as
 315         hybrids, blending the norms of the commons with those of the
 316         market or state.
 317       </p><p>
 318         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 an enterprise can have varying
 319         levels of engagement with commons, state, and market.
 320       </p><p>
 321         Some of our case studies are simply commons and market
 322         enterprises with little or no engagement with the state. A
 323         depiction of those case studies would show the state sphere as
 324         tiny or even absent. Other case studies are primarily
 325         market-based with only a small engagement with the commons. A
 326         depiction of those case studies would show the market sphere as
 327         large and the commons sphere as small. The extent to which an
 328         enterprise sees itself as being primarily of one type or another
 329         affects the balance of norms by which they operate.
 330       </p><p>
 331         All our case studies generate money as a means of livelihood and
 332         sustainability. Money is primarily of the market. Finding ways
 333         to generate revenue while holding true to the core values of the
 334         commons (usually expressed in mission statements) is
 335         challenging. To manage interaction and engagement between the
 336         commons and the market requires a deft touch, a strong sense of
 337         values, and the ability to blend the best of both.
 338       </p><p>
 339         The state has an important role to play in fostering the use and
 340         adoption of the commons. State programs and funding can
 341         deliberately contribute to and build the commons. Beyond money,
 342         laws and regulations regarding property, copyright, business,
 343         and finance can all be designed to foster the commons.
 344       </p><div class="figure"><a name="fig-1"></a><p class="title"><b>Figure 1.1. Enterprise engagement with commons, state and
 345         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>
 346         It’s helpful to understand how the commons, market, and state
 347         manage resources differently, and not just for those who
 348         consider themselves primarily as a commons. For businesses or
 349         governmental organizations who want to engage in and use the
 350         commons, knowing how the commons operates will help them
 351         understand how best to do so. Participating in and using the
 352         commons the same way you do the market or state is not a
 353         strategy for success.
 354       </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>
 355         As part of her Nobel Prize–winning work, Elinor Ostrom developed
 356         a framework for analyzing how natural resources are managed in a
 357         commons.<a href="#ftn.idm143" class="footnote" name="idm143"><sup class="footnote">[6]</sup></a> Her framework considered things like the biophysical
 358         characteristics of common resources, the community’s actors and
 359         the interactions that take place between them, rules-in-use, and
 360         outcomes. That framework has been simplified and generalized to
 361         apply to the commons, the market, and the state for this
 362         chapter.
 363       </p><p>
 364         To compare and contrast the ways in which the commons, market,
 365         and state work, let’s consider four aspects of resource
 366         management: resource characteristics, the people involved and
 367         the process they use, the norms and rules they develop to govern
 368         use, and finally actual resource use along with outcomes of that
 369         use (see Fig. <a class="xref" href="#fig-2" title="Figure 1.2. Four aspects of resource management">1.2</a>).
 370       </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>
 371           Resources have particular characteristics or attributes that
 372           affect the way they can be used. Some resources are natural;
 373           others are human produced. And—significantly for today’s
 374           commons—resources can be physical or digital, which affects a
 375           resource’s inherent potential.
 376         </p><p>
 377           Physical resources exist in limited supply. If I have a
 378           physical resource and give it to you, I no longer have it.
 379           When a resource is removed and used, the supply becomes scarce
 380           or depleted. Scarcity can result in competing rivalry for the
 381           resource. Made with Creative Commons enterprises are usually
 382           digitally based but some of our case studies also produce
 383           resources in physical form. The costs of producing and
 384           distributing a physical good usually require them to engage
 385           with the market.
 386         </p><p>
 387           Physical resources are depletable, exclusive, and rivalrous.
 388           Digital resources, on the other hand, are nondepletable,
 389           nonexclusive, and nonrivalrous. If I share a digital resource
 390           with you, we both have the resource. Giving it to you does not
 391           mean I no longer have it. Digital resources can be infinitely
 392           stored, copied, and distributed without becoming depleted, and
 393           at close to zero cost. Abundance rather than scarcity is an
 394           inherent characteristic of digital resources.
 395         </p><p>
 396           The nondepletable, nonexclusive, and nonrivalrous nature of
 397           digital resources means the rules and norms for managing them
 398           can (and ought to) be different from how physical resources
 399           are managed. However, this is not always the case. Digital
 400           resources are frequently made artificially scarce. Placing
 401           digital resources in the commons makes them free and abundant.
 402         </p><p>
 403           Our case studies frequently manage hybrid resources, which
 404           start out as digital with the possibility of being made into a
 405           physical resource. The digital file of a book can be printed
 406           on paper and made into a physical book. A computer-rendered
 407           design for furniture can be physically manufactured in wood.
 408           This conversion from digital to physical invariably has costs.
 409           Often the digital resources are managed in a free and open
 410           way, but money is charged to convert a digital resource into a
 411           physical one.
 412         </p><p>
 413           Beyond this idea of physical versus digital, the commons,
 414           market, and state 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 for
 415           sale—from which value is extracted. The state sees resources
 416           as public goods that provide value to state citizens. The
 417           commons sees resources as common goods, providing a common
 418           wealth extending beyond state boundaries, to be passed on in
 419           undiminished or enhanced form to future generations.
 420         </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>
 421           In the commons, the market, and the state, different people
 422           and processes are used to manage resources. The processes used
 423           define both who has a say and how a resource is managed.
 424         </p><p>
 425           In the state, a government of elected officials is responsible
 426           for managing resources on behalf of the public. The citizens
 427           who produce and use those resources are not directly involved;
 428           instead, that responsibility is given over to the government.
 429           State ministries and departments staffed with public servants
 430           set budgets, implement programs, and manage resources based on
 431           government priorities and procedures.
 432         </p><p>
 433           In the market, the people involved are producers, buyers,
 434           sellers, and consumers. Businesses act as intermediaries
 435           between those who produce resources and those who consume or
 436           use them. Market processes seek to extract as much monetary
 437           value from resources as possible. In the market, resources are
 438           managed as commodities, frequently mass-produced, and sold to
 439           consumers on the basis of a cash transaction.
 440         </p><p>
 441           In contrast to the state and market, resources in a commons
 442           are managed more directly by the people involved.<a href="#ftn.idm170" class="footnote" name="idm170"><sup class="footnote">[7]</sup></a> Creators of human produced resources can put them
 443           in the commons by personal choice. No permission from state or
 444           market is required. Anyone can participate in the commons and
 445           determine for themselves the extent to which they want to be
 446           involved—as a contributor, user, or manager. The people
 447           involved include not only those who create and use resources
 448           but those affected by outcome of use. Who you are affects your
 449           say, actions you can take, and extent of decision making. In
 450           the commons, the community as a whole manages the resources.
 451           Resources put into the commons using Creative Commons require
 452           users to give the original creator credit. Knowing the person
 453           behind a resource makes the commons less anonymous and more
 454           personal.
 455         </p><div class="figure"><a name="fig-3"></a><p class="title"><b>Figure 1.3. How the market, commons and state concieve of
 456           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>
 457           The social interactions between people, and the processes used
 458           by the state, market, and commons, evolve social norms and
 459           rules. These norms and rules define permissions, allocate
 460           entitlements, and resolve disputes.
 461         </p><p>
 462           State authority is governed by national constitutions. Norms
 463           related to priorities and decision making are defined by
 464           elected officials and parliamentary procedures. State rules
 465           are expressed through policies, regulations, and laws. The
 466           state influences the norms and rules of the market and commons
 467           through the rules it passes.
 468         </p><p>
 469           Market norms are influenced by economics and competition for
 470           scarce resources. Market rules follow property, business, and
 471           financial laws defined by the state.
 472         </p><p>
 473           As with the market, a commons can be influenced by state
 474           policies, regulations, and laws. But the norms and rules of a
 475           commons are largely defined by the community. They weigh
 476           individual costs and benefits against the costs and benefits
 477           to the whole community. Consideration is given not just to
 478           economic efficiency but also to equity and
 479           sustainability.<a href="#ftn.idm185" class="footnote" name="idm185"><sup class="footnote">[8]</sup></a>
 480         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>Goals</h3></div></div></div><p>
 481           The combination of the aspects we’ve discussed so far—the
 482           resource’s inherent characteristics, people and processes, and
 483           norms and rules—shape how resources are used. Use is also
 484           influenced by the different goals the state, market, and
 485           commons have.
 486         </p><p>
 487           In the market, the focus is on maximizing the utility of a
 488           resource. What we pay for the goods we consume is seen as an
 489           objective measure of the utility they provide. The goal then
 490           becomes maximizing total monetary value in the
 491           economy.<a href="#ftn.idm191" class="footnote" name="idm191"><sup class="footnote">[9]</sup></a> Units consumed translates to sales, revenue,
 492           profit, and growth, and these are all ways to measure goals of
 493           the market.
 494         </p><p>
 495           The state aims to use and manage resources in a way that
 496           balances the economy with the social and cultural needs of its
 497           citizens. Health care, education, jobs, the environment,
 498           transportation, security, heritage, and justice are all facets
 499           of a healthy society, and the state applies its resources
 500           toward these aims. State goals are reflected in quality of
 501           life measures.
 502         </p><p>
 503           In the commons, the goal is maximizing access, equity,
 504           distribution, participation, innovation, and sustainability.
 505           You can measure success by looking at how many people access
 506           and use a resource; how users are distributed across gender,
 507           income, and location; if a community to extend and enhance the
 508           resources is being formed; and if the resources are being used
 509           in innovative ways for personal and social good.
 510         </p><p>
 511           As hybrid combinations of the commons with the market or
 512           state, the success and sustainability of all our case study
 513           enterprises depends on their ability to strategically utilize
 514           and balance these different aspects of managing resources.
 515         </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>
 516         Using the commons to manage resources is part of a long
 517         historical continuum. However, in contemporary society, the
 518         market and the state dominate the discourse on how resources are
 519         best managed. Rarely is the commons even considered as an
 520         option. The commons has largely disappeared from consciousness
 521         and consideration. There are no news reports or speeches about
 522         the commons.
 523       </p><p>
 524         But the more than 1.1 billion resources licensed with Creative
 525         Commons around the world are indications of a grassroots move
 526         toward the commons. The commons is making a resurgence. To
 527         understand the resilience of the commons and its current
 528         renewal, it’s helpful to know something of its history.
 529       </p><p>
 530         For centuries, indigenous people and preindustrialized societies
 531         managed resources, including water, food, firewood, irrigation,
 532         fish, wild game, and many other things collectively as a
 533         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
 534         the form of rulers influenced the commons but by no means
 535         controlled it. Direct social participation in a commons was the
 536         primary way in which resources were managed and needs met. (Fig. <a class="xref" href="#fig-4" title="Figure 1.4. In preindustrialized society.">1.4</a> illustrates the commons in relation to the state and the
 537         market.)
 538       </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>
 539         This is followed by a long history of the state (a monarchy or
 540         ruler) taking over the commons for their own purposes. This is
 541         called enclosure of the commons.<a href="#ftn.idm213" class="footnote" name="idm213"><sup class="footnote">[11]</sup></a> In olden days, <span class="quote">“<span class="quote">commoners</span>”</span> were evicted
 542         from the land, fences and hedges erected, laws passed, and
 543         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
 544         state and the state became the primary means by which resources
 545         were managed. (See Fig. <a class="xref" href="#fig-5" title="Figure 1.5. The commons is gradually superseded by the state.">1.5</a>).
 546       </p><p>
 547         Holdings of land, water, and game were distributed to ruling
 548         family and political appointees. Commoners displaced from the
 549         land migrated to cities. With the emergence of the industrial
 550         revolution, land and resources became commodities sold to
 551         businesses to support production. Monarchies evolved into
 552         elected parliaments. Commoners became labourers earning money
 553         operating the machinery of industry. Financial, business, and
 554         property laws were revised by governments to support markets,
 555         growth, and productivity. Over time ready access to market
 556         produced goods resulted in a rising standard of living, improved
 557         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
 558         primary means by which resources are managed.
 559       </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>
 560         However, the world today is going through turbulent times. The
 561         benefits of the market have been offset by unequal distribution
 562         and overexploitation.
 563       </p><p>
 564         Overexploitation was the topic of Garrett Hardin’s influential
 565         essay <span class="quote">“<span class="quote">The Tragedy of the Commons,</span>”</span> published in
 566         Science in 1968. Hardin argues that everyone in a commons seeks
 567         to maximize personal gain and will continue to do so even when
 568         the limits of the commons are reached. The commons is then
 569         tragically depleted to the point where it can no longer support
 570         anyone. Hardin’s essay became widely accepted as an economic
 571         truism and a justification for private property and free
 572         markets.
 573       </p><p>
 574         However, there is one serious flaw with Hardin’s <span class="quote">“<span class="quote">The
 575         Tragedy of the Commons</span>”</span>—it’s fiction. Hardin did not
 576         actually study how real commons work. Elinor Ostrom won the 2009
 577         Nobel Prize in economics for her work studying different commons
 578         all around the world. Ostrom’s work shows that natural resource
 579         commons can be successfully managed by local communities without
 580         any regulation by central authorities or without privatization.
 581         Government and privatization are not the only two choices. There
 582         is a third way: management by the people, where those that are
 583         directly impacted are directly involved. With natural resources,
 584         there is a regional locality. The people in the region are the
 585         most familiar with the natural resource, have the most direct
 586         relationship and history with it, and are therefore best
 587         situated to manage it. Ostrom’s approach to the governance of
 588         natural resources broke with convention; she recognized the
 589         importance of the commons as an alternative to the market or
 590         state for solving problems of collective action.<a href="#ftn.idm233" class="footnote" name="idm233"><sup class="footnote">[13]</sup></a>
 591       </p><p>
 592         Hardin failed to consider the actual social dynamic of the
 593         commons. His model assumed that people in the commons act
 594         autonomously, out of pure self-interest, without interaction or
 595         consideration of others. But as Ostrom found, in reality,
 596         managing common resources together forms a community and
 597         encourages discourse. This naturally generates norms and rules
 598         that help people work collectively and ensure a sustainable
 599         commons. Paradoxically, while Hardin’s essay is called The
 600         Tragedy of the Commons it might more accurately be titled The
 601         Tragedy of the Market.
 602       </p><p>
 603         Hardin’s story is based on the premise of depletable resources.
 604         Economists have focused almost exclusively on scarcity-based
 605         markets. Very little is known about how abundance
 606         works.<a href="#ftn.idm238" class="footnote" name="idm238"><sup class="footnote">[14]</sup></a> The emergence of information technology and the
 607         Internet has led to an explosion in digital resources and new
 608         means of sharing and distribution. Digital resources can never
 609         be depleted. An absence of a theory or model for how abundance
 610         works, however, has led the market to make digital resources
 611         artificially scarce and makes it possible for the usual market
 612         norms and rules to be applied.
 613       </p><p>
 614         When it comes to use of state funds to create digital goods,
 615         however, there is really no justification for artificial
 616         scarcity. The norm for state funded digital works should be that
 617         they are freely and openly available to the public that paid for
 618         them.
 619       </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
 620         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>
 621         In the early days of computing, programmers and developers
 622         learned from each other by sharing software. In the 1980s, the
 623         free-software movement codified this practice of sharing into a
 624         set of principles and freedoms:
 625       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
 626             The freedom to run a software program as you wish, for any
 627             purpose.
 628           </p></li><li class="listitem"><p>
 629             The freedom to study how a software program works (because
 630             access to the source code has been freely given), and change
 631             it so it does your computing as you wish.
 632           </p></li><li class="listitem"><p>
 633             The freedom to redistribute copies.
 634           </p></li><li class="listitem"><p>
 635             The freedom to distribute copies of your modified versions
 636             to others.<a href="#ftn.idm261" class="footnote" name="idm261"><sup class="footnote">[15]</sup></a>
 637           </p></li></ul></div><p>
 638         These principles and freedoms constitute a set of norms and
 639         rules that typify a digital commons.
 640       </p><p>
 641         In the late 1990s, to make the sharing of source code and
 642         collaboration more appealing to companies, the
 643         open-source-software initiative converted these principles into
 644         licenses and standards for managing access to and distribution
 645         of software. The benefits of open source—such as reliability,
 646         scalability, and quality verified by independent peer
 647         review—became widely recognized and accepted. Customers liked
 648         the way open source gave them control without being locked into
 649         a closed, proprietary technology. Free and open-source software
 650         also generated a network effect where the value of a product or
 651         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 much
 652         to the fact that nobody has a proprietary lock on core Internet
 653         protocols.
 654       </p><p>
 655         While open-source software functions as a commons, many
 656         businesses and markets did build up around it. Business models
 657         based on the licenses and standards of open-source software
 658         evolved alongside organizations that managed software code on
 659         principles of abundance rather than scarcity. Eric Raymond’s
 660         essay <span class="quote">“<span class="quote">The Magic Cauldron</span>”</span> does a great job of
 661         analyzing the economics and business models associated with
 662         open-source software.<a href="#ftn.idm272" class="footnote" name="idm272"><sup class="footnote">[17]</sup></a> These models can provide examples of sustainable
 663         approaches for those Made with Creative Commons.
 664       </p><p>
 665         It isn’t just about an abundant availability of digital assets
 666         but also about abundance of participation. The growth of
 667         personal computing, information technology, and the Internet
 668         made it possible for mass participation in producing creative
 669         works and distributing them. Photos, books, music, and many
 670         other forms of digital content could now be readily created and
 671         distributed by almost anyone. Despite this potential for
 672         abundance, by default these digital works are governed by
 673         copyright laws. Under copyright, a digital work is the property
 674         of the creator, and by law others are excluded from accessing
 675         and using it without the creator’s permission.
 676       </p><p>
 677         But people like to share. One of the ways we define ourselves is
 678         by sharing valuable and entertaining content. Doing so grows and
 679         nourishes relationships, seeks to change opinions, encourages
 680         action, and informs others about who we are and what we care
 681         about. Sharing lets us feel more involved with the
 682         world.<a href="#ftn.idm278" class="footnote" name="idm278"><sup class="footnote">[18]</sup></a>
 683       </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>
 684         In 2001, Creative Commons was created as a nonprofit to support
 685         all those who wanted to share digital content. A suite of
 686         Creative Commons licenses was modeled on those of open-source
 687         software but for use with digital content rather than software
 688         code. The licenses give everyone from individual creators to
 689         large companies and institutions a simple, standardized way to
 690         grant copyright permissions to their creative work.
 691       </p><p>
 692         Creative Commons licenses have a three-layer design. The norms
 693         and rules of each license are first expressed in full legal
 694         language as used by lawyers. This layer is called the legal
 695         code. But since most creators and users are not lawyers, the
 696         licenses also have a commons deed, expressing the permissions in
 697         plain language, which regular people can read and quickly
 698         understand. It acts as a user-friendly interface to the
 699         legal-code layer beneath. The third layer is the
 700         machine-readable one, making it easy for the Web to know a work
 701         is Creative Commons–licensed by expressing permissions in a way
 702         that software systems, search engines, and other kinds of
 703         technology can understand.<a href="#ftn.idm285" class="footnote" name="idm285"><sup class="footnote">[19]</sup></a> Taken together, these three layers ensure creators,
 704         users, and even the Web itself understand the norms and rules
 705         associated with digital content in a commons.
 706       </p><p>
 707         In 2015, there were over one billion Creative Commons licensed
 708         works in a global commons. These works were viewed online 136
 709         billion times. People are using Creative Commons licenses all
 710         around the world, in thirty-four languages. These resources
 711         include photos, artwork, research articles in journals,
 712         educational resources, music and other audio tracks, and videos.
 713       </p><p>
 714         Individual artists, photographers, musicians, and filmmakers use
 715         Creative Commons, but so do museums, governments, creative
 716         industries, manufacturers, and publishers. Millions of websites
 717         use CC licenses, including major platforms like Wikipedia and
 718         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 across
 719         many different sectors. (Our case studies were chosen to reflect
 720         that diversity.)
 721       </p><p>
 722         Some see Creative Commons as a way to share a gift with others,
 723         a way of getting known, or a way to provide social benefit.
 724         Others are simply committed to the norms associated with a
 725         commons. And for some, participation has been spurred by the
 726         free-culture movement, a social movement that promotes the
 727         freedom to distribute and modify creative works. The
 728         free-culture movement sees a commons as providing significant
 729         benefits compared to restrictive copyright laws. This ethos of
 730         free exchange in a commons aligns the free-culture movement with
 731         the free and open-source software movement.
 732       </p><p>
 733         Over time, Creative Commons has spawned a range of open
 734         movements, including open educational resources, open access,
 735         open science, and open data. The goal in every case has been to
 736         democratize participation and share digital resources at no
 737         cost, with legal permissions for anyone to freely access, use,
 738         and modify.
 739       </p><p>
 740         The state is increasingly involved in supporting open movements.
 741         The Open Government Partnership was launched in 2011 to provide
 742         an international platform for governments to become more open,
 743         accountable, and responsive to citizens. Since then, it has
 744         grown from eight participating countries to seventy.<a href="#ftn.idm297" class="footnote" name="idm297"><sup class="footnote">[21]</sup></a> In all these countries, government and civil society
 745         are working together to develop and implement ambitious
 746         open-government reforms. Governments are increasingly adopting
 747         Creative Commons to ensure works funded with taxpayer dollars
 748         are open and free to the public that paid for them.
 749       </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>
 750         Today’s market is largely driven by global capitalism. Law and
 751         financial systems are structured to support extraction,
 752         privatization, and corporate growth. A perception that the
 753         market is more efficient than the state has led to continual
 754         privatization of many public natural resources, utilities,
 755         services, and infrastructures.<a href="#ftn.idm304" class="footnote" name="idm304"><sup class="footnote">[22]</sup></a> While this system has been highly efficient at
 756         generating consumerism and the growth of gross domestic product,
 757         the impact on human well-being has been mixed. Offsetting rising
 758         living standards and improvements to health and education are
 759         ever-increasing wealth inequality, social inequality, poverty,
 760         deterioration of our natural environment, and breakdowns of
 761         democracy.<a href="#ftn.idm306" class="footnote" name="idm306"><sup class="footnote">[23]</sup></a>
 762       </p><p>
 763         In light of these challenges there is a growing recognition that
 764         GDP growth should not be an end in itself, that development
 765         needs to be socially and economically inclusive, that
 766         environmental sustainability is a requirement not an option, and
 767         that we need to better balance the market, state and
 768         community.<a href="#ftn.idm309" class="footnote" name="idm309"><sup class="footnote">[24]</sup></a>
 769       </p><p>
 770         These realizations have led to a resurgence of interest in the
 771         commons as a means of enabling that balance. City governments
 772         like Bologna, Italy, are collaborating with their citizens to
 773         put in place regulations for the care and regeneration of urban
 774         commons.<a href="#ftn.idm314" class="footnote" name="idm314"><sup class="footnote">[25]</sup></a> Seoul and Amsterdam call themselves <span class="quote">“<span class="quote">sharing
 775         cities,</span>”</span> looking to make sustainable and more efficient
 776         use of scarce resources. They see sharing as a way to improve
 777         the use of public spaces, mobility, social cohesion, and
 778         safety.<a href="#ftn.idm318" class="footnote" name="idm318"><sup class="footnote">[26]</sup></a>
 779       </p><p>
 780         The market itself has taken an interest in the sharing economy,
 781         with businesses like Airbnb providing a peer-to-peer marketplace
 782         for short-term lodging and Uber providing a platform for ride
 783         sharing. However, Airbnb and Uber are still largely operating
 784         under the usual norms and rules of the market, making them less
 785         like a commons and more like a traditional business seeking
 786         financial gain. Much of the sharing economy is not about the
 787         commons or building an alternative to a corporate-driven market
 788         economy; it’s about extending the deregulated free market into
 789         new areas of our lives.<a href="#ftn.idm323" class="footnote" name="idm323"><sup class="footnote">[27]</sup></a> While none of the people we interviewed for our case
 790         studies would describe themselves as part of the sharing
 791         economy, there are in fact some significant parallels. Both the
 792         sharing economy and the commons make better use of asset
 793         capacity. The sharing economy sees personal residents and cars
 794         as having latent spare capacity with rental value. The equitable
 795         access of the commons broadens and diversifies the number of
 796         people who can use and derive value from an asset.
 797       </p><p>
 798         One way Made with Creative Commons case studies differ from
 799         those of the sharing economy is their focus on digital
 800         resources. Digital resources function under different economic
 801         rules than physical ones. In a world where prices always seem to
 802         go up, information technology is an anomaly. Computer-processing
 803         power, storage, and bandwidth are all rapidly increasing, but
 804         rather than costs going up, costs are coming down. Digital
 805         technologies are getting faster, better, and cheaper. The cost
 806         of anything built on these technologies will always go down
 807         until it is close to zero.<a href="#ftn.idm326" class="footnote" name="idm326"><sup class="footnote">[28]</sup></a>
 808       </p><p>
 809         Those that are Made with Creative Commons are looking to
 810         leverage the unique inherent characteristics of digital
 811         resources, including lowering costs. The use of
 812         digital-rights-management technologies in the form of locks,
 813         passwords, and controls to prevent digital goods from being
 814         accessed, changed, replicated, and distributed is minimal or
 815         nonexistent. Instead, Creative Commons licenses are used to put
 816         digital content out in the commons, taking advantage of the
 817         unique economics associated with being digital. The aim is to
 818         see digital resources used as widely and by as many people as
 819         possible. Maximizing access and participation is a common goal.
 820         They aim for abundance over scarcity.
 821       </p><p>
 822         The incremental cost of storing, copying, and distributing
 823         digital goods is next to zero, making abundance possible. But
 824         imagining a market based on abundance rather than scarcity is so
 825         alien to the way we conceive of economic theory and practice
 826         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
 827         pioneering in this new landscape, devising their own economic
 828         models and practice.
 829       </p><p>
 830         Some are looking to minimize their interactions with the market
 831         and operate as autonomously as possible. Others are operating
 832         largely as a business within the existing rules and norms of the
 833         market. And still others are looking to change the norms and
 834         rules by which the market operates.
 835       </p><p>
 836         For an ordinary corporation, making social benefit a part of its
 837         operations is difficult, as it’s legally required to make
 838         decisions that financially benefit stockholders. But new forms
 839         of business are emerging. There are benefit corporations and
 840         social enterprises, which broaden their business goals from
 841         making a profit to making a positive impact on society, workers,
 842         the community, and the environment.<a href="#ftn.idm334" class="footnote" name="idm334"><sup class="footnote">[30]</sup></a> Community-owned businesses, worker-owned businesses,
 843         cooperatives, guilds, and other organizational forms offer
 844         alternatives to the traditional corporation. Collectively, these
 845         alternative market entities are changing the rules and norms of
 846         the market.<a href="#ftn.idm336" class="footnote" name="idm336"><sup class="footnote">[31]</sup></a>
 847       </p><p><span class="quote">“<span class="quote">A book on open business models</span>”</span> is how we
 848         described it in this book’s Kickstarter campaign. We used a
 849         handbook called Business Model Generation as our reference for
 850         defining just what a business model is. Developed over nine
 851         years using an <span class="quote">“<span class="quote">open process</span>”</span> involving 470
 852         coauthors from forty-five countries, it is useful as a framework
 853         for talking about business models.<a href="#ftn.idm341" class="footnote" name="idm341"><sup class="footnote">[32]</sup></a>
 854       </p><p>
 855         It contains a <span class="quote">“<span class="quote">business model canvas,</span>”</span> which
 856         conceives of a business model as having nine building
 857         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
 858         design their own business model. We remixed this business model
 859         canvas into an open business model canvas, adding three more
 860         building blocks relevant to hybrid market, commons enterprises:
 861         social good, Creative Commons license, and <span class="quote">“<span class="quote">type of open
 862         environment that the business fits in.</span>”</span><a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[34]</sup></a> This enhanced canvas proved useful when we analyzed
 863         businesses and helped start-ups plan their economic model.
 864       </p><p>
 865         In our case study interviews, many expressed discomfort over
 866         describing themselves as an open business model—the term
 867         business model suggested primarily being situated in the market.
 868         Where you sit on the commons-to-market spectrum affects the
 869         extent to which you see yourself as a business in the market.
 870         The more central to the mission shared resources and commons
 871         values are, the less comfort there is in describing yourself, or
 872         depicting what you do, as a business. Not all who have endeavors
 873         Made with Creative Commons use business speak; for some the
 874         process has been experimental, emergent, and organic rather than
 875         carefully planned using a predefined model.
 876       </p><p>
 877         The creators, businesses, and organizations we profile all
 878         engage with the market to generate revenue in some way. The ways
 879         in which this is done vary widely. Donations, pay what you can,
 880         memberships, <span class="quote">“<span class="quote">digital for free but physical for a
 881         fee,</span>”</span> crowdfunding, matchmaking, value-add services,
 882         patrons . . . the list goes on and on. (Initial description of
 883         how to earn revenue available through reference note. For latest
 884         thinking see How to Bring In Money in the next
 885         section.)<a href="#ftn.idm358" class="footnote" name="idm358"><sup class="footnote">[35]</sup></a> There is no single magic bullet, and each endeavor
 886         has devised ways that work for them. Most make use of more than
 887         one way. Diversifying revenue streams lowers risk and provides
 888         multiple paths to sustainability.
 889       </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>
 890         While it may be clear why commons-based organizations want to
 891         interact and engage with the market (they need money to
 892         survive), it may be less obvious why the market would engage
 893         with the commons. The digital commons offers many benefits.
 894       </p><p>
 895         The commons speeds dissemination. The free flow of resources in
 896         the commons offers tremendous economies of scale. Distribution
 897         is decentralized, with all those in the commons empowered to
 898         share the resources they have access to. Those that are Made
 899         with Creative Commons have a reduced need for sales or
 900         marketing. Decentralized distribution amplifies supply and
 901         know-how.
 902       </p><p>
 903         The commons ensures access to all. The market has traditionally
 904         operated by putting resources behind a paywall requiring payment
 905         first before access. The commons puts resources in the open,
 906         providing access up front without payment. Those that are Made
 907         with Creative Commons make little or no use of digital rights
 908         management (DRM) to manage resources. Not using DRM frees them
 909         of the costs of acquiring DRM technology and staff resources to
 910         engage in the punitive practices associated with restricting
 911         access. The way the commons provides access to everyone levels
 912         the playing field and promotes inclusiveness, equity, and
 913         fairness.
 914       </p><p>
 915         The commons maximizes participation. Resources in the commons
 916         can be used and contributed to by everyone. Using the resources
 917         of others, contributing your own, and mixing yours with others
 918         to create new works are all dynamic forms of participation made
 919         possible by the commons. Being Made with Creative Commons means
 920         you’re engaging as many users with your resources as possible.
 921         Users are also authoring, editing, remixing, curating,
 922         localizing, translating, and distributing. The commons makes it
 923         possible for people to directly participate in culture,
 924         knowledge building, and even democracy, and many other socially
 925         beneficial practices.
 926       </p><p>
 927         The commons spurs innovation. Resources in the hands of more
 928         people who can use them leads to new ideas. The way commons
 929         resources can be modified, customized, and improved results in
 930         derivative works never imagined by the original creator. Some
 931         endeavors that are Made with Creative Commons deliberately
 932         encourage users to take the resources being shared and innovate
 933         them. Doing so moves research and development (R&amp;D) from
 934         being solely inside the organization to being in the
 935         community.<a href="#ftn.idm369" class="footnote" name="idm369"><sup class="footnote">[36]</sup></a> Community-based innovation will keep an organization
 936         or business on its toes. It must continue to contribute new
 937         ideas, absorb and build on top of the innovations of others, and
 938         steward the resources and the relationship with the community.
 939       </p><p>
 940         The commons boosts reach and impact. The digital commons is
 941         global. Resources may be created for a local or regional need,
 942         but they go far and wide generating a global impact. In the
 943         digital world, there are no borders between countries. When you
 944         are Made with Creative Commons, you are often local and global
 945         at the same time: Digital designs being globally distributed but
 946         made and manufactured locally. Digital books or music being
 947         globally distributed but readings and concerts performed
 948         locally. The digital commons magnifies impact by connecting
 949         creators to those who use and build on their work both locally
 950         and globally.
 951       </p><p>
 952         The commons is generative. Instead of extracting value, the
 953         commons adds value. Digitized resources persist without becoming
 954         depleted, and through use are improved, personalized, and
 955         localized. Each use adds value. The market focuses on generating
 956         value for the business and the customer. The commons generates
 957         value for a broader range of beneficiaries including the
 958         business, the customer, the creator, the public, and the commons
 959         itself. The generative nature of the commons means that it is
 960         more cost-effective and produces a greater return on investment.
 961         Value is not just measured in financial terms. Each new resource
 962         added to the commons provides value to the public and
 963         contributes to the overall value of the commons.
 964       </p><p>
 965         The commons brings people together for a common cause. The
 966         commons vests people directly with the responsibility to manage
 967         the resources for the common good. The costs and benefits for
 968         the individual are balanced with the costs and benefits for the
 969         community and for future generations. Resources are not
 970         anonymous or mass produced. Their provenance is known and
 971         acknowledged through attribution and other means. Those that are
 972         Made with Creative Commons generate awareness and reputation
 973         based on their contributions to the commons. The reach, impact,
 974         and sustainability of those contributions rest largely on their
 975         ability to forge relationships and connections with those who
 976         use and improve them. By functioning on the basis of social
 977         engagement, not monetary exchange, the commons unifies people.
 978       </p><p>
 979         The benefits of the commons are many. When these benefits align
 980         with the goals of individuals, communities, businesses in the
 981         market, or state enterprises, choosing to manage resources as a
 982         commons ought to be the option of choice.
 983       </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>
 984         The creators, organizations, and businesses in our case studies
 985         operate as nonprofits, for-profits, and social enterprises.
 986         Regardless of legal status, they all have a social mission.
 987         Their primary reason for being is to make the world a better
 988         place, not to profit. Money is a means to a social end, not the
 989         end itself. They factor public interest into decisions,
 990         behavior, and practices. Transparency and trust are really
 991         important. Impact and success are measured against social aims
 992         expressed in mission statements, and are not just about the
 993         financial bottom line.
 994       </p><p>
 995         The case studies are based on the narratives told to us by
 996         founders and key staff. Instead of solely using financials as
 997         the measure of success and sustainability, they emphasized their
 998         mission, practices, and means by which they measure success.
 999         Metrics of success are a blend of how social goals are being met
1000         and how sustainable the enterprise is.
1001       </p><p>
1002         Our case studies are diverse, ranging from publishing to
1003         education and manufacturing. All of the organizations,
1004         businesses, and creators in the case studies produce digital
1005         resources. Those resources exist in many forms including books,
1006         designs, songs, research, data, cultural works, education
1007         materials, graphic icons, and video. Some are digital
1008         representations of physical resources. Others are born digital
1009         but can be made into physical resources.
1010       </p><p>
1011         They are creating new resources, or using the resources of
1012         others, or mixing existing resources together to make something
1013         new. They, and their audience, all play a direct, participatory
1014         role in managing those resources, including their preservation,
1015         curation, distribution, and enhancement. Access and
1016         participation is open to all regardless of monetary means.
1017       </p><p>
1018         And as users of Creative Commons licenses, they are
1019         automatically part of a global community. The new digital
1020         commons is global. Those we profiled come from nearly every
1021         continent in the world. To build and interact within this global
1022         community is conducive to success.
1023       </p><p>
1024         Creative Commons licenses may express legal rules around the use
1025         of resources in a commons, but success in the commons requires
1026         more than following the letter of the law and acquiring
1027         financial means. Over and over we heard in our interviews how
1028         success and sustainability are tied to a set of beliefs, values,
1029         and principles that underlie their actions: Give more than you
1030         take. Be open and inclusive. Add value. Make visible what you
1031         are using from the commons, what you are adding, and what you
1032         are monetizing. Maximize abundance. Give attribution. Express
1033         gratitude. Develop trust; don’t exploit. Build relationship and
1034         community. Be transparent. Defend the commons.
1035       </p><p>
1036         The new digital commons is here to stay. Made With Creative
1037         Commons case studies show how it’s possible to be part of this
1038         commons while still functioning within market and state systems.
1039         The commons generates benefits neither the market nor state can
1040         achieve on their own. Rather than the market or state dominating
1041         as primary means of resource management, a more balanced
1042         alternative is possible.
1043       </p><p>
1044         Enterprise use of Creative Commons has only just begun. The case
1045         studies in this book are merely starting points. Each is
1046         changing and evolving over time. Many more are joining and
1047         inventing new models. This overview aims to provide a framework
1048         and language for thinking and talking about the new digital
1049         commons. The remaining sections go deeper providing further
1050         guidance and insights on how it works.
1051       </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>
1052           Jonathan Rowe, Our Common Wealth (San Francisco:
1053           Berrett-Koehler, 2013), 14.
1054         </p></div><div id="ftn.idm115" class="footnote"><p><a href="#idm115" class="para"><sup class="para">[2] </sup></a>
1055           David Bollier, Think Like a Commoner: A Short Introduction to
1056           the Life of the Commons (Gabriola Island, BC: New Society,
1057           2014), 176.
1058         </p></div><div id="ftn.idm117" class="footnote"><p><a href="#idm117" class="para"><sup class="para">[3] </sup></a>
1059           Ibid., 15.
1060         </p></div><div id="ftn.idm122" class="footnote"><p><a href="#idm122" class="para"><sup class="para">[4] </sup></a>
1061             Ibid., 145.
1062           </p></div><div id="ftn.idm125" class="footnote"><p><a href="#idm125" class="para"><sup class="para">[5] </sup></a>
1063             Ibid., 175.
1064           </p></div><div id="ftn.idm143" class="footnote"><p><a href="#idm143" class="para"><sup class="para">[6] </sup></a>
1065             Daniel H. Cole, <span class="quote">“<span class="quote">Learning from Lin: Lessons and
1066             Cautions from the Natural Commons for the Knowledge
1067             Commons,</span>”</span> in Governing Knowledge Commons, eds. Brett
1068             M. Frischmann, Michael J. Madison, and Katherine J.
1069             Strandburg (New York: Oxford University Press, 2014), 53.
1070           </p></div><div id="ftn.idm170" class="footnote"><p><a href="#idm170" class="para"><sup class="para">[7] </sup></a>
1071               Max Haiven, Crises of Imagination, Crises of Power:
1072               Capitalism, Creativity and the Commons (New York: Zed
1073               Books, 2014), 93.
1074             </p></div><div id="ftn.idm185" class="footnote"><p><a href="#idm185" class="para"><sup class="para">[8] </sup></a>
1075               Bollier, Think Like a Commoner, 175.
1076             </p></div><div id="ftn.idm191" class="footnote"><p><a href="#idm191" class="para"><sup class="para">[9] </sup></a>
1077               Joshua Farley and Ida Kubiszewski, <span class="quote">“<span class="quote">The Economics of
1078               Information in a Post-Carbon Economy,</span>”</span> in Free
1079               Knowledge: Confronting the Commodification of Human
1080               Discovery, eds. Patricia W. Elliott and Daryl H. Hepting
1081               (Regina, SK: University of Regina Press, 2015), 201–4.
1082             </p></div><div id="ftn.idm202" class="footnote"><p><a href="#idm202" class="para"><sup class="para">[10] </sup></a>
1083             Rowe, Our Common Wealth, 19; and Heather Menzies, Reclaiming
1084             the Commons for the Common Good: A Memoir and Manifesto
1085             (Gabriola Island, BC: New Society, 2014), 42–43.
1086           </p></div><div id="ftn.idm213" class="footnote"><p><a href="#idm213" class="para"><sup class="para">[11] </sup></a>
1087             Bollier, Think Like a Commoner, 55–78.
1088           </p></div><div id="ftn.idm216" class="footnote"><p><a href="#idm216" class="para"><sup class="para">[12] </sup></a>
1089             Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a
1090             Legal System in Tune with Nature and Community (Oakland, CA:
1091             Berrett-Koehler, 2015), 46–57; and Bollier, Think Like a
1092             Commoner, 88.
1093           </p></div><div id="ftn.idm233" class="footnote"><p><a href="#idm233" class="para"><sup class="para">[13] </sup></a>
1094             Brett M. Frischmann, Michael J. Madison, and Katherine J.
1095             Strandburg, <span class="quote">“<span class="quote">Governing Knowledge Commons,</span>”</span> in
1096             Frischmann, Madison, and Strandburg Governing Knowledge
1097             Commons, 12.
1098           </p></div><div id="ftn.idm238" class="footnote"><p><a href="#idm238" class="para"><sup class="para">[14] </sup></a>
1099             Farley and Kubiszewski, <span class="quote">“<span class="quote">Economics of
1100             Information,</span>”</span> in Elliott and Hepting, Free Knowledge,
1101             203.
1102           </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
1103                 System, the Free Software Foundation’s Licensing and
1104                 Compliance Lab, accessed December 30, 2016,
1105                 <a class="ulink" href="http://www.gnu.org/philosophy/free-sw" target="_top">http://www.gnu.org/philosophy/free-sw</a>.
1106               </p></div><div id="ftn.idm267" class="footnote"><p><a href="#idm267" class="para"><sup class="para">[16] </sup></a>
1107             Wikipedia, s.v. <span class="quote">“<span class="quote">Open-source software,</span>”</span> last
1108             modified November 22, 2016.
1109           </p></div><div id="ftn.idm272" class="footnote"><p><a href="#idm272" class="para"><sup class="para">[17] </sup></a>
1110             Eric S. Raymond, <span class="quote">“<span class="quote">The Magic Cauldron,</span>”</span> in The
1111             Cathedral and the Bazaar: Musings on Linux and Open Source
1112             by an Accidental Revolutionary, rev. ed. (Sebastopol, CA:
1113             O’Reilly Media, 2001),
1114             <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
1115           </p></div><div id="ftn.idm278" class="footnote"><p><a href="#idm278" class="para"><sup class="para">[18] </sup></a>
1116             New York Times Customer Insight Group, The Psychology of
1117             Sharing: Why Do People Share Online? (New York: New York
1118             Times Customer Insight Group, 2011),
1119             <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
1120           </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,
1121             accessed December 30, 2016,
1122             <a class="ulink" href="http://creativecommons.org/share-your-work/licensing-considerations/" target="_top">http://creativecommons.org/share-your-work/licensing-considerations/</a>.
1123           </p></div><div id="ftn.idm291" class="footnote"><p><a href="#idm291" class="para"><sup class="para">[20] </sup></a>
1124             Creative Commons, 2015 State of the Commons (Mountain View,
1125             CA: Creative Commons, 2015),
1126             <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
1127           </p></div><div id="ftn.idm297" class="footnote"><p><a href="#idm297" class="para"><sup class="para">[21] </sup></a>
1128             Wikipedia, s.v. <span class="quote">“<span class="quote">Open Government Partnership,</span>”</span>
1129             last modified September 24, 2016,
1130             <a class="ulink" href="http://en.wikipedia.org/wiki/Open_Government_Partnership" target="_top">http://en.wikipedia.org/wiki/Open_Government_Partnership</a>.
1131           </p></div><div id="ftn.idm304" class="footnote"><p><a href="#idm304" class="para"><sup class="para">[22] </sup></a>
1132             Capra and Mattei, Ecology of Law, 114.
1133           </p></div><div id="ftn.idm306" class="footnote"><p><a href="#idm306" class="para"><sup class="para">[23] </sup></a>
1134             Ibid., 116.
1135           </p></div><div id="ftn.idm309" class="footnote"><p><a href="#idm309" class="para"><sup class="para">[24] </sup></a>
1136             The Swedish International Development Cooperation Agency,
1137             <span class="quote">“<span class="quote">Stockholm Statement</span>”</span> accessed February 15,
1138             2017,
1139             <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>
1140           </p></div><div id="ftn.idm314" class="footnote"><p><a href="#idm314" class="para"><sup class="para">[25] </sup></a>
1141             City of Bologna, Regulation on Collaboration between
1142             Citizens and the City for the Care and Regeneration of Urban
1143             Commons, trans. LabGov (LABoratory for the GOVernance of
1144             Commons) (Bologna, Italy: City of Bologna, 2014),
1145             <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>.
1146           </p></div><div id="ftn.idm318" class="footnote"><p><a href="#idm318" class="para"><sup class="para">[26] </sup></a>
1147             The Seoul Sharing City website is
1148             <a class="ulink" href="http://english.sharehub.kr" target="_top">http://english.sharehub.kr</a>; for
1149             Amsterdam Sharing City, go to
1150             <a class="ulink" href="http://www.sharenl.nl/amsterdam-sharing-city/" target="_top">http://www.sharenl.nl/amsterdam-sharing-city/</a>.
1151           </p></div><div id="ftn.idm323" class="footnote"><p><a href="#idm323" class="para"><sup class="para">[27] </sup></a>
1152             Tom Slee, What’s Yours Is Mine: Against the Sharing Economy
1153             (New York: OR Books, 2015), 42.
1154           </p></div><div id="ftn.idm326" class="footnote"><p><a href="#idm326" class="para"><sup class="para">[28] </sup></a>
1155             Chris Anderson, Free: How Today’s Smartest Businesses Profit
1156             by Giving Something for Nothing, Reprint with new preface.
1157             (New York: Hyperion, 2010), 78.
1158           </p></div><div id="ftn.idm330" class="footnote"><p><a href="#idm330" class="para"><sup class="para">[29] </sup></a>
1159             Jeremy Rifkin, The Zero Marginal Cost Society: The Internet
1160             of Things, the Collaborative Commons, and the Eclipse of
1161             Capitalism (New York: Palgrave Macmillan, 2014), 273.
1162           </p></div><div id="ftn.idm334" class="footnote"><p><a href="#idm334" class="para"><sup class="para">[30] </sup></a>
1163             Gar Alperovitz, What Then Must We Do? Straight Talk about
1164             the Next American Revolution: Democratizing Wealth and
1165             Building a Community-Sustaining Economy from the Ground Up
1166             (White River Junction, VT: Chelsea Green, 2013), 39.
1167           </p></div><div id="ftn.idm336" class="footnote"><p><a href="#idm336" class="para"><sup class="para">[31] </sup></a>
1168             Marjorie Kelly, Owning Our Future: The Emerging Ownership
1169             Revolution; Journeys to a Generative Economy (San Francisco:
1170             Berrett-Koehler, 2012), 8–9.
1171           </p></div><div id="ftn.idm341" class="footnote"><p><a href="#idm341" class="para"><sup class="para">[32] </sup></a>
1172             Alex Osterwalder and Yves Pigneur, Business Model Generation
1173             (Hoboken, NJ: John Wiley and Sons, 2010). A preview of the
1174             book is available at
1175             <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
1176           </p></div><div id="ftn.idm346" class="footnote"><p><a href="#idm346" class="para"><sup class="para">[33] </sup></a>
1177             This business model canvas is available to download at
1178             <a class="ulink" href="http://strategyzer.com/canvas/business-model-canvas" target="_top">http://strategyzer.com/canvas/business-model-canvas</a>.
1179           </p></div><div id="ftn.idm350" class="footnote"><p><a href="#idm350" class="para"><sup class="para">[34] </sup></a>
1180             We’ve made the <span class="quote">“<span class="quote">Open Business Model Canvas,</span>”</span>
1181             designed by the coauthor Paul Stacey, available online at
1182             <a class="ulink" href="http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit" target="_top">http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit</a>.
1183             You can also find the accompanying Open Business Model
1184             Canvas Questions at
1185             <a class="ulink" href="http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit" target="_top">http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit</a>.
1186           </p></div><div id="ftn.idm358" class="footnote"><p><a href="#idm358" class="para"><sup class="para">[35] </sup></a>
1187             A more comprehensive list of revenue streams is available in
1188             this post I wrote on Medium on March 6, 2016. <span class="quote">“<span class="quote">What Is
1189             an Open Business Model and How Can You Generate
1190             Revenue?</span>”</span>, available at
1191             <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>.
1192           </p></div><div id="ftn.idm369" class="footnote"><p><a href="#idm369" class="para"><sup class="para">[36] </sup></a>
1193             Henry Chesbrough, Open Innovation: The New Imperative for
1194             Creating and Profiting from Technology (Boston: Harvard
1195             Business Review Press, 2006), 31–44.
1196           </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>Chapter 2. How to Be Made with Creative Commons</h2></div></div></div><div class="toc"><p><b>Table of Contents</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}
1197     \textit{ Sarah Hinchliff Pearson}
1198     \end{flushright}</td></tr></table></div><p>
1199       When we began this project in August 2015, we set out to write a
1200       book about business models that involve Creative Commons licenses
1201       in some significant way—what we call being Made with Creative
1202       Commons. With the help of our Kickstarter backers, we chose
1203       twenty-four endeavors from all around the world that are Made with
1204       Creative Commons. The mix is diverse, from an individual musician
1205       to a university-textbook publisher to an electronics manufacturer.
1206       Some make their own content and share under Creative Commons
1207       licensing. Others are platforms for CC-licensed creative work made
1208       by others. Many sit somewhere in between, both using and
1209       contributing creative work that’s shared with the public. Like all
1210       who use the licenses, these endeavors share their work—whether
1211       it’s open data or furniture designs—in a way that enables the
1212       public not only to access it but also to make use of it.
1213     </p><p>
1214       We analyzed the revenue models, customer segments, and value
1215       propositions of each endeavor. We searched for ways that putting
1216       their content under Creative Commons licenses helped boost sales
1217       or increase reach. Using traditional measures of economic success,
1218       we tried to map these business models in a way that meaningfully
1219       incorporated the impact of Creative Commons. In our interviews, we
1220       dug into the motivations, the role of CC licenses, modes of
1221       revenue generation, definitions of success.
1222     </p><p>
1223       In fairly short order, we realized the book we set out to write
1224       was quite different from the one that was revealing itself in our
1225       interviews and research.
1226     </p><p>
1227       It isn’t that we were wrong to think you can make money while
1228       using Creative Commons licenses. In many instances, CC can help
1229       make you more money. Nor were we wrong that there are business
1230       models out there that others who want to use CC licensing as part
1231       of their livelihood or business could replicate. What we didn’t
1232       realize was just how misguided it would be to write a book about
1233       being Made with Creative Commons using only a business lens.
1234     </p><p>
1235       According to the seminal handbook Business Model Generation, a
1236       business model <span class="quote">“<span class="quote">describes the rationale of how an
1237       organization creates, delivers, and captures
1238       value.</span>”</span><a href="#ftn.idm396" class="footnote" name="idm396"><sup class="footnote">[37]</sup></a> Thinking about sharing in terms of creating and
1239       capturing value always felt inappropriately transactional and out
1240       of place, something we heard time and time again in our
1241       interviews. And as Cory Doctorow told us in our interview with
1242       him, <span class="quote">“<span class="quote">Business model can mean anything you want it to
1243       mean.</span>”</span>
1244     </p><p>
1245       Eventually, we got it. Being Made with Creative Commons is more
1246       than a business model. While we will talk about specific revenue
1247       models as one piece of our analysis (and in more detail in the
1248       case studies), we scrapped that as our guiding rubric for the
1249       book.
1250     </p><p>
1251       Admittedly, it took me a long time to get there. When Paul and I
1252       divided up our writing after finishing the research, my charge was
1253       to distill everything we learned from the case studies and write
1254       up the practical lessons and takeaways. I spent months trying to
1255       jam what we learned into the business-model box, convinced there
1256       must be some formula for the way things interacted. But there is
1257       no formula. You’ll probably have to discard that way of thinking
1258       before you read any further.
1259     </p><p>
1260       In every interview, we started from the same simple questions.
1261       Amid all the diversity among the creators, organizations, and
1262       businesses we profiled, there was one constant. Being Made with
1263       Creative Commons may be good for business, but that is not why
1264       they do it. Sharing work with Creative Commons is, at its core, a
1265       moral decision. The commercial and other self-interested benefits
1266       are secondary. Most decided to use CC licenses first and found a
1267       revenue model later. This was our first hint that writing a book
1268       solely about the impact of sharing on business might be a little
1269       off track.
1270     </p><p>
1271       But we also started to realize something about what it means to be
1272       Made with Creative Commons. When people talked to us about how and
1273       why they used CC, it was clear that it meant something more than
1274       using a copyright license. It also represented a set of values.
1275       There is symbolism behind using CC, and that symbolism has many
1276       layers.
1277     </p><p>
1278       At one level, being Made with Creative Commons expresses an
1279       affinity for the value of Creative Commons. While there are many
1280       different flavors of CC licenses and nearly infinite ways to be
1281       Made with Creative Commons, the basic value system is rooted in a
1282       fundamental belief that knowledge and creativity are building
1283       blocks of our culture rather than just commodities from which to
1284       extract market value. These values reflect a belief that the
1285       common good should always be part of the equation when we
1286       determine how to regulate our cultural outputs. They reflect a
1287       belief that everyone has something to contribute, and that no one
1288       can own our shared culture. They reflect a belief in the promise
1289       of sharing.
1290     </p><p>
1291       Whether the public makes use of the opportunity to copy and adapt
1292       your work, sharing with a Creative Commons license is a symbol of
1293       how you want to interact with the people who consume your work.
1294       Whenever you create something, <span class="quote">“<span class="quote">all rights reserved</span>”</span>
1295       under copyright is automatic, so the copyright symbol (©) on the
1296       work does not necessarily come across as a marker of distrust or
1297       excessive protectionism. But using a CC license can be a symbol of
1298       the opposite—of wanting a real human relationship, rather than an
1299       impersonal market transaction. It leaves open the possibility of
1300       connection.
1301     </p><p>
1302       Being Made with Creative Commons not only demonstrates values
1303       connected to CC and sharing. It also demonstrates that something
1304       other than profit drives what you do. In our interviews, we always
1305       asked what success looked like for them. It was stunning how
1306       rarely money was mentioned. Most have a deeper purpose and a
1307       different vision of success.
1308     </p><p>
1309       The driving motivation varies depending on the type of endeavor.
1310       For individual creators, it is most often about personal
1311       inspiration. In some ways, this is nothing new. As Doctorow has
1312       written, <span class="quote">“<span class="quote">Creators usually start doing what they do for
1313       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
1314       license, that dynamic is even more pronounced. Similarly, for
1315       technological innovators, it is often less about creating a
1316       specific new thing that will make you rich and more about solving
1317       a specific problem you have. The creators of Arduino told us that
1318       the key question when creating something is <span class="quote">“<span class="quote">Do you as the
1319       creator want to use it? It has to have personal use and
1320       meaning.</span>”</span>
1321     </p><p>
1322       Many that are Made with Creative Commons have an express social
1323       mission that underpins everything they do. In many cases, sharing
1324       with Creative Commons expressly advances that social mission, and
1325       using the licenses can be the difference between legitimacy and
1326       hypocrisy. Noun Project co-founder Edward Boatman told us they
1327       could not have stated their social mission of sharing with a
1328       straight face if they weren’t willing to show the world that it
1329       was OK to share their content using a Creative Commons license.
1330     </p><p>
1331       This dynamic is probably one reason why there are so many
1332       nonprofit examples of being Made with Creative Commons. The
1333       content is the result of a labor of love or a tool to drive social
1334       change, and money is like gas in the car, something that you need
1335       to keep going but not an end in itself. Being Made with Creative
1336       Commons is a different vision of a business or livelihood, where
1337       profit is not paramount, and producing social good and human
1338       connection are integral to success.
1339     </p><p>
1340       Even if profit isn’t the end goal, you have to bring in money to
1341       be successfully Made with Creative Commons. At a bare minimum, you
1342       have to make enough money to keep the lights on.
1343     </p><p>
1344       The costs of doing business vary widely for those made with CC,
1345       but there is generally a much lower threshold for sustainability
1346       than there used to be for any creative endeavor. Digital
1347       technology has made it easier than ever to create, and easier than
1348       ever to distribute. As Doctorow put it in his book Information
1349       Doesn’t Want to Be Free, <span class="quote">“<span class="quote">If analog dollars have turned into
1350       digital dimes (as the critics of ad-supported media have it),
1351       there is the fact that it’s possible to run a business that gets
1352       the same amount of advertising as its forebears at a fraction of
1353       the price.</span>”</span>
1354     </p><p>
1355       Some creation costs are the same as they always were. It takes the
1356       same amount of time and money to write a peer-reviewed journal
1357       article or paint a painting. Technology can’t change that. But
1358       other costs are dramatically reduced by technology, particularly
1359       in production-heavy domains like filmmaking.<a href="#ftn.idm419" class="footnote" name="idm419"><sup class="footnote">[39]</sup></a> CC-licensed content and content in the public domain,
1360       as well as the work of volunteer collaborators, can also
1361       dramatically reduce costs if they’re being used as resources to
1362       create something new. And, of course, there is the reality that
1363       some content would be created whether or not the creator is paid
1364       because it is a labor of love.
1365     </p><p>
1366       Distributing content is almost universally cheaper than ever. Once
1367       content is created, the costs to distribute copies digitally are
1368       essentially zero.<a href="#ftn.idm422" class="footnote" name="idm422"><sup class="footnote">[40]</sup></a> The costs to distribute physical copies are still
1369       significant, but lower than they have been historically. And it is
1370       now much easier to print and distribute physical copies on-demand,
1371       which also reduces costs. Depending on the endeavor, there can be
1372       a whole host of other possible expenses like marketing and
1373       promotion, and even expenses associated with the various ways
1374       money is being made, like touring or custom training.
1375     </p><p>
1376       It’s important to recognize that the biggest impact of technology
1377       on creative endeavors is that creators can now foot the costs of
1378       creation and distribution themselves. People now often have a
1379       direct route to their potential public without necessarily needing
1380       intermediaries like record labels and book publishers. Doctorow
1381       wrote, <span class="quote">“<span class="quote">If you’re a creator who never got the time of day
1382       from one of the great imperial powers, this is your time. Where
1383       once you had no means of reaching an audience without the
1384       assistance of the industry-dominating megacompanies, now you have
1385       hundreds of ways to do it without them.</span>”</span><a href="#ftn.idm426" class="footnote" name="idm426"><sup class="footnote">[41]</sup></a> Previously, distribution of creative work involved the
1386       costs associated with sustaining a monolithic entity, now creators
1387       can do the work themselves. That means the financial needs of
1388       creative endeavors can be a lot more modest.
1389     </p><p>
1390       Whether for an individual creator or a larger endeavor, it usually
1391       isn’t enough to break even if you want to make what you’re doing a
1392       livelihood. You need to build in some support for the general
1393       operation. This extra bit looks different for everyone, but
1394       importantly, in nearly all cases for those Made with Creative
1395       Commons, the definition of <span class="quote">“<span class="quote">enough money</span>”</span> looks a lot
1396       different than it does in the world of venture capital and stock
1397       options. It is more about sustainability and less about unlimited
1398       growth and profit. SparkFun founder Nathan Seidle told us,
1399       <span class="quote">“<span class="quote">Business model is a really grandiose word for it. It is
1400       really just about keeping the operation going day to day.</span>”</span>
1401     </p><p>
1402       This book is a testament to the notion that it is possible to make
1403       money while using CC licenses and CC-licensed content, but we are
1404       still very much at an experimental stage. The creators,
1405       organizations, and businesses we profile in this book are blazing
1406       the trail and adapting in real time as they pursue this new way of
1407       operating.
1408     </p><p>
1409       There are, however, plenty of ways in which CC licensing can be
1410       good for business in fairly predictable ways. The first is how it
1411       helps solve <span class="quote">“<span class="quote">problem zero.</span>”</span>
1412     </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>
1413         Once you create or collect your content, the next step is
1414         finding users, customers, fans—in other words, your people. As
1415         Amanda Palmer wrote, <span class="quote">“<span class="quote">It has to start with the art. The
1416         songs had to touch people initially, and mean something, for
1417         anything to work at all.</span>”</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[42]</sup></a> There isn’t any magic to finding your people, and
1418         there is certainly no formula. Your work has to connect with
1419         people and offer them some artistic and/or utilitarian value. In
1420         some ways, this is easier than ever. Online we are not limited
1421         by shelf space, so there is room for every obscure interest,
1422         taste, and need imaginable. This is what Chris Anderson dubbed
1423         the Long Tail, where consumption becomes less about mainstream
1424         mass <span class="quote">“<span class="quote">hits</span>”</span> and more about micromarkets for every
1425         particular niche. As Anderson wrote, <span class="quote">“<span class="quote">We are all
1426         different, with different wants and needs, and the Internet now
1427         has a place for all of them in the way that physical markets did
1428         not.</span>”</span><a href="#ftn.idm442" class="footnote" name="idm442"><sup class="footnote">[43]</sup></a> We are no longer limited to what appeals to the
1429         masses.
1430       </p><p>
1431         While finding <span class="quote">“<span class="quote">your people</span>”</span> online is theoretically
1432         easier than in the analog world, as a practical matter it can
1433         still be difficult to actually get noticed. The Internet is a
1434         firehose of content, one that only grows larger by the minute.
1435         As a content creator, not only are you competing for attention
1436         against more content creators than ever before, you are
1437         competing against creativity generated outside the market as
1438         well.<a href="#ftn.idm446" class="footnote" name="idm446"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">“<span class="quote">The greatest change of the
1439         past decade has been the shift in time people spend consuming
1440         amateur content instead of professional
1441         content.</span>”</span><a href="#ftn.idm449" class="footnote" name="idm449"><sup class="footnote">[45]</sup></a> To top it all off, you have to compete against the
1442         rest of their lives, too—<span class="quote">“<span class="quote">friends, family, music
1443         playlists, soccer games, and nights on the
1444         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
1445         right people.
1446       </p><p>
1447         When you come to the Internet armed with an all-rights-reserved
1448         mentality from the start, you are often restricting access to
1449         your work before there is even any demand for it. In many cases,
1450         requiring payment for your work is part of the traditional
1451         copyright system. Even a tiny cost has a big effect on demand.
1452         It’s called the penny gap—the large difference in demand between
1453         something that is available at the price of one cent versus the
1454         price of zero.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to charge money for
1455         your content. It simply means you need to recognize the effect
1456         that doing so will have on demand. The same principle applies to
1457         restricting access to copy the work. If your problem is how to
1458         get discovered and find <span class="quote">“<span class="quote">your people,</span>”</span> prohibiting
1459         people from copying your work and sharing it with others is
1460         counterproductive.
1461       </p><p>
1462         Of course, it’s not that being discovered by people who like
1463         your work will make you rich—far from it. But as Cory Doctorow
1464         says, <span class="quote">“<span class="quote">Recognition is one of many necessary preconditions
1465         for artistic success.</span>”</span><a href="#ftn.idm460" class="footnote" name="idm460"><sup class="footnote">[48]</sup></a>
1466       </p><p>
1467         Choosing not to spend time and energy restricting access to your
1468         work and policing infringement also builds goodwill. Lumen
1469         Learning, a for-profit company that publishes online educational
1470         materials, made an early decision not to prevent students from
1471         accessing their content, even in the form of a tiny paywall,
1472         because it would negatively impact student success in a way that
1473         would undermine the social mission behind what they do. They
1474         believe this decision has generated an immense amount of
1475         goodwill within the community.
1476       </p><p>
1477         It is not just that restricting access to your work may
1478         undermine your social mission. It also may alienate the people
1479         who most value your creative work. If people like your work,
1480         their natural instinct will be to share it with others. But as
1481         David Bollier wrote, <span class="quote">“<span class="quote">Our natural human impulses to
1482         imitate and share—the essence of culture—have been
1483         criminalized.</span>”</span><a href="#ftn.idm465" class="footnote" name="idm465"><sup class="footnote">[49]</sup></a>
1484       </p><p>
1485         The fact that copying can carry criminal penalties undoubtedly
1486         deters copying it, but copying with the click of a button is too
1487         easy and convenient to ever fully stop it. Try as the copyright
1488         industry might to persuade us otherwise, copying a copyrighted
1489         work just doesn’t feel like stealing a loaf of bread. And, of
1490         course, that’s because it isn’t. Sharing a creative work has no
1491         impact on anyone else’s ability to make use of it.
1492       </p><p>
1493         If you take some amount of copying and sharing your work as a
1494         given, you can invest your time and resources elsewhere, rather
1495         than wasting them on playing a cat and mouse game with people
1496         who want to copy and share your work. Lizzy Jongma from the
1497         Rijksmuseum said, <span class="quote">“<span class="quote">We could spend a lot of money trying to
1498         protect works, but people are going to do it anyway. And they
1499         will use bad-quality versions.</span>”</span> Instead, they started
1500         releasing high-resolution digital copies of their collection
1501         into the public domain and making them available for free on
1502         their website. For them, sharing was a form of quality control
1503         over the copies that were inevitably being shared online. Doing
1504         this meant forgoing the revenue they previously got from selling
1505         digital images. But Lizzy says that was a small price to pay for
1506         all of the opportunities that sharing unlocked for them.
1507       </p><p>
1508         Being Made with Creative Commons means you stop thinking about
1509         ways to artificially make your content scarce, and instead
1510         leverage it as the potentially abundant resource it
1511         is.<a href="#ftn.idm471" class="footnote" name="idm471"><sup class="footnote">[50]</sup></a> When you see information abundance as a feature, not
1512         a bug, you start thinking about the ways to use the idling
1513         capacity of your content to your advantage. As my friend and
1514         colleague Eric Steuer once said, <span class="quote">“<span class="quote">Using CC licenses shows
1515         you get the Internet.</span>”</span>
1516       </p><p>
1517         Cory Doctorow says it costs him nothing when other people make
1518         copies of his work, and it opens the possibility that he might
1519         get something in return.<a href="#ftn.idm475" class="footnote" name="idm475"><sup class="footnote">[51]</sup></a> Similarly, the makers of the Arduino boards knew it
1520         was impossible to stop people from copying their hardware, so
1521         they decided not to even try and instead look for the benefits
1522         of being open. For them, the result is one of the most
1523         ubiquitous pieces of hardware in the world, with a thriving
1524         online community of tinkerers and innovators that have done
1525         things with their work they never could have done otherwise.
1526       </p><p>
1527         There are all kinds of way to leverage the power of sharing and
1528         remix to your benefit. Here are a few.
1529       </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>
1530           Putting a Creative Commons license on your content won’t make
1531           it automatically go viral, but eliminating legal barriers to
1532           copying the work certainly can’t hurt the chances that your
1533           work will be shared. The CC license symbolizes that sharing is
1534           welcome. It can act as a little tap on the shoulder to those
1535           who come across the work—a nudge to copy the work if they have
1536           any inkling of doing so. All things being equal, if one piece
1537           of content has a sign that says Share and the other says Don’t
1538           Share (which is what <span class="quote">“<span class="quote">©</span>”</span> means), which do you
1539           think people are more likely to share?
1540         </p><p>
1541           The Conversation is an online news site with in-depth articles
1542           written by academics who are experts on particular topics. All
1543           of the articles are CC-licensed, and they are copied and
1544           reshared on other sites by design. This proliferating effect,
1545           which they track, is a central part of the value to their
1546           academic authors who want to reach as many readers as
1547           possible.
1548         </p><p>
1549           The idea that more eyeballs equates with more success is a
1550           form of the max strategy, adopted by Google and other
1551           technology companies. According to Google’s Eric Schmidt, the
1552           idea is simple: <span class="quote">“<span class="quote">Take whatever it is you are doing and
1553           do it at the max in terms of distribution. The other way of
1554           saying this is that since marginal cost of distribution is
1555           free, you might as well put things
1556           everywhere.</span>”</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[52]</sup></a> This strategy is what often motivates companies to
1557           make their products and services free (i.e., no cost), but the
1558           same logic applies to making content freely shareable. Because
1559           CC-licensed content is free (as in cost) and can be freely
1560           copied, CC licensing makes it even more accessible and likely
1561           to spread.
1562         </p><p>
1563           If you are successful in reaching more users, readers,
1564           listeners, or other consumers of your work, you can start to
1565           benefit from the bandwagon effect. The simple fact that there
1566           are other people consuming or following your work spurs others
1567           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
1568           tendency to engage in herd behavior, but it is also because a
1569           large following is at least a partial indicator of quality or
1570           usefulness.<a href="#ftn.idm490" class="footnote" name="idm490"><sup class="footnote">[54]</sup></a>
1571         </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>
1572           Every Creative Commons license requires that credit be given
1573           to the author, and that reusers supply a link back to the
1574           original source of the material. CC0, not a license but a tool
1575           used to put work in the public domain, does not make
1576           attribution a legal requirement, but many communities still
1577           give credit as a matter of best practices and social norms. In
1578           fact, it is social norms, rather than the threat of legal
1579           enforcement, that most often motivate people to provide
1580           attribution and otherwise comply with the CC license terms
1581           anyway. This is the mark of any well-functioning community,
1582           within both the marketplace and the society at
1583           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
1584           creators, and in the vast majority of circumstances, people
1585           are naturally inclined to follow those wishes. This is
1586           particularly the case for something as straightforward and
1587           consistent with basic notions of fairness as providing credit.
1588         </p><p>
1589           The fact that the name of the creator follows a CC-licensed
1590           work makes the licenses an important means to develop a
1591           reputation or, in corporate speak, a brand. The drive to
1592           associate your name with your work is not just based on
1593           commercial motivations, it is fundamental to authorship.
1594           Knowledge Unlatched is a nonprofit that helps to subsidize the
1595           print production of CC-licensed academic texts by pooling
1596           contributions from libraries around the United States. The
1597           CEO, Frances Pinter, says that the Creative Commons license on
1598           the works has a huge value to authors because reputation is
1599           the most important currency for academics. Sharing with CC is
1600           a way of having the most people see and cite your work.
1601         </p><p>
1602           Attribution can be about more than just receiving credit. It
1603           can also be about establishing provenance. People naturally
1604           want to know where content came from—the source of a work is
1605           sometimes just as interesting as the work itself. Opendesk is
1606           a platform for furniture designers to share their designs.
1607           Consumers who like those designs can then get matched with
1608           local makers who turn the designs into real-life furniture.
1609           The fact that I, sitting in the middle of the United States,
1610           can pick out a design created by a designer in Tokyo and then
1611           use a maker within my own community to transform the design
1612           into something tangible is part of the power of their
1613           platform. The provenance of the design is a special part of
1614           the product.
1615         </p><p>
1616           Knowing the source of a work is also critical to ensuring its
1617           credibility. Just as a trademark is designed to give consumers
1618           a way to identify the source and quality of a particular good
1619           and service, knowing the author of a work gives the public a
1620           way to assess its credibility. In a time when online discourse
1621           is plagued with misinformation, being a trusted information
1622           source is more valuable than ever.
1623         </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>
1624           As we will cover in more detail later, many endeavors that are
1625           Made with Creative Commons make money by providing a product
1626           or service other than the CC-licensed work. Sometimes that
1627           other product or service is completely unrelated to the CC
1628           content. Other times it’s a physical copy or live performance
1629           of the CC content. In all cases, the CC content can attract
1630           people to your other product or service.
1631         </p><p>
1632           Knowledge Unlatched’s Pinter told us she has seen time and
1633           again how offering CC-licensed content—that is, digitally for
1634           free—actually increases sales of the printed goods because it
1635           functions as a marketing tool. We see this phenomenon
1636           regularly with famous artwork. The Mona Lisa is likely the
1637           most recognizable painting on the planet. Its ubiquity has the
1638           effect of catalyzing interest in seeing the painting in
1639           person, and in owning physical goods with the image. Abundant
1640           copies of the content often entice more demand, not blunt it.
1641           Another example came with the advent of the radio. Although
1642           the music industry did not see it coming (and fought it!),
1643           free music on the radio functioned as advertising for the paid
1644           version people bought in music stores.<a href="#ftn.idm505" class="footnote" name="idm505"><sup class="footnote">[56]</sup></a> Free can be a form of promotion.
1645         </p><p>
1646           In some cases, endeavors that are Made with Creative Commons
1647           do not even need dedicated marketing teams or marketing
1648           budgets. Cards Against Humanity is a CC-licensed card game
1649           available as a free download. And because of this (thanks to
1650           the CC license on the game), the creators say it is one of the
1651           best-marketed games in the world, and they have never spent a
1652           dime on marketing. The textbook publisher OpenStax has also
1653           avoided hiring a marketing team. Their products are free, or
1654           cheaper to buy in the case of physical copies, which makes
1655           them much more attractive to students who then demand them
1656           from their universities. They also partner with service
1657           providers who build atop the CC-licensed content and, in turn,
1658           spend money and resources marketing those services (and by
1659           extension, the OpenStax textbooks).
1660         </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
1661         work</h3></div></div></div><p>
1662           The great promise of Creative Commons licensing is that it
1663           signifies an embrace of remix culture. Indeed, this is the
1664           great promise of digital technology. The Internet opened up a
1665           whole new world of possibilities for public participation in
1666           creative work.
1667         </p><p>
1668           Four of the six CC licenses enable reusers to take apart,
1669           build upon, or otherwise adapt the work. Depending on the
1670           context, adaptation can mean wildly different
1671           things—translating, updating, localizing, improving,
1672           transforming. It enables a work to be customized for
1673           particular needs, uses, people, and communities, which is
1674           another distinct value to offer the public.<a href="#ftn.idm512" class="footnote" name="idm512"><sup class="footnote">[57]</sup></a> Adaptation is more game changing in some contexts
1675           than others. With educational materials, the ability to
1676           customize and update the content is critically important for
1677           its usefulness. For photography, the ability to adapt a photo
1678           is less important.
1679         </p><p>
1680           This is a way to counteract a potential downside of the
1681           abundance of free and open content described above. As
1682           Anderson wrote in Free, <span class="quote">“<span class="quote">People often don’t care as much
1683           about things they don’t pay for, and as a result they don’t
1684           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
1685           penny for something changes our perception of that thing, then
1686           surely the act of remixing it enhances our perception
1687           exponentially.<a href="#ftn.idm518" class="footnote" name="idm518"><sup class="footnote">[59]</sup></a> We know that people will pay more for products
1688           they had a part in creating.<a href="#ftn.idm520" class="footnote" name="idm520"><sup class="footnote">[60]</sup></a> And we know that creating something, no matter
1689           what quality, brings with it a type of creative satisfaction
1690           that can never be replaced by consuming something created by
1691           someone else.<a href="#ftn.idm522" class="footnote" name="idm522"><sup class="footnote">[61]</sup></a>
1692         </p><p>
1693           Actively engaging with the content helps us avoid the type of
1694           aimless consumption that anyone who has absentmindedly
1695           scrolled through their social-media feeds for an hour knows
1696           all too well. In his book, Cognitive Surplus, Clay Shirky
1697           says, <span class="quote">“<span class="quote">To participate is to act as if your presence
1698           matters, as if, when you see something or hear something, your
1699           response is part of the event.</span>”</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[62]</sup></a> Opening the door to your content can get people
1700           more deeply tied to your work.
1701         </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>
1702           Operating under a traditional copyright regime usually means
1703           operating under the rules of establishment players in the
1704           media. Business strategies that are embedded in the
1705           traditional copyright system, like using digital rights
1706           management (DRM) and signing exclusivity contracts, can tie
1707           the hands of creators, often at the expense of the creator’s
1708           best interest.<a href="#ftn.idm531" class="footnote" name="idm531"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
1709           function without those barriers and, in many cases, use the
1710           increased openness as a competitive advantage. David Harris
1711           from OpenStax said they specifically pursue strategies they
1712           know that traditional publishers cannot. <span class="quote">“<span class="quote">Don’t go into
1713           a market and play by the incumbent rules,</span>”</span> David said.
1714           <span class="quote">“<span class="quote">Change the rules of engagement.</span>”</span>
1715         </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>
1716         Like any moneymaking endeavor, those that are Made with Creative
1717         Commons have to generate some type of value for their audience
1718         or customers. Sometimes that value is subsidized by funders who
1719         are not actually beneficiaries of that value. Funders, whether
1720         philanthropic institutions, governments, or concerned
1721         individuals, provide money to the organization out of a sense of
1722         pure altruism. This is the way traditional nonprofit funding
1723         operates.<a href="#ftn.idm538" class="footnote" name="idm538"><sup class="footnote">[64]</sup></a> But in many cases, the revenue streams used by
1724         endeavors that are Made with Creative Commons are directly tied
1725         to the value they generate, where the recipient is paying for
1726         the value they receive like any standard market transaction. In
1727         still other cases, rather than the quid pro quo exchange of
1728         money for value that typically drives market transactions, the
1729         recipient gives money out of a sense of reciprocity.
1730       </p><p>
1731         Most who are Made with Creative Commons use a variety of methods
1732         to bring in revenue, some market-based and some not. One common
1733         strategy is using grant funding for content creation when
1734         research-and-development costs are particularly high, and then
1735         finding a different revenue stream (or streams) for ongoing
1736         expenses. As Shirky wrote, <span class="quote">“<span class="quote">The trick is in knowing when
1737         markets are an optimal way of organizing interactions and when
1738         they are not.</span>”</span><a href="#ftn.idm544" class="footnote" name="idm544"><sup class="footnote">[65]</sup></a>
1739       </p><p>
1740         Our case studies explore in more detail the various
1741         revenue-generating mechanisms used by the creators,
1742         organizations, and businesses we interviewed. There is nuance
1743         hidden within the specific ways each of them makes money, so it
1744         is a bit dangerous to generalize too much about what we learned.
1745         Nonetheless, zooming out and viewing things from a higher level
1746         of abstraction can be instructive.
1747       </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>
1748           In the market, the central question when determining how to
1749           bring in revenue is what value people are willing to pay
1750           for.<a href="#ftn.idm550" class="footnote" name="idm550"><sup class="footnote">[66]</sup></a> By definition, if you are Made with Creative
1751           Commons, the content you provide is available for free and not
1752           a market commodity. Like the ubiquitous freemium business
1753           model, any possible market transaction with a consumer of your
1754           content has to be based on some added value you
1755           provide.<a href="#ftn.idm552" class="footnote" name="idm552"><sup class="footnote">[67]</sup></a>
1756         </p><p>
1757           In many ways, this is the way of the future for all
1758           content-driven endeavors. In the market, value lives in things
1759           that are scarce. Because the Internet makes a universe of
1760           content available to all of us for free, it is difficult to
1761           get people to pay for content online. The struggling newspaper
1762           industry is a testament to this fact. This is compounded by
1763           the fact that at least some amount of copying is probably
1764           inevitable. That means you may end up competing with free
1765           versions of your own content, whether you condone it or
1766           not.<a href="#ftn.idm555" class="footnote" name="idm555"><sup class="footnote">[68]</sup></a> If people can easily find your content for free,
1767           getting people to buy it will be difficult, particularly in a
1768           context where access to content is more important than owning
1769           it. In Free, Anderson wrote, <span class="quote">“<span class="quote">Copyright protection
1770           schemes, whether coded into either law or software, are simply
1771           holding up a price against the force of gravity.</span>”</span>
1772         </p><p>
1773           Of course, this doesn’t mean that content-driven endeavors
1774           have no future in the traditional marketplace. In Free,
1775           Anderson explains how when one product or service becomes
1776           free, as information and content largely have in the digital
1777           age, other things become more valuable. <span class="quote">“<span class="quote">Every abundance
1778           creates a new scarcity,</span>”</span> he wrote. You just have to
1779           find some way other than the content to provide value to your
1780           audience or customers. As Anderson says, <span class="quote">“<span class="quote">It’s easy to
1781           compete with Free: simply offer something better or at least
1782           different from the free version.</span>”</span><a href="#ftn.idm561" class="footnote" name="idm561"><sup class="footnote">[69]</sup></a>
1783         </p><p>
1784           In light of this reality, in some ways endeavors that are Made
1785           with Creative Commons are at a level playing field with all
1786           content-based endeavors in the digital age. In fact, they may
1787           even have an advantage because they can use the abundance of
1788           content to derive revenue from something scarce. They can also
1789           benefit from the goodwill that stems from the values behind
1790           being Made with Creative Commons.
1791         </p><p>
1792           For content creators and distributors, there are nearly
1793           infinite ways to provide value to the consumers of your work,
1794           above and beyond the value that lives within your free digital
1795           content. Often, the CC-licensed content functions as a
1796           marketing tool for the paid product or service.
1797         </p><p>
1798           Here are the most common high-level categories.
1799         </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
1800         <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1801           In this age of information abundance, we don’t lack for
1802           content. The trick is finding content that matches our needs
1803           and wants, so customized services are particularly valuable.
1804           As Anderson wrote, <span class="quote">“<span class="quote">Commodity information (everybody
1805           gets the same version) wants to be free. Customized
1806           information (you get something unique and meaningful to you)
1807           wants to be expensive.</span>”</span><a href="#ftn.idm571" class="footnote" name="idm571"><sup class="footnote">[70]</sup></a> This can be anything from the artistic and
1808           cultural consulting services provided by Ártica to the
1809           custom-song business of Jonathan <span class="quote">“<span class="quote">Song-A-Day</span>”</span>
1810           Mann.
1811         </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
1812         <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1813           In his book about maker culture, Anderson characterizes this
1814           model as giving away the bits and selling the atoms (where
1815           bits refers to digital content and atoms refer to a physical
1816           object).<a href="#ftn.idm578" class="footnote" name="idm578"><sup class="footnote">[71]</sup></a> This is particularly successful in domains where
1817           the digital version of the content isn’t as valuable as the
1818           analog version, like book publishing where a significant
1819           subset of people still prefer reading something they can hold
1820           in their hands. Or in domains where the content isn’t useful
1821           until it is in physical form, like furniture designs. In those
1822           situations, a significant portion of consumers will pay for
1823           the convenience of having someone else put the physical
1824           version together for them. Some endeavors squeeze even more
1825           out of this revenue stream by using a Creative Commons license
1826           that only allows noncommercial uses, which means no one else
1827           can sell physical copies of their work in competition with
1828           them. This strategy of reserving commercial rights can be
1829           particularly important for items like books, where every
1830           printed copy of the same work is likely to be the same
1831           quality, so it is harder to differentiate one publishing
1832           service from another. On the other hand, for items like
1833           furniture or electronics, the provider of the physical goods
1834           can compete with other providers of the same works based on
1835           quality, service, or other traditional business principles.
1836         </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
1837         <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1838           As anyone who has ever gone to a concert will tell you,
1839           experiencing creativity in person is a completely different
1840           experience from consuming a digital copy on your own. Far from
1841           acting as a substitute for face-to-face interaction,
1842           CC-licensed content can actually create demand for the
1843           in-person version of experience. You can see this effect when
1844           people go view original art in person or pay to attend a talk
1845           or training course.
1846         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="selling-merchandise-market-based"></a>Selling merchandise
1847         <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1848           In many cases, people who like your work will pay for products
1849           demonstrating a connection to your work. As a child of the
1850           1980s, I can personally attest to the power of a good concert
1851           T-shirt. This can also be an important revenue stream for
1852           museums and galleries.
1853         </p><p>
1854           Sometimes the way to find a market-based revenue stream is by
1855           providing value to people other than those who consume your
1856           CC-licensed content. In these revenue streams, the free
1857           content is being subsidized by an entirely different category
1858           of people or businesses. Often, those people or businesses are
1859           paying to access your main audience. The fact that the content
1860           is free increases the size of the audience, which in turn
1861           makes the offer more valuable to the paying customers. This is
1862           a variation of a traditional business model built on free
1863           called multi-sided platforms.<a href="#ftn.idm589" class="footnote" name="idm589"><sup class="footnote">[72]</sup></a> Access to your audience isn’t the only thing
1864           people are willing to pay for—there are other services you can
1865           provide as well.
1866         </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
1867         <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1868           The traditional model of subsidizing free content is
1869           advertising. In this version of multi-sided platforms,
1870           advertisers pay for the opportunity to reach the set of
1871           eyeballs the content creators provide in the form of their
1872           audience.<a href="#ftn.idm595" class="footnote" name="idm595"><sup class="footnote">[73]</sup></a> The Internet has made this model more difficult
1873           because the number of potential channels available to reach
1874           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
1875           for many content creators, including those who are Made with
1876           Creative Commons. Often, instead of paying to display
1877           advertising, the advertiser pays to be an official sponsor of
1878           particular content or projects, or of the overall endeavor.
1879         </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
1880         <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1881           Another type of multisided platform is where the content
1882           creators themselves pay to be featured on the platform.
1883           Obviously, this revenue stream is only available to those who
1884           rely on work created, at least in part, by others. The most
1885           well-known version of this model is the
1886           <span class="quote">“<span class="quote">author-processing charge</span>”</span> of open-access
1887           journals like those published by the Public Library of
1888           Science, but there are other variations. The Conversation is
1889           primarily funded by a university-membership model, where
1890           universities pay to have their faculties participate as
1891           writers of the content on the Conversation website.
1892         </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
1893         <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1894           This is a version of a traditional business model based on
1895           brokering transactions between parties.<a href="#ftn.idm608" class="footnote" name="idm608"><sup class="footnote">[75]</sup></a> Curation is an important element of this model.
1896           Platforms like the Noun Project add value by wading through
1897           CC-licensed content to curate a high-quality set and then
1898           derive revenue when creators of that content make transactions
1899           with customers. Other platforms make money when service
1900           providers transact with their customers; for example, Opendesk
1901           makes money every time someone on their site pays a maker to
1902           make furniture based on one of the designs on the platform.
1903         </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
1904         <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1905           As mentioned above, endeavors can make money by providing
1906           customized services to their users. Platforms can undertake a
1907           variation of this service model directed at the creators that
1908           provide the content they feature. The data platforms Figure.NZ
1909           and Figshare both capitalize on this model by providing paid
1910           tools to help their users make the data they contribute to the
1911           platform more discoverable and reusable.
1912         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="licensing-a-trademark-market-based"></a>Licensing a trademark
1913         <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1914           Finally, some that are Made with Creative Commons make money
1915           by selling use of their trademarks. Well known brands that
1916           consumers associate with quality, credibility, or even an
1917           ethos can license that trademark to companies that want to
1918           take advantage of that goodwill. By definition, trademarks are
1919           scarce because they represent a particular source of a good or
1920           service. Charging for the ability to use that trademark is a
1921           way of deriving revenue from something scarce while taking
1922           advantage of the abundance of CC content.
1923         </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>
1924           Even if we set aside grant funding, we found that the
1925           traditional economic framework of understanding the market
1926           failed to fully capture the ways the endeavors we analyzed
1927           were making money. It was not simply about monetizing
1928           scarcity.
1929         </p><p>
1930           Rather than devising a scheme to get people to pay money in
1931           exchange for some direct value provided to them, many of the
1932           revenue streams were more about providing value, building a
1933           relationship, and then eventually finding some money that
1934           flows back out of a sense of reciprocity. While some look like
1935           traditional nonprofit funding models, they aren’t charity. The
1936           endeavor exchange value with people, just not necessarily
1937           synchronously or in a way that requires that those values be
1938           equal. As David Bollier wrote in Think Like a Commoner,
1939           <span class="quote">“<span class="quote">There is no self-serving calculation of whether the
1940           value given and received is strictly equal.</span>”</span>
1941         </p><p>
1942           This should be a familiar dynamic—it is the way you deal with
1943           your friends and family. We give without regard for what and
1944           when we will get back. David Bollier wrote, <span class="quote">“<span class="quote">Reciprocal
1945           social exchange lies at the heart of human identity, community
1946           and culture. It is a vital brain function that helps the human
1947           species survive and evolve.</span>”</span>
1948         </p><p>
1949           What is rare is to incorporate this sort of relationship into
1950           an endeavor that also engages with the market.<a href="#ftn.idm626" class="footnote" name="idm626"><sup class="footnote">[76]</sup></a> We almost can’t help but think of relationships in
1951           the market as being centered on an even-steven exchange of
1952           value.<a href="#ftn.idm628" class="footnote" name="idm628"><sup class="footnote">[77]</sup></a>
1953         </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
1954         <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1955           While memberships and donations are traditional nonprofit
1956           funding models, in the Made with Creative Commons context,
1957           they are directly tied to the reciprocal relationship that is
1958           cultivated with the beneficiaries of their work. The bigger
1959           the pool of those receiving value from the content, the more
1960           likely this strategy will work, given that only a small
1961           percentage of people are likely to contribute. Since using CC
1962           licenses can grease the wheels for content to reach more
1963           people, this strategy can be more effective for endeavors that
1964           are Made with Creative Commons. The greater the argument that
1965           the content is a public good or that the entire endeavor is
1966           furthering a social mission, the more likely this strategy is
1967           to succeed.
1968         </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
1969         <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1970           In the pay-what-you-want model, the beneficiary of Creative
1971           Commons content is invited to give—at any amount they can and
1972           feel is appropriate, based on the public and personal value
1973           they feel is generated by the open content. Critically, these
1974           models are not touted as <span class="quote">“<span class="quote">buying</span>”</span> something free.
1975           They are similar to a tip jar. People make financial
1976           contributions as an act of gratitude. These models capitalize
1977           on the fact that we are naturally inclined to give money for
1978           things we value in the marketplace, even in situations where
1979           we could find a way to get it for free.
1980         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="crowdfunding-reciprocity-based"></a>Crowdfunding
1981         <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1982           Crowdfunding models are based on recouping the costs of
1983           creating and distributing content before the content is
1984           created. If the endeavor is Made with Creative Commons, anyone
1985           who wants the work in question could simply wait until it’s
1986           created and then access it for free. That means, for this
1987           model to work, people have to care about more than just
1988           receiving the work. They have to want you to succeed. Amanda
1989           Palmer credits the success of her crowdfunding on Kickstarter
1990           and Patreon to the years she spent building her community and
1991           creating a connection with her fans. She wrote in The Art of
1992           Asking, <span class="quote">“<span class="quote">Good art is made, good art is shared, help is
1993           offered, ears are bent, emotions are exchanged, the compost of
1994           real, deep connection is sprayed all over the fields. Then one
1995           day, the artist steps up and asks for something. And if the
1996           ground has been fertilized enough, the audience says, without
1997           hesitation: of course.</span>”</span>
1998         </p><p>
1999           Other types of crowdfunding rely on a sense of responsibility
2000           that a particular community may feel. Knowledge Unlatched
2001           pools funds from major U.S. libraries to subsidize CC-licensed
2002           academic work that will be, by definition, available to
2003           everyone for free. Libraries with bigger budgets tend to give
2004           more out of a sense of commitment to the library community and
2005           to the idea of open access generally.
2006         </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>
2007         Regardless of how they made money, in our interviews, we
2008         repeatedly heard language like <span class="quote">“<span class="quote">persuading people to
2009         buy</span>”</span> and <span class="quote">“<span class="quote">inviting people to pay.</span>”</span> We heard
2010         it even in connection with revenue streams that sit squarely
2011         within the market. Cory Doctorow told us, <span class="quote">“<span class="quote">I have to
2012         convince my readers that the right thing to do is to pay
2013         me.</span>”</span> The founders of the for-profit company Lumen
2014         Learning showed us the letter they send to those who opt not to
2015         pay for the services they provide in connection with their
2016         CC-licensed educational content. It isn’t a cease-and-desist
2017         letter; it’s an invitation to pay because it’s the right thing
2018         to do. This sort of behavior toward what could be considered
2019         nonpaying customers is largely unheard of in the traditional
2020         marketplace. But it seems to be part of the fabric of being Made
2021         with Creative Commons.
2022       </p><p>
2023         Nearly every endeavor we profiled relied, at least in part, on
2024         people being invested in what they do. The closer the Creative
2025         Commons content is to being <span class="quote">“<span class="quote">the product,</span>”</span> the more
2026         pronounced this dynamic has to be. Rather than simply selling a
2027         product or service, they are making ideological, personal, and
2028         creative connections with the people who value what they do.
2029       </p><p>
2030         It took me a very long time to see how this avoidance of
2031         thinking about what they do in pure market terms was deeply tied
2032         to being Made with Creative Commons.
2033       </p><p>
2034         I came to the research with preconceived notions about what
2035         Creative Commons is and what it means to be Made with Creative
2036         Commons. It turned out I was wrong on so many counts.
2037       </p><p>
2038         Obviously, being Made with Creative Commons means using Creative
2039         Commons licenses. That much I knew. But in our interviews,
2040         people spoke of so much more than copyright permissions when
2041         they explained how sharing fit into what they do. I was thinking
2042         about sharing too narrowly, and as a result, I was missing vast
2043         swaths of the meaning packed within Creative Commons. Rather
2044         than parsing the specific and narrow role of the copyright
2045         license in the equation, it is important not to disaggregate the
2046         rest of what comes with sharing. You have to widen the lens.
2047       </p><p>
2048         Being Made with Creative Commons is not just about the simple
2049         act of licensing a copyrighted work under a set of standardized
2050         terms, but also about community, social good, contributing
2051         ideas, expressing a value system, working together. These
2052         components of sharing are hard to cultivate if you think about
2053         what you do in purely market terms. Decent social behavior isn’t
2054         as intuitive when we are doing something that involves monetary
2055         exchange. It takes a conscious effort to foster the context for
2056         real sharing, based not strictly on impersonal market exchange,
2057         but on connections with the people with whom you
2058         share—connections with you, with your work, with your values,
2059         with each other.
2060       </p><p>
2061         The rest of this section will explore some of the common
2062         strategies that creators, companies, and organizations use to
2063         remind us that there are humans behind every creative endeavor.
2064         To remind us we have obligations to each other. To remind us
2065         what sharing really looks like.
2066       </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-human"></a>Be human</h3></div></div></div><p>
2067           Humans are social animals, which means we are naturally
2068           inclined to treat each other well.<a href="#ftn.idm661" class="footnote" name="idm661"><sup class="footnote">[78]</sup></a> But the further removed we are from the person
2069           with whom we are interacting, the less caring our behavior
2070           will be. While the Internet has democratized cultural
2071           production, increased access to knowledge, and connected us in
2072           extraordinary ways, it can also make it easy forget we are
2073           dealing with another human.
2074         </p><p>
2075           To counteract the anonymous and impersonal tendencies of how
2076           we operate online, individual creators and corporations who
2077           use Creative Commons licenses work to demonstrate their
2078           humanity. For some, this means pouring their lives out on the
2079           page. For others, it means showing their creative process,
2080           giving a glimpse into how they do what they do. As writer
2081           Austin Kleon wrote, <span class="quote">“<span class="quote">Our work doesn’t speak for itself.
2082           Human beings want to know where things came from, how they
2083           were made, and who made them. The stories you tell about the
2084           work you do have a huge effect on how people feel and what
2085           they understand about your work, and how people feel and what
2086           they understand about your work affects how they value
2087           it.</span>”</span><a href="#ftn.idm665" class="footnote" name="idm665"><sup class="footnote">[79]</sup></a>
2088         </p><p>
2089           A critical component to doing this effectively is not worrying
2090           about being a <span class="quote">“<span class="quote">brand.</span>”</span> That means not being
2091           afraid to be vulnerable. Amanda Palmer says, <span class="quote">“<span class="quote">When
2092           you’re afraid of someone’s judgment, you can’t connect with
2093           them. You’re too preoccupied with the task of impressing
2094           them.</span>”</span> Not everyone is suited to live life as an open
2095           book like Palmer, and that’s OK. There are a lot of ways to be
2096           human. The trick is just avoiding pretense and the temptation
2097           to artificially craft an image. People don’t just want the
2098           glossy version of you. They can’t relate to it, at least not
2099           in a meaningful way.
2100         </p><p>
2101           This advice is probably even more important for businesses and
2102           organizations because we instinctively conceive of them as
2103           nonhuman (though in the United States, corporations are
2104           people!). When corporations and organizations make the people
2105           behind them more apparent, it reminds people that they are
2106           dealing with something other than an anonymous corporate
2107           entity. In business-speak, this is about <span class="quote">“<span class="quote">humanizing
2108           your interactions</span>”</span> with the public.<a href="#ftn.idm672" class="footnote" name="idm672"><sup class="footnote">[80]</sup></a> But it can’t be a gimmick. You can’t fake being
2109           human.
2110         </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>
2111           Transparency helps people understand who you are and why you
2112           do what you do, but it also inspires trust. Max Temkin of
2113           Cards Against Humanity told us, <span class="quote">“<span class="quote">One of the most
2114           surprising things you can do in capitalism is just be honest
2115           with people.</span>”</span> That means sharing the good and the bad.
2116           As Amanda Palmer wrote, <span class="quote">“<span class="quote">You can fix almost anything by
2117           authentically communicating.</span>”</span><a href="#ftn.idm679" class="footnote" name="idm679"><sup class="footnote">[81]</sup></a> It isn’t about trying to satisfy everyone or
2118           trying to sugarcoat mistakes or bad news, but instead about
2119           explaining your rationale and then being prepared to defend it
2120           when people are critical.<a href="#ftn.idm681" class="footnote" name="idm681"><sup class="footnote">[82]</sup></a>
2121         </p><p>
2122           Being accountable does not mean operating on consensus.
2123           According to James Surowiecki, consensus-driven groups tend to
2124           resort to lowest-common-denominator solutions and avoid the
2125           sort of candid exchange of ideas that cultivates healthy
2126           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
2127           and then giving context and explanation about decisions you
2128           make, even if soliciting feedback and inviting discourse is
2129           time-consuming. If you don’t go through the effort to actually
2130           respond to the input you receive, it can be worse than not
2131           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
2132           type of diversity of thought that helps endeavors excel. And
2133           it is another way to get people involved and invested in what
2134           you do.
2135         </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>
2136           Traditional economics assumes people make decisions based
2137           solely on their own economic self-interest.<a href="#ftn.idm691" class="footnote" name="idm691"><sup class="footnote">[85]</sup></a> Any relatively introspective human knows this is a
2138           fiction—we are much more complicated beings with a whole range
2139           of needs, emotions, and motivations. In fact, we are hardwired
2140           to work together and ensure fairness.<a href="#ftn.idm693" class="footnote" name="idm693"><sup class="footnote">[86]</sup></a> Being Made with Creative Commons requires an
2141           assumption that people will largely act on those social
2142           motivations, motivations that would be considered
2143           <span class="quote">“<span class="quote">irrational</span>”</span> in an economic sense. As Knowledge
2144           Unlatched’s Pinter told us, <span class="quote">“<span class="quote">It is best to ignore people
2145           who try to scare you about free riding. That fear is based on
2146           a very shallow view of what motivates human behavior.</span>”</span>
2147           There will always be people who will act in purely selfish
2148           ways, but endeavors that are Made with Creative Commons design
2149           for the good actors.
2150         </p><p>
2151           The assumption that people will largely do the right thing can
2152           be a self-fulfilling prophecy. Shirky wrote in Cognitive
2153           Surplus, <span class="quote">“<span class="quote">Systems that assume people will act in ways
2154           that create public goods, and that give them opportunities and
2155           rewards for doing so, often let them work together better than
2156           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
2157           motivated by something other than financial self-interest, we
2158           design our endeavors in ways that encourage and accentuate our
2159           social instincts.
2160         </p><p>
2161           Rather than trying to exert control over people’s behavior,
2162           this mode of operating requires a certain level of trust. We
2163           might not realize it, but our daily lives are already built on
2164           trust. As Surowiecki wrote in The Wisdom of Crowds,
2165           <span class="quote">“<span class="quote">It’s impossible for a society to rely on law alone to
2166           make sure citizens act honestly and responsibly. And it’s
2167           impossible for any organization to rely on contracts alone to
2168           make sure that its managers and workers live up to their
2169           obligation.</span>”</span> Instead, we largely trust that
2170           people—mostly strangers—will do what they are supposed to
2171           do.<a href="#ftn.idm703" class="footnote" name="idm703"><sup class="footnote">[88]</sup></a> And most often, they do.
2172         </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>
2173           For creators, treating people as humans means not treating
2174           them like fans. As Kleon says, <span class="quote">“<span class="quote">If you want fans, you
2175           have to be a fan first.</span>”</span><a href="#ftn.idm709" class="footnote" name="idm709"><sup class="footnote">[89]</sup></a> Even if you happen to be one of the few to reach
2176           celebrity levels of fame, you are better off remembering that
2177           the people who follow your work are human, too. Cory Doctorow
2178           makes a point to answer every single email someone sends him.
2179           Amanda Palmer spends vast quantities of time going online to
2180           communicate with her public, making a point to listen just as
2181           much as she talks.<a href="#ftn.idm711" class="footnote" name="idm711"><sup class="footnote">[90]</sup></a>
2182         </p><p>
2183           The same idea goes for businesses and organizations. Rather
2184           than automating its customer service, the music platform Tribe
2185           of Noise makes a point to ensure its employees have personal,
2186           one-on-one interaction with users.
2187         </p><p>
2188           When we treat people like humans, they typically return the
2189           gift in kind. It’s called karma. But social relationships are
2190           fragile. It is all too easy to destroy them if you make the
2191           mistake of treating people as anonymous customers or free
2192           labor.<a href="#ftn.idm715" class="footnote" name="idm715"><sup class="footnote">[91]</sup></a> Platforms that rely on content from contributors
2193           are especially at risk of creating an exploitative dynamic. It
2194           is important to find ways to acknowledge and pay back the
2195           value that contributors generate. That does not mean you can
2196           solve this problem by simply paying contributors for their
2197           time or contributions. As soon as we introduce money into a
2198           relationship—at least when it takes a form of paying monetary
2199           value in exchange for other value—it can dramatically change
2200           the dynamic.<a href="#ftn.idm717" class="footnote" name="idm717"><sup class="footnote">[92]</sup></a>
2201         </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>
2202           Being Made with Creative Commons makes a statement about who
2203           you are and what you do. The symbolism is powerful. Using
2204           Creative Commons licenses demonstrates adherence to a
2205           particular belief system, which generates goodwill and
2206           connects like-minded people to your work. Sometimes people
2207           will be drawn to endeavors that are Made with Creative Commons
2208           as a way of demonstrating their own commitment to the Creative
2209           Commons value system, akin to a political statement. Other
2210           times people will identify and feel connected with an
2211           endeavor’s separate social mission. Often both.
2212         </p><p>
2213           The expression of your values doesn’t have to be implicit. In
2214           fact, many of the people we interviewed talked about how
2215           important it is to state your guiding principles up front.
2216           Lumen Learning attributes a lot of their success to having
2217           been outspoken about the fundamental values that guide what
2218           they do. As a for-profit company, they think their expressed
2219           commitment to low-income students and open licensing has been
2220           critical to their credibility in the OER (open educational
2221           resources) community in which they operate.
2222         </p><p>
2223           When your end goal is not about making a profit, people trust
2224           that you aren’t just trying to extract value for your own
2225           gain. People notice when you have a sense of purpose that
2226           transcends your own self-interest.<a href="#ftn.idm724" class="footnote" name="idm724"><sup class="footnote">[93]</sup></a> It attracts committed employees, motivates
2227           contributors, and builds trust.
2228         </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>
2229           Endeavors that are Made with Creative Commons thrive when
2230           community is built around what they do. This may mean a
2231           community collaborating together to create something new, or
2232           it may simply be a collection of like-minded people who get to
2233           know each other and rally around common interests or
2234           beliefs.<a href="#ftn.idm729" class="footnote" name="idm729"><sup class="footnote">[94]</sup></a> To a certain extent, simply being Made with
2235           Creative Commons automatically brings with it some element of
2236           community, by helping connect you to like-minded others who
2237           recognize and are drawn to the values symbolized by using CC.
2238         </p><p>
2239           To be sustainable, though, you have to work to nurture
2240           community. People have to care—about you and each other. One
2241           critical piece to this is fostering a sense of belonging. As
2242           Jono Bacon writes in The Art of Community, <span class="quote">“<span class="quote">If there is
2243           no belonging, there is no community.</span>”</span> For Amanda Palmer
2244           and her band, that meant creating an accepting and inclusive
2245           environment where people felt a part of their <span class="quote">“<span class="quote">weird
2246           little family.</span>”</span><a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[95]</sup></a> For organizations like Red Hat, that means
2247           connecting around common beliefs or goals. As the CEO Jim
2248           Whitehurst wrote in The Open Organization, <span class="quote">“<span class="quote">Tapping into
2249           passion is especially important in building the kinds of
2250           participative communities that drive open
2251           organizations.</span>”</span><a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[96]</sup></a>
2252         </p><p>
2253           Communities that collaborate together take deliberate
2254           planning. Surowiecki wrote, <span class="quote">“<span class="quote">It takes a lot of work to
2255           put the group together. It’s difficult to ensure that people
2256           are working in the group’s interest and not in their own. And
2257           when there’s a lack of trust between the members of the group
2258           (which isn’t surprising given that they don’t really know each
2259           other), considerable energy is wasted trying to determine each
2260           other’s bona fides.</span>”</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[97]</sup></a> Building true community requires giving people
2261           within the community the power to create or influence the
2262           rules that govern the community.<a href="#ftn.idm743" class="footnote" name="idm743"><sup class="footnote">[98]</sup></a> If the rules are created and imposed in a top-down
2263           manner, people feel like they don’t have a voice, which in
2264           turn leads to disengagement.
2265         </p><p>
2266           Community takes work, but working together, or even simply
2267           being connected around common interests or values, is in many
2268           ways what sharing is about.
2269         </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>
2270           Conventional wisdom in the marketplace dictates that people
2271           should try to extract as much money as possible from
2272           resources. This is essentially what defines so much of the
2273           so-called sharing economy. In an article on the Harvard
2274           Business Review website called <span class="quote">“<span class="quote">The Sharing Economy
2275           Isn’t about Sharing at All,</span>”</span> authors Giana Eckhardt and
2276           Fleura Bardhi explained how the anonymous market-driven
2277           trans-actions in most sharing-economy businesses are purely
2278           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
2279           primary strategy of the sharing economy is to sell the same
2280           product multiple times, by selling access rather than
2281           ownership.<a href="#ftn.idm754" class="footnote" name="idm754"><sup class="footnote">[100]</sup></a> That is not sharing.
2282         </p><p>
2283           Sharing requires adding as much or more value to the ecosystem
2284           than you take. You can’t simply treat open content as a free
2285           pool of resources from which to extract value. Part of giving
2286           back to the ecosystem is contributing content back to the
2287           public under CC licenses. But it doesn’t have to just be about
2288           creating content; it can be about adding value in other ways.
2289           The social blogging platform Medium provides value to its
2290           community by incentivizing good behavior, and the result is an
2291           online space with remarkably high-quality user-generated
2292           content and limited trolling.<a href="#ftn.idm757" class="footnote" name="idm757"><sup class="footnote">[101]</sup></a> Opendesk contributes to its community by
2293           committing to help its designers make money, in part by
2294           actively curating and displaying their work on its platform
2295           effectively.
2296         </p><p>
2297           In all cases, it is important to openly acknowledge the amount
2298           of value you add versus that which you draw on that was
2299           created by others. Being transparent about this builds
2300           credibility and shows you are a contributing player in the
2301           commons. When your endeavor is making money, that also means
2302           apportioning financial compensation in a way that reflects the
2303           value contributed by others, providing more to contributors
2304           when the value they add outweighs the value provided by you.
2305         </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>
2306           Thanks to the Internet, we can tap into the talents and
2307           expertise of people around the globe. Chris Anderson calls it
2308           the Long Tail of talent.<a href="#ftn.idm765" class="footnote" name="idm765"><sup class="footnote">[102]</sup></a> But to make collaboration work, the group has to
2309           be effective at what it is doing, and the people within the
2310           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
2311           creative work than it is for others. Groups tied together
2312           online collaborate best when people can work independently and
2313           asynchronously, and particularly for larger groups with loose
2314           ties, when contributors can make simple improvements without a
2315           particularly heavy time commitment.<a href="#ftn.idm769" class="footnote" name="idm769"><sup class="footnote">[104]</sup></a>
2316         </p><p>
2317           As the success of Wikipedia demonstrates, editing an online
2318           encyclopedia is exactly the sort of activity that is perfect
2319           for massive co-creation because small, incremental edits made
2320           by a diverse range of people acting on their own are immensely
2321           valuable in the aggregate. Those same sorts of small
2322           contributions would be less useful for many other types of
2323           creative work, and people are inherently less motivated to
2324           contribute when it doesn’t appear that their efforts will make
2325           much of a difference.<a href="#ftn.idm772" class="footnote" name="idm772"><sup class="footnote">[105]</sup></a>
2326         </p><p>
2327           It is easy to romanticize the opportunities for global
2328           cocreation made possible by the Internet, and, indeed, the
2329           successful examples of it are truly incredible and inspiring.
2330           But in a wide range of circumstances—perhaps more often than
2331           not—community cocreation is not part of the equation, even
2332           within endeavors built on CC content. Shirky wrote,
2333           <span class="quote">“<span class="quote">Sometimes the value of professional work trumps the
2334           value of amateur sharing or a feeling of belonging.<a href="#ftn.idm776" class="footnote" name="idm776"><sup class="footnote">[106]</sup></a> The textbook publisher OpenStax, which distributes
2335           all of its material for free under CC licensing, is an example
2336           of this dynamic. Rather than tapping the community to help
2337           cocreate their college textbooks, they invest a significant
2338           amount of time and money to develop professional content. For
2339           individual creators, where the creative work is the basis for
2340           what they do, community cocreation is only rarely a part of
2341           the picture. Even musician Amanda Palmer, who is famous for
2342           her openness and involvement with her fans, said,</span>”</span>The
2343           only department where I wasn’t open to input was the writing,
2344           the music itself."<a href="#ftn.idm778" class="footnote" name="idm778"><sup class="footnote">[107]</sup></a>
2345         </p><p>
2346           While we tend to immediately think of cocreation and remixing
2347           when we hear the word collaboration, you can also involve
2348           others in your creative process in more informal ways, by
2349           sharing half-baked ideas and early drafts, and interacting
2350           with the public to incubate ideas and get feedback. So-called
2351           <span class="quote">“<span class="quote">making in public</span>”</span> opens the door to letting
2352           people feel more invested in your creative work.<a href="#ftn.idm782" class="footnote" name="idm782"><sup class="footnote">[108]</sup></a> And it shows a nonterritorial approach to ideas
2353           and information. Stephen Covey (of The 7 Habits of Highly
2354           Effective People fame) calls this the abundance
2355           mentality—treating ideas like something plentiful—and it can
2356           create an environment where collaboration
2357           flourishes.<a href="#ftn.idm784" class="footnote" name="idm784"><sup class="footnote">[109]</sup></a>
2358         </p><p>
2359           There is no one way to involve people in what you do. They key
2360           is finding a way for people to contribute on their terms,
2361           compelled by their own motivations.<a href="#ftn.idm787" class="footnote" name="idm787"><sup class="footnote">[110]</sup></a> What that looks like varies wildly depending on
2362           the project. Not every endeavor that is Made with Creative
2363           Commons can be Wikipedia, but every endeavor can find ways to
2364           invite the public into what they do. The goal for any form of
2365           collaboration is to move away from thinking of consumers as
2366           passive recipients of your content and transition them into
2367           active participants.<a href="#ftn.idm789" class="footnote" name="idm789"><sup class="footnote">[111]</sup></a>
2368         </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>
2369           Alex Osterwalder and Yves Pigneur, Business Model Generation
2370           (Hoboken, NJ: John Wiley and Sons, 2010), 14. A preview of the
2371           book is available at
2372           <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
2373         </p></div><div id="ftn.idm410" class="footnote"><p><a href="#idm410" class="para"><sup class="para">[38] </sup></a>
2374           Cory Doctorow, Information Doesn’t Want to Be Free: Laws for
2375           the Internet Age (San Francisco, CA: McSweeney’s, 2014) 68.
2376         </p></div><div id="ftn.idm419" class="footnote"><p><a href="#idm419" class="para"><sup class="para">[39] </sup></a>
2377           Ibid., 55.
2378         </p></div><div id="ftn.idm422" class="footnote"><p><a href="#idm422" class="para"><sup class="para">[40] </sup></a>
2379           Chris Anderson, Free: How Today’s Smartest Businesses Profit
2380           by Giving Something for Nothing, reprint with new preface (New
2381           York: Hyperion, 2010), 224.
2382         </p></div><div id="ftn.idm426" class="footnote"><p><a href="#idm426" class="para"><sup class="para">[41] </sup></a>
2383           Doctorow, Information Doesn’t Want to Be Free, 44.
2384         </p></div><div id="ftn.idm438" class="footnote"><p><a href="#idm438" class="para"><sup class="para">[42] </sup></a>
2385             Amanda Palmer, The Art of Asking: Or How I Learned to Stop
2386             Worrying and Let People Help (New York: Grand Central,
2387             2014), 121.
2388           </p></div><div id="ftn.idm442" class="footnote"><p><a href="#idm442" class="para"><sup class="para">[43] </sup></a>
2389             Chris Anderson, Makers: The New Industrial Revolution (New
2390             York: Signal, 2012), 64.
2391           </p></div><div id="ftn.idm446" class="footnote"><p><a href="#idm446" class="para"><sup class="para">[44] </sup></a>
2392             David Bollier, Think Like a Commoner: A Short Introduction
2393             to the Life of the Commons (Gabriola Island, BC: New
2394             Society, 2014), 70.
2395           </p></div><div id="ftn.idm449" class="footnote"><p><a href="#idm449" class="para"><sup class="para">[45] </sup></a>
2396             Anderson, Makers, 66.
2397           </p></div><div id="ftn.idm452" class="footnote"><p><a href="#idm452" class="para"><sup class="para">[46] </sup></a>
2398             Bryan Kramer, Shareology: How Sharing Is Powering the Human
2399             Economy (New York: Morgan James, 2016), 10.
2400           </p></div><div id="ftn.idm455" class="footnote"><p><a href="#idm455" class="para"><sup class="para">[47] </sup></a>
2401             Anderson, Free, 62.
2402           </p></div><div id="ftn.idm460" class="footnote"><p><a href="#idm460" class="para"><sup class="para">[48] </sup></a>
2403             Doctorow, Information Doesn’t Want to Be Free, 38.
2404           </p></div><div id="ftn.idm465" class="footnote"><p><a href="#idm465" class="para"><sup class="para">[49] </sup></a>
2405             Bollier, Think Like a Commoner, 68.
2406           </p></div><div id="ftn.idm471" class="footnote"><p><a href="#idm471" class="para"><sup class="para">[50] </sup></a>
2407             Anderson, Free, 86.
2408           </p></div><div id="ftn.idm475" class="footnote"><p><a href="#idm475" class="para"><sup class="para">[51] </sup></a>
2409             Doctorow, Information Doesn’t Want to Be Free, 144.
2410           </p></div><div id="ftn.idm485" class="footnote"><p><a href="#idm485" class="para"><sup class="para">[52] </sup></a>
2411               Anderson, Free, 123.
2412             </p></div><div id="ftn.idm488" class="footnote"><p><a href="#idm488" class="para"><sup class="para">[53] </sup></a>
2413               Ibid., 132.
2414             </p></div><div id="ftn.idm490" class="footnote"><p><a href="#idm490" class="para"><sup class="para">[54] </sup></a>
2415               Ibid., 70.
2416             </p></div><div id="ftn.idm495" class="footnote"><p><a href="#idm495" class="para"><sup class="para">[55] </sup></a>
2417               James Surowiecki, The Wisdom of Crowds (New York: Anchor
2418               Books, 2005), 124. Surowiecki says, <span class="quote">“<span class="quote">The measure of
2419               success of laws and contracts is how rarely they are
2420               invoked.</span>”</span>
2421             </p></div><div id="ftn.idm505" class="footnote"><p><a href="#idm505" class="para"><sup class="para">[56] </sup></a>
2422               Anderson, Free, 44.
2423             </p></div><div id="ftn.idm512" class="footnote"><p><a href="#idm512" class="para"><sup class="para">[57] </sup></a>
2424               Osterwalder and Pigneur, Business Model Generation, 23.
2425             </p></div><div id="ftn.idm516" class="footnote"><p><a href="#idm516" class="para"><sup class="para">[58] </sup></a>
2426               Anderson, Free, 67.
2427             </p></div><div id="ftn.idm518" class="footnote"><p><a href="#idm518" class="para"><sup class="para">[59] </sup></a>
2428               Ibid., 58.
2429             </p></div><div id="ftn.idm520" class="footnote"><p><a href="#idm520" class="para"><sup class="para">[60] </sup></a>
2430               Anderson, Makers, 71.
2431             </p></div><div id="ftn.idm522" class="footnote"><p><a href="#idm522" class="para"><sup class="para">[61] </sup></a>
2432               Clay Shirky, Cognitive Surplus: How Technology Makes
2433               Consumers into Collaborators (London: Penguin Books,
2434               2010), 78.
2435             </p></div><div id="ftn.idm526" class="footnote"><p><a href="#idm526" class="para"><sup class="para">[62] </sup></a>
2436               Ibid., 21.
2437             </p></div><div id="ftn.idm531" class="footnote"><p><a href="#idm531" class="para"><sup class="para">[63] </sup></a>
2438               Doctorow, Information Doesn’t Want to Be Free, 43.
2439             </p></div><div id="ftn.idm538" class="footnote"><p><a href="#idm538" class="para"><sup class="para">[64] </sup></a>
2440             William Landes Foster, Peter Kim, and Barbara Christiansen,
2441             <span class="quote">“<span class="quote">Ten Nonprofit Funding Models,</span>”</span> Stanford Social
2442             Innovation Review, Spring 2009,
2443             <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>.
2444           </p></div><div id="ftn.idm544" class="footnote"><p><a href="#idm544" class="para"><sup class="para">[65] </sup></a>
2445             Shirky, Cognitive Surplus, 111.
2446           </p></div><div id="ftn.idm550" class="footnote"><p><a href="#idm550" class="para"><sup class="para">[66] </sup></a>
2447               Osterwalder and Pigneur, Business Model Generation, 30.
2448             </p></div><div id="ftn.idm552" class="footnote"><p><a href="#idm552" class="para"><sup class="para">[67] </sup></a>
2449               Jim Whitehurst, The Open Organization: Igniting Passion
2450               and Performance (Boston: Harvard Business Review Press,
2451               2015), 202.
2452             </p></div><div id="ftn.idm555" class="footnote"><p><a href="#idm555" class="para"><sup class="para">[68] </sup></a>
2453               Anderson, Free, 71.
2454             </p></div><div id="ftn.idm561" class="footnote"><p><a href="#idm561" class="para"><sup class="para">[69] </sup></a>
2455               Ibid., 231.
2456             </p></div><div id="ftn.idm571" class="footnote"><p><a href="#idm571" class="para"><sup class="para">[70] </sup></a>
2457               Ibid., 97.
2458             </p></div><div id="ftn.idm578" class="footnote"><p><a href="#idm578" class="para"><sup class="para">[71] </sup></a>
2459               Anderson, Makers, 107.
2460             </p></div><div id="ftn.idm589" class="footnote"><p><a href="#idm589" class="para"><sup class="para">[72] </sup></a>
2461               Osterwalder and Pigneur, Business Model Generation, 89.
2462             </p></div><div id="ftn.idm595" class="footnote"><p><a href="#idm595" class="para"><sup class="para">[73] </sup></a>
2463               Ibid., 92.
2464             </p></div><div id="ftn.idm597" class="footnote"><p><a href="#idm597" class="para"><sup class="para">[74] </sup></a>
2465               Anderson, Free, 142.
2466             </p></div><div id="ftn.idm608" class="footnote"><p><a href="#idm608" class="para"><sup class="para">[75] </sup></a>
2467               Osterwalder and Pigneur, Business Model Generation, 32.
2468             </p></div><div id="ftn.idm626" class="footnote"><p><a href="#idm626" class="para"><sup class="para">[76] </sup></a>
2469               Bollier, Think Like a Commoner, 150.
2470             </p></div><div id="ftn.idm628" class="footnote"><p><a href="#idm628" class="para"><sup class="para">[77] </sup></a>
2471               Ibid., 134.
2472             </p></div><div id="ftn.idm661" class="footnote"><p><a href="#idm661" class="para"><sup class="para">[78] </sup></a>
2473               Dan Ariely, Predictably Irrational: The Hidden Forces That
2474               Shape Our Decisions, rev. ed. (New York: Harper Perennial,
2475               2010), 109.
2476             </p></div><div id="ftn.idm665" class="footnote"><p><a href="#idm665" class="para"><sup class="para">[79] </sup></a>
2477               Austin Kleon, Show Your Work: 10 Ways to Share Your
2478               Creativity and Get Discovered (New York: Workman, 2014),
2479               93.
2480             </p></div><div id="ftn.idm672" class="footnote"><p><a href="#idm672" class="para"><sup class="para">[80] </sup></a>
2481               Kramer, Shareology, 76.
2482             </p></div><div id="ftn.idm679" class="footnote"><p><a href="#idm679" class="para"><sup class="para">[81] </sup></a>
2483               Palmer, Art of Asking, 252.
2484             </p></div><div id="ftn.idm681" class="footnote"><p><a href="#idm681" class="para"><sup class="para">[82] </sup></a>
2485               Whitehurst, Open Organization, 145.
2486             </p></div><div id="ftn.idm684" class="footnote"><p><a href="#idm684" class="para"><sup class="para">[83] </sup></a>
2487               Surowiecki, Wisdom of Crowds, 203.
2488             </p></div><div id="ftn.idm686" class="footnote"><p><a href="#idm686" class="para"><sup class="para">[84] </sup></a>
2489               Whitehurst, Open Organization, 80.
2490             </p></div><div id="ftn.idm691" class="footnote"><p><a href="#idm691" class="para"><sup class="para">[85] </sup></a>
2491               Bollier, Think Like a Commoner, 25.
2492             </p></div><div id="ftn.idm693" class="footnote"><p><a href="#idm693" class="para"><sup class="para">[86] </sup></a>
2493               Ibid., 31.
2494             </p></div><div id="ftn.idm699" class="footnote"><p><a href="#idm699" class="para"><sup class="para">[87] </sup></a>
2495               Shirky, Cognitive Surplus, 112.
2496             </p></div><div id="ftn.idm703" class="footnote"><p><a href="#idm703" class="para"><sup class="para">[88] </sup></a>
2497               Surowiecki, Wisdom of Crowds, 124.
2498             </p></div><div id="ftn.idm709" class="footnote"><p><a href="#idm709" class="para"><sup class="para">[89] </sup></a>
2499               Kleon, Show Your Work, 127.
2500             </p></div><div id="ftn.idm711" class="footnote"><p><a href="#idm711" class="para"><sup class="para">[90] </sup></a>
2501               Palmer, Art of Asking, 121.
2502             </p></div><div id="ftn.idm715" class="footnote"><p><a href="#idm715" class="para"><sup class="para">[91] </sup></a>
2503               Ariely, Predictably Irrational, 87.
2504             </p></div><div id="ftn.idm717" class="footnote"><p><a href="#idm717" class="para"><sup class="para">[92] </sup></a>
2505               Ibid., 105.
2506             </p></div><div id="ftn.idm724" class="footnote"><p><a href="#idm724" class="para"><sup class="para">[93] </sup></a>
2507               Ibid., 36.
2508             </p></div><div id="ftn.idm729" class="footnote"><p><a href="#idm729" class="para"><sup class="para">[94] </sup></a>
2509               Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA:
2510               O’Reilly Media, 2012), 36.
2511             </p></div><div id="ftn.idm734" class="footnote"><p><a href="#idm734" class="para"><sup class="para">[95] </sup></a>
2512               Palmer, Art of Asking, 98.
2513             </p></div><div id="ftn.idm737" class="footnote"><p><a href="#idm737" class="para"><sup class="para">[96] </sup></a>
2514               Whitehurst, Open Organization, 34.
2515             </p></div><div id="ftn.idm741" class="footnote"><p><a href="#idm741" class="para"><sup class="para">[97] </sup></a>
2516               Surowiecki, Wisdom of Crowds, 200.
2517             </p></div><div id="ftn.idm743" class="footnote"><p><a href="#idm743" class="para"><sup class="para">[98] </sup></a>
2518               Bollier, Think Like a Commoner, 29.
2519             </p></div><div id="ftn.idm750" class="footnote"><p><a href="#idm750" class="para"><sup class="para">[99] </sup></a>
2520               Giana Eckhardt and Fleura Bardhi, <span class="quote">“<span class="quote">The Sharing
2521               Economy Isn’t about Sharing at All,</span>”</span> Harvard
2522               Business Review (website), January 28, 2015,
2523               <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>.
2524             </p></div><div id="ftn.idm754" class="footnote"><p><a href="#idm754" class="para"><sup class="para">[100] </sup></a>
2525               Lisa Gansky, The Mesh: Why the Future of Business Is
2526               Sharing, reprint with new epilogue (New York: Portfolio,
2527               2012).
2528             </p></div><div id="ftn.idm757" class="footnote"><p><a href="#idm757" class="para"><sup class="para">[101] </sup></a>
2529               David Lee, <span class="quote">“<span class="quote">Inside Medium: An Attempt to Bring
2530               Civility to the Internet,</span>”</span> BBC News, March 3, 2016,
2531               <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
2532             </p></div><div id="ftn.idm765" class="footnote"><p><a href="#idm765" class="para"><sup class="para">[102] </sup></a>
2533               Anderson, Makers, 148.
2534             </p></div><div id="ftn.idm767" class="footnote"><p><a href="#idm767" class="para"><sup class="para">[103] </sup></a>
2535               Shirky, Cognitive Surplus, 164.
2536             </p></div><div id="ftn.idm769" class="footnote"><p><a href="#idm769" class="para"><sup class="para">[104] </sup></a>
2537               Whitehurst, foreword to Open Organization.
2538             </p></div><div id="ftn.idm772" class="footnote"><p><a href="#idm772" class="para"><sup class="para">[105] </sup></a>
2539               Shirky, Cognitive Surplus, 144.
2540             </p></div><div id="ftn.idm776" class="footnote"><p><a href="#idm776" class="para"><sup class="para">[106] </sup></a>
2541               Ibid., 154.
2542             </p></div><div id="ftn.idm778" class="footnote"><p><a href="#idm778" class="para"><sup class="para">[107] </sup></a>
2543               Palmer, Art of Asking, 163.
2544             </p></div><div id="ftn.idm782" class="footnote"><p><a href="#idm782" class="para"><sup class="para">[108] </sup></a>
2545               Anderson, Makers, 173.
2546             </p></div><div id="ftn.idm784" class="footnote"><p><a href="#idm784" class="para"><sup class="para">[109] </sup></a>
2547               Tom Kelley and David Kelley, Creative Confidence:
2548               Unleashing the Potential within Us All (New York: Crown,
2549               2013), 82.
2550             </p></div><div id="ftn.idm787" class="footnote"><p><a href="#idm787" class="para"><sup class="para">[110] </sup></a>
2551               Whitehurst, foreword to Open Organization.
2552             </p></div><div id="ftn.idm789" class="footnote"><p><a href="#idm789" class="para"><sup class="para">[111] </sup></a>
2553               Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The
2554               Rise of Collaborative Consumption (New York: Harper
2555               Business, 2010), 188.
2556             </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Chapter 3. The Creative Commons Licenses</h2></div></div></div><p>
2557       All of the Creative Commons licenses grant a basic set of
2558       permissions. At a minimum, a CC- licensed work can be copied and
2559       shared in its original form for noncommercial purposes so long as
2560       attribution is given to the creator. There are six licenses in the
2561       CC license suite that build on that basic set of permissions,
2562       ranging from the most restrictive (allowing only those basic
2563       permissions to share unmodified copies for noncommercial purposes)
2564       to the most permissive (reusers can do anything they want with the
2565       work, even for commercial purposes, as long as they give the
2566       creator credit). The licenses are built on copyright and do not
2567       cover other types of rights that creators might have in their
2568       works, like patents or trademarks.
2569     </p><p>
2570       Here are the six licenses:
2571     </p><p>
2572         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D83BF99FC0821C489.png" width="40.0%"></span>
2573       </p><p>
2574       The Attribution license (CC BY) lets others distribute, remix,
2575       tweak, and build upon your work, even commercially, as long as
2576       they credit you for the original creation. This is the most
2577       accommodating of licenses offered. Recommended for maximum
2578       dissemination and use of licensed materials.
2579     </p><p>
2580         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DFD3592CB17C4EC38.png" width="40.0%"></span>
2581       </p><p>
2582       The Attribution-Share-Alike license (CC BY-SA) lets others remix,
2583       tweak, and build upon your work, even for commercial purposes, as
2584       long as they credit you and license their new creations under
2585       identical terms. This license is often compared to
2586       <span class="quote">“<span class="quote">copyleft</span>”</span> free and open source software licenses.
2587       All new works based on yours will carry the same license, so any
2588       derivatives will also allow commercial use.
2589     </p><p>
2590         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D254882DE24793FEA.png" width="40.0%"></span>
2591       </p><p>
2592       The Attribution-NoDerivs license (CC BY-ND) allows for
2593       redistribution, commercial and noncommercial, as long as it is
2594       passed along unchanged with credit to you.
2595     </p><p>
2596         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png" width="40.0%"></span>
2597       </p><p>
2598       The Attribution-NonCommercial license (CC BY-NC) lets others
2599       remix, tweak, and build upon your work noncommercially. Although
2600       their new works must also acknowledge you, they don’t have to
2601       license their derivative works on the same terms.
2602     </p><p>
2603         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
2604       </p><p>
2605       The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA)
2606       lets others remix, tweak, and build upon your work
2607       noncommercially, as long as they credit you and license their new
2608       creations under the same terms.
2609     </p><p>
2610         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DC3FEF92B21310965.png" width="40.0%"></span>
2611       </p><p>
2612       The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is
2613       the most restrictive of our six main licenses, only allowing
2614       others to download your works and share them with others as long
2615       as they credit you, but they can’t change them or use them
2616       commercially.
2617     </p><p>
2618       In addition to these six licenses, Creative Commons has two
2619       public-domain tools—one for creators and the other for those who
2620       manage collections of existing works by authors whose terms of
2621       copyright have expired:
2622     </p><p>
2623         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008DBE3414994CD27786.png" width="40.0%"></span>
2624       </p><p>
2625       CC0 enables authors and copyright owners to dedicate their works
2626       to the worldwide public domain (<span class="quote">“<span class="quote">no rights
2627       reserved</span>”</span>).
2628     </p><p>
2629         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
2630       </p><p>
2631       The Creative Commons Public Domain Mark facilitates the labeling
2632       and discovery of works that are already free of known copyright
2633       restrictions.
2634     </p><p>
2635       In our case studies, some use just one Creative Commons license,
2636       others use several. Attribution (found in thirteen case studies)
2637       and Attribution-ShareAlike (found in eight studies) were the most
2638       common, with the other licenses coming up in four or so case
2639       studies, including the public-domain tool CC0. Some of the
2640       organizations we profiled offer both digital content and software:
2641       by using open-source-software licenses for the software code and
2642       Creative Commons licenses for digital content, they amplify their
2643       involvement with and commitment to sharing.
2644     </p><p>
2645       There is a popular misconception that the three NonCommercial
2646       licenses offered by CC are the only options for those who want to
2647       make money off their work. As we hope this book makes clear, there
2648       are many ways to make endeavors that are Made with Creative
2649       Commons sustainable. Reserving commercial rights is only one of
2650       those ways. It is certainly true that a license that allows others
2651       to make commercial use of your work (CC BY, CC BY-SA, and CC
2652       BY-ND) forecloses some traditional revenue streams. If you apply
2653       an Attribution (CC BY) license to your book, you can’t force a
2654       film company to pay you royalties if they turn your book into a
2655       feature-length film, or prevent another company from selling
2656       physical copies of your work.
2657     </p><p>
2658       The decision to choose a NonCommercial and/or NoDerivs license
2659       comes down to how much you need to retain control over the
2660       creative work. The NonCommercial and NoDerivs licenses are ways of
2661       reserving some significant portion of the exclusive bundle of
2662       rights that copyright grants to creators. In some cases, reserving
2663       those rights is important to how you bring in revenue. In other
2664       cases, creators use a NonCommercial or NoDerivs license because
2665       they can’t give up on the dream of hitting the creative jackpot.
2666       The music platform Tribe of Noise told us the NonCommercial
2667       licenses were popular among their users because people still held
2668       out the dream of having a major record label discover their work.
2669     </p><p>
2670       Other times the decision to use a more restrictive license is due
2671       to a concern about the integrity of the work. For example, the
2672       nonprofit TeachAIDS uses a NoDerivs license for its educational
2673       materials because the medical subject matter is particularly
2674       important to get right.
2675     </p><p>
2676       There is no one right way. The NonCommercial and NoDerivs
2677       restrictions reflect the values and preferences of creators about
2678       how their creative work should be reused, just as the ShareAlike
2679       license reflects a different set of values, one that is less about
2680       controlling access to their own work and more about ensuring that
2681       whatever gets created with their work is available to all on the
2682       same terms. Since the beginning of the commons, people have been
2683       setting up structures that helped regulate the way in which shared
2684       resources were used. The CC licenses are an attempt to standardize
2685       norms across all domains.
2686     </p><p>
2687       Note
2688     </p><p>
2689       For more about the licenses including examples and tips on sharing
2690       your work in the digital commons, start with the Creative Commons
2691       page called <span class="quote">“<span class="quote">Share Your Work</span>”</span> at
2692       <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
2693     </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Part II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
2694     The twenty-four case studies in this section were chosen from
2695     hundreds of nominations received from Kickstarter backers, Creative
2696     Commons staff, and the global Creative Commons community. We
2697     selected eighty potential candidates that represented a mix of
2698     industries, content types, revenue streams, and parts of the world.
2699     Twelve of the case studies were selected from that group based on
2700     votes cast by Kickstarter backers, and the other twelve were
2701     selected by us.
2702   </p><p>
2703     We did background research and conducted interviews for each case
2704     study, based on the same set of basic questions about the endeavor.
2705     The idea for each case study is to tell the story about the endeavor
2706     and the role sharing plays within it, largely the way in which it
2707     was told to us by those we interviewed.
2708   </p><div class="toc"><p><b>Table of Contents</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>Chapter 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>
2709         Arduino is a for-profit open-source electronics platform and
2710         computer hardware and software company. Founded in 2005 in
2711         Italy.
2712       </p><p>
2713           <a class="ulink" href="http://www.arduino.cc" target="_top">http://www.arduino.cc</a>
2714         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for
2715         physical copies (sales of boards, modules, shields, and kits),
2716         licensing a trademark (fees paid by those who want to sell
2717         Arduino products using their name)
2718       </p><p><span class="strong"><strong>Interview date</strong></span>: February 4,
2719         2016
2720       </p><p><span class="strong"><strong>Interviewees</strong></span>: David
2721         Cuartielles and Tom Igoe, cofounders
2722       </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}
2723     \textit{
2724         Profile written by Paul Stacey
2725       }
2726     \end{flushright}</td></tr></table></div><p>
2727       In 2005, at the Interaction Design Institute Ivrea in northern
2728       Italy, teachers and students needed an easy way to use electronics
2729       and programming to quickly prototype design ideas. As musicians,
2730       artists, and designers, they needed a platform that didn’t require
2731       engineering expertise. A group of teachers and students, including
2732       Massimo Banzi, David Cuartielles, Tom Igoe, Gianluca Martino, and
2733       David Mellis, built a platform that combined different open
2734       technologies. They called it Arduino. The platform integrated
2735       software, hardware, microcontrollers, and electronics. All aspects
2736       of the platform were openly licensed: hardware designs and
2737       documentation with the Attribution-Share-Alike license (CC BY-SA),
2738       and software with the GNU General Public License.
2739     </p><p>
2740       Arduino boards are able to read inputs—light on a sensor, a finger
2741       on a button, or a Twitter message—and turn it into
2742       outputs—activating a motor, turning on an LED, publishing
2743       something online. You send a set of instructions to the
2744       microcontroller on the board by using the Arduino programming
2745       language and Arduino software (based on a piece of open-source
2746       software called Processing, a programming tool used to make visual
2747       art).
2748     </p><p><span class="quote">“<span class="quote">The reasons for making Arduino open source are
2749       complicated,</span>”</span> Tom says. Partly it was about supporting
2750       flexibility. The open-source nature of Arduino empowers users to
2751       modify it and create a lot of different variations, adding on top
2752       of what the founders build. David says this <span class="quote">“<span class="quote">ended up
2753       strengthening the platform far beyond what we had even thought of
2754       building.</span>”</span>
2755     </p><p>
2756       For Tom another factor was the impending closure of the Ivrea
2757       design school. He’d seen other organizations close their doors and
2758       all their work and research just disappear. Open-sourcing ensured
2759       that Arduino would outlive the Ivrea closure. Persistence is one
2760       thing Tom really likes about open source. If key people leave, or
2761       a company shuts down, an open-source product lives on. In Tom’s
2762       view, <span class="quote">“<span class="quote">Open sourcing makes it easier to trust a
2763       product.</span>”</span>
2764     </p><p>
2765       With the school closing, David and some of the other Arduino
2766       founders started a consulting firm and multidisciplinary design
2767       studio they called Tinker, in London. Tinker designed products and
2768       services that bridged the digital and the physical, and they
2769       taught people how to use new technologies in creative ways.
2770       Revenue from Tinker was invested in sustaining and enhancing
2771       Arduino.
2772     </p><p>
2773       For Tom, part of Arduino’s success is because the founders made
2774       themselves the first customer of their product. They made products
2775       they themselves personally wanted. It was a matter of <span class="quote">“<span class="quote">I
2776       need this thing,</span>”</span> not <span class="quote">“<span class="quote">If we make this, we’ll make a
2777       lot of money.</span>”</span> Tom notes that being your own first customer
2778       makes you more confident and convincing at selling your product.
2779     </p><p>
2780       Arduino’s business model has evolved over time—and Tom says model
2781       is a grandiose term for it. Originally, they just wanted to make a
2782       few boards and get them out into the world. They started out with
2783       two hundred boards, sold them, and made a little profit. They used
2784       that to make another thousand, which generated enough revenue to
2785       make five thousand. In the early days, they simply tried to
2786       generate enough funding to keep the venture going day to day. When
2787       they hit the ten thousand mark, they started to think about
2788       Arduino as a company. By then it was clear you can open-source the
2789       design but still manufacture the physical product. As long as it’s
2790       a quality product and sold at a reasonable price, people will buy
2791       it.
2792     </p><p>
2793       Arduino now has a worldwide community of makers—students,
2794       hobbyists, artists, programmers, and professionals. Arduino
2795       provides a wiki called Playground (a wiki is where all users can
2796       edit and add pages, contributing to and benefiting from collective
2797       research). People share code, circuit diagrams, tutorials, DIY
2798       instructions, and tips and tricks, and show off their projects. In
2799       addition, there’s a multilanguage discussion forum where users can
2800       get help using Arduino, discuss topics like robotics, and make
2801       suggestions for new Arduino product designs. As of January 2017,
2802       324,928 members had made 2,989,489 posts on 379,044 topics. The
2803       worldwide community of makers has contributed an incredible amount
2804       of accessible knowledge helpful to novices and experts alike.
2805     </p><p>
2806       Transitioning Arduino from a project to a company was a big step.
2807       Other businesses who made boards were charging a lot of money for
2808       them. Arduino wanted to make theirs available at a low price to
2809       people across a wide range of industries. As with any business,
2810       pricing was key. They wanted prices that would get lots of
2811       customers but were also high enough to sustain the business.
2812     </p><p>
2813       For a business, getting to the end of the year and not being in
2814       the red is a success. Arduino may have an open-licensing strategy,
2815       but they are still a business, and all the things needed to
2816       successfully run one still apply. David says, <span class="quote">“<span class="quote">If you do
2817       those other things well, sharing things in an open-source way can
2818       only help you.</span>”</span>
2819     </p><p>
2820       While openly licensing the designs, documentation, and software
2821       ensures longevity, it does have risks. There’s a possibility that
2822       others will create knockoffs, clones, and copies. The CC BY-SA
2823       license means anyone can produce copies of their boards, redesign
2824       them, and even sell boards that copy the design. They don’t have
2825       to pay a license fee to Arduino or even ask permission. However,
2826       if they republish the design of the board, they have to give
2827       attribution to Arduino. If they change the design, they must
2828       release the new design using the same Creative Commons license to
2829       ensure that the new version is equally free and open.
2830     </p><p>
2831       Tom and David say that a lot of people have built companies off of
2832       Arduino, with dozens of Arduino derivatives out there. But in
2833       contrast to closed business models that can wring money out of the
2834       system over many years because there is no competition, Arduino
2835       founders saw competition as keeping them honest, and aimed for an
2836       environment of collaboration. A benefit of open over closed is the
2837       many new ideas and designs others have contributed back to the
2838       Arduino ecosystem, ideas and designs that Arduino and the Arduino
2839       community use and incorporate into new products.
2840     </p><p>
2841       Over time, the range of Arduino products has diversified, changing
2842       and adapting to new needs and challenges. In addition to simple
2843       entry level boards, new products have been added ranging from
2844       enhanced boards that provide advanced functionality and faster
2845       performance, to boards for creating Internet of Things
2846       applications, wearables, and 3-D printing. The full range of
2847       official Arduino products includes boards, modules (a smaller
2848       form-factor of classic boards), shields (elements that can be
2849       plugged onto a board to give it extra features), and
2850       kits.<a href="#ftn.idm884" class="footnote" name="idm884"><sup class="footnote">[112]</sup></a>
2851     </p><p>
2852       Arduino’s focus is on high-quality boards, well-designed support
2853       materials, and the building of community; this focus is one of the
2854       keys to their success. And being open lets you build a real
2855       community. David says Arduino’s community is a big strength and
2856       something that really does matter—in his words, <span class="quote">“<span class="quote">It’s good
2857       business.</span>”</span> When they started, the Arduino team had almost
2858       entirely no idea how to build a community. They started by
2859       conducting numerous workshops, working directly with people using
2860       the platform to make sure the hardware and software worked the way
2861       it was meant to work and solved people’s problems. The community
2862       grew organically from there.
2863     </p><p>
2864       A key decision for Arduino was trademarking the name. The founders
2865       needed a way to guarantee to people that they were buying a
2866       quality product from a company committed to open-source values and
2867       knowledge sharing. Trademarking the Arduino name and logo
2868       expresses that guarantee and helps customers easily identify their
2869       products, and the products sanctioned by them. If others want to
2870       sell boards using the Arduino name and logo, they have to pay a
2871       small fee to Arduino. This allows Arduino to scale up
2872       manufacturing and distribution while at the same time ensuring the
2873       Arduino brand isn’t hurt by low-quality copies.
2874     </p><p>
2875       Current official manufacturers are Smart Projects in Italy,
2876       SparkFun in the United States, and Dog Hunter in Taiwan/China.
2877       These are the only manufacturers that are allowed to use the
2878       Arduino logo on their boards. Trademarking their brand provided
2879       the founders with a way to protect Arduino, build it out further,
2880       and fund software and tutorial development. The
2881       trademark-licensing fee for the brand became Arduino’s
2882       revenue-generating model.
2883     </p><p>
2884       How far to open things up wasn’t always something the founders
2885       perfectly agreed on. David, who was always one to advocate for
2886       opening things up more, had some fears about protecting the
2887       Arduino name, thinking people would be mad if they policed their
2888       brand. There was some early backlash with a project called
2889       Freeduino, but overall, trademarking and branding has been a
2890       critical tool for Arduino.
2891     </p><p>
2892       David encourages people and businesses to start by sharing
2893       everything as a default strategy, and then think about whether
2894       there is anything that really needs to be protected and why. There
2895       are lots of good reasons to not open up certain elements. This
2896       strategy of sharing everything is certainly the complete opposite
2897       of how today’s world operates, where nothing is shared. Tom
2898       suggests a business formalize which elements are based on open
2899       sharing and which are closed. An Arduino blog post from 2013
2900       entitled <span class="quote">“<span class="quote">Send In the Clones,</span>”</span> by one of the founders
2901       Massimo Banzi, does a great job of explaining the full
2902       complexities of how trademarking their brand has played out,
2903       distinguishing between official boards and those that are clones,
2904       derivatives, compatibles, and counterfeits.<a href="#ftn.idm894" class="footnote" name="idm894"><sup class="footnote">[113]</sup></a>
2905     </p><p>
2906       For David, an exciting aspect of Arduino is the way lots of people
2907       can use it to adapt technology in many different ways. Technology
2908       is always making more things possible but doesn’t always focus on
2909       making it easy to use and adapt. This is where Arduino steps in.
2910       Arduino’s goal is <span class="quote">“<span class="quote">making things that help other people make
2911       things.</span>”</span>
2912     </p><p>
2913       Arduino has been hugely successful in making technology and
2914       electronics reach a larger audience. For Tom, Arduino has been
2915       about <span class="quote">“<span class="quote">the democratization of technology.</span>”</span> Tom sees
2916       Arduino’s open-source strategy as helping the world get over the
2917       idea that technology has to be protected. Tom says,
2918       <span class="quote">“<span class="quote">Technology is a literacy everyone should learn.</span>”</span>
2919     </p><p>
2920       Ultimately, for Arduino, going open has been good business—good
2921       for product development, good for distribution, good for pricing,
2922       and good for manufacturing.
2923     </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>Chapter 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>
2924         Ártica provides online courses and consulting services focused
2925         on how to use digital technology to share knowledge and enable
2926         collaboration in arts and culture. Founded in 2011 in Uruguay.
2927       </p><p>
2928           <a class="ulink" href="http://www.articaonline.com" target="_top">http://www.articaonline.com</a>
2929         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for
2930         custom services
2931       </p><p><span class="strong"><strong>Interview date</strong></span>: March 9, 2016
2932       </p><p><span class="strong"><strong>Interviewees</strong></span>: Mariana
2933         Fossatti and Jorge Gemetto, cofounders
2934       </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}
2935     \textit{
2936         Profile written by Sarah Hinchliff Pearson
2937       }
2938     \end{flushright}</td></tr></table></div><p>
2939       The story of Mariana Fossatti and Jorge Gemetto’s business,
2940       Ártica, is the ultimate example of DIY. Not only are they
2941       successful entrepreneurs, the niche in which their small business
2942       operates is essentially one they built themselves.
2943     </p><p>
2944       Their dream jobs didn’t exist, so they created them.
2945     </p><p>
2946       In 2011, Mariana was a sociologist working for an international
2947       organization to develop research and online education about
2948       rural-development issues. Jorge was a psychologist, also working
2949       in online education. Both were bloggers and heavy users of social
2950       media, and both had a passion for arts and culture. They decided
2951       to take their skills in digital technology and online learning and
2952       apply them to a topic area they loved. They launched Ártica, an
2953       online business that provides education and consulting for people
2954       and institutions creating artistic and cultural projects on the
2955       Internet.
2956     </p><p>
2957       Ártica feels like a uniquely twenty-first century business. The
2958       small company has a global online presence with no physical
2959       offices. Jorge and Mariana live in Uruguay, and the other two
2960       full-time employees, who Jorge and Mariana have never actually met
2961       in person, live in Spain. They started by creating a MOOC (massive
2962       open online course) about remix culture and collaboration in the
2963       arts, which gave them a direct way to reach an international
2964       audience, attracting students from across Latin America and Spain.
2965       In other words, it is the classic Internet story of being able to
2966       directly tap into an audience without relying upon gatekeepers or
2967       intermediaries.
2968     </p><p>
2969       Ártica offers personalized education and consulting services, and
2970       helps clients implement projects. All of these services are
2971       customized. They call it an <span class="quote">“<span class="quote">artisan</span>”</span> process because
2972       of the time and effort it takes to adapt their work for the
2973       particular needs of students and clients. <span class="quote">“<span class="quote">Each student or
2974       client is paying for a specific solution to his or her problems
2975       and questions,</span>”</span> Mariana said. Rather than sell access to
2976       their content, they provide it for free and charge for the
2977       personalized services.
2978     </p><p>
2979       When they started, they offered a smaller number of courses
2980       designed to attract large audiences. <span class="quote">“<span class="quote">Over the years, we
2981       realized that online communities are more specific than we
2982       thought,</span>”</span> Mariana said. Ártica now provides more options
2983       for classes and has lower enrollment in each course. This means
2984       they can provide more attention to individual students and offer
2985       classes on more specialized topics.
2986     </p><p>
2987       Online courses are their biggest revenue stream, but they also do
2988       more than a dozen consulting projects each year, ranging from
2989       digitization to event planning to marketing campaigns. Some are
2990       significant in scope, particularly when they work with cultural
2991       institutions, and some are smaller projects commissioned by
2992       individual artists.
2993     </p><p>
2994       Ártica also seeks out public and private funding for specific
2995       projects. Sometimes, even if they are unsuccessful in subsidizing
2996       a project like a new course or e-book, they will go ahead because
2997       they believe in it. They take the stance that every new project
2998       leads them to something new, every new resource they create opens
2999       new doors.
3000     </p><p>
3001       Ártica relies heavily on their free Creative Commons–licensed
3002       content to attract new students and clients. Everything they
3003       create—online education, blog posts, videos—is published under an
3004       Attribution-ShareAlike license (CC BY-SA). <span class="quote">“<span class="quote">We use a
3005       ShareAlike license because we want to give the greatest freedom to
3006       our students and readers, and we also want that freedom to be
3007       viral,</span>”</span> Jorge said. For them, giving others the right to
3008       reuse and remix their content is a fundamental value. <span class="quote">“<span class="quote">How
3009       can you offer an online educational service without giving
3010       permission to download, make and keep copies, or print the
3011       educational resources?</span>”</span> Jorge said. <span class="quote">“<span class="quote">If we want to do
3012       the best for our students—those who trust in us to the point that
3013       they are willing to pay online without face-to-face contact—we
3014       have to offer them a fair and ethical agreement.</span>”</span>
3015     </p><p>
3016       They also believe sharing their ideas and expertise openly helps
3017       them build their reputation and visibility. People often share and
3018       cite their work. A few years ago, a publisher even picked up one
3019       of their e-books and distributed printed copies. Ártica views
3020       reuse of their work as a way to open up new opportunities for
3021       their business.
3022     </p><p>
3023       This belief that openness creates new opportunities reflects
3024       another belief—in serendipity. When describing their process for
3025       creating content, they spoke of all of the spontaneous and organic
3026       ways they find inspiration. <span class="quote">“<span class="quote">Sometimes, the collaborative
3027       process starts with a conversation between us, or with friends
3028       from other projects,</span>”</span> Jorge said. <span class="quote">“<span class="quote">That can be the
3029       first step for a new blog post or another simple piece of content,
3030       which can evolve to a more complex product in the future, like a
3031       course or a book.</span>”</span>
3032     </p><p>
3033       Rather than planning their work in advance, they let their
3034       creative process be dynamic. <span class="quote">“<span class="quote">This doesn’t mean that we
3035       don’t need to work hard in order to get good professional results,
3036       but the design process is more flexible,</span>”</span> Jorge said. They
3037       share early and often, and they adjust based on what they learn,
3038       always exploring and testing new ideas and ways of operating. In
3039       many ways, for them, the process is just as important as the final
3040       product.
3041     </p><p>
3042       People and relationships are also just as important, sometimes
3043       more. <span class="quote">“<span class="quote">In the educational and cultural business, it is more
3044       important to pay attention to people and process, rather than
3045       content or specific formats or materials,</span>”</span> Mariana said.
3046       <span class="quote">“<span class="quote">Materials and content are fluid. The important thing is the
3047       relationships.</span>”</span>
3048     </p><p>
3049       Ártica believes in the power of the network. They seek to make
3050       connections with people and institutions across the globe so they
3051       can learn from them and share their knowledge.
3052     </p><p>
3053       At the core of everything Ártica does is a set of values.
3054       <span class="quote">“<span class="quote">Good content is not enough,</span>”</span> Jorge said. <span class="quote">“<span class="quote">We
3055       also think that it is very important to take a stand for some
3056       things in the cultural sector.</span>”</span> Mariana and Jorge are
3057       activists. They defend free culture (the movement promoting the
3058       freedom to modify and distribute creative work) and work to
3059       demonstrate the intersection between free culture and other
3060       social-justice movements. Their efforts to involve people in their
3061       work and enable artists and cultural institutions to better use
3062       technology are all tied closely to their belief system.
3063       Ultimately, what drives their work is a mission to democratize art
3064       and culture.
3065     </p><p>
3066       Of course, Ártica also has to make enough money to cover its
3067       expenses. Human resources are, by far, their biggest expense. They
3068       tap a network of collaborators on a case-by-case basis and hire
3069       contractors for specific projects. Whenever possible, they draw
3070       from artistic and cultural resources in the commons, and they rely
3071       on free software. Their operation is small, efficient, and
3072       sustainable, and because of that, it is a success.
3073     </p><p><span class="quote">“<span class="quote">There are lots of people offering online courses,</span>”</span>
3074       Jorge said. <span class="quote">“<span class="quote">But it is easy to differentiate us. We have an
3075       approach that is very specific and personal.</span>”</span> Ártica’s
3076       model is rooted in the personal at every level. For Mariana and
3077       Jorge, success means doing what brings them personal meaning and
3078       purpose, and doing it sustainably and collaboratively.
3079     </p><p>
3080       In their work with younger artists, Mariana and Jorge try to
3081       emphasize that this model of success is just as valuable as the
3082       picture of success we get from the media. <span class="quote">“<span class="quote">If they seek only
3083       the traditional type of success, they will get frustrated,</span>”</span>
3084       Mariana said. <span class="quote">“<span class="quote">We try to show them another image of what it
3085       looks like.</span>”</span>
3086     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Chapter 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>
3087         The Blender Institute is an animation studio that creates 3-D
3088         films using Blender software. Founded in 2006 in the
3089         Netherlands.
3090       </p><p>
3091           <a class="ulink" href="http://www.blender.org" target="_top">http://www.blender.org</a>
3092         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
3093         (subscription-based), charging for physical copies, selling
3094         merchandise
3095       </p><p><span class="strong"><strong>Interview date</strong></span>: March 8, 2016
3096       </p><p><span class="strong"><strong>Interviewee</strong></span>: Francesco Siddi,
3097         production coordinator
3098       </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}
3099     \textit{
3100         Profile written by Sarah Hinchliff Pearson
3101       }
3102     \end{flushright}</td></tr></table></div><p>
3103       For Ton Roosendaal, the creator of Blender software and its
3104       related entities, sharing is practical. Making their 3-D content
3105       creation software available under a free software license has been
3106       integral to its development and popularity. Using that software to
3107       make movies that were licensed with Creative Commons pushed that
3108       development even further. Sharing enables people to participate
3109       and to interact with and build upon the technology and content
3110       they create in a way that benefits Blender and its community in
3111       concrete ways.
3112     </p><p>
3113       Each open-movie project Blender runs produces a host of openly
3114       licensed outputs, not just the final film itself but all of the
3115       source material as well. The creative process also enhances the
3116       development of the Blender software because the technical team
3117       responds directly to the needs of the film production team,
3118       creating tools and features that make their lives easier. And, of
3119       course, each project involves a long, rewarding process for the
3120       creative and technical community working together.
3121     </p><p>
3122       Rather than just talking about the theoretical benefits of sharing
3123       and free culture, Ton is very much about doing and making free
3124       culture. Blender’s production coordinator Francesco Siddi told us,
3125       <span class="quote">“<span class="quote">Ton believes if you don’t make content using your tools,
3126       then you’re not doing anything.</span>”</span>
3127     </p><p>
3128       Blender’s history begins in the late 1990s, when Ton created the
3129       Blender software. Originally, the software was an in-house
3130       resource for his animation studio based in the Netherlands.
3131       Investors became interested in the software, so he began marketing
3132       the software to the public, offering a free version in addition to
3133       a paid version. Sales were disappointing, and his investors gave
3134       up on the endeavor in the early 2000s. He made a deal with
3135       investors—if he could raise enough money, he could then make the
3136       Blender software available under the GNU General Public License.
3137     </p><p>
3138       This was long before Kickstarter and other online crowdfunding
3139       sites existed, but Ton ran his own version of a crowdfunding
3140       campaign and quickly raised the money he needed. The Blender
3141       software became freely available for anyone to use. Simply
3142       applying the General Public License to the software, however, was
3143       not enough to create a thriving community around it. Francesco
3144       told us, <span class="quote">“<span class="quote">Software of this complexity relies on people and
3145       their vision of how people work together. Ton is a fantastic
3146       community builder and manager, and he put a lot of work into
3147       fostering a community of developers so that the project could
3148       live.</span>”</span>
3149     </p><p>
3150       Like any successful free and open-source software project, Blender
3151       developed quickly because the community could make fixes and
3152       improvements. <span class="quote">“<span class="quote">Software should be free and open to
3153       hack,</span>”</span> Francesco said. <span class="quote">“<span class="quote">Otherwise, everyone is doing
3154       the same thing in the dark for ten years.</span>”</span> Ton set up the
3155       Blender Foundation to oversee and steward the software development
3156       and maintenance.
3157     </p><p>
3158       After a few years, Ton began looking for new ways to push
3159       development of the software. He came up with the idea of creating
3160       CC-licensed films using the Blender software. Ton put a call
3161       online for all interested and skilled artists. Francesco said the
3162       idea was to get the best artists available, put them in a building
3163       together with the best developers, and have them work together.
3164       They would not only produce high-quality openly licensed content,
3165       they would improve the Blender software in the process.
3166     </p><p>
3167       They turned to crowdfunding to subsidize the costs of the project.
3168       They had about twenty people working full-time for six to ten
3169       months, so the costs were significant. Francesco said that when
3170       their crowdfunding campaign succeeded, people were astounded.
3171       <span class="quote">“<span class="quote">The idea that making money was possible by producing
3172       CC-licensed material was mind-blowing to people,</span>”</span> he said.
3173       <span class="quote">“<span class="quote">They were like, <span class="quote">‘<span class="quote">I have to see it to believe
3174       it.</span>’</span></span>”</span>
3175     </p><p>
3176       The first film, which was released in 2006, was an experiment. It
3177       was so successful that Ton decided to set up the Blender
3178       Institute, an entity dedicated to hosting open-movie projects. The
3179       Blender Institute’s next project was an even bigger success. The
3180       film, Big Buck Bunny, went viral, and its animated characters were
3181       picked up by marketers.
3182     </p><p>
3183       Francesco said that, over time, the Blender Institute projects
3184       have gotten bigger and more prominent. That means the filmmaking
3185       process has become more complex, combining technical experts and
3186       artists who focus on storytelling. Francesco says the process is
3187       almost on an industrial scale because of the number of moving
3188       parts. This requires a lot of specialized assistance, but the
3189       Blender Institute has no problem finding the talent it needs to
3190       help on projects. <span class="quote">“<span class="quote">Blender hardly does any recruiting for
3191       film projects because the talent emerges naturally,</span>”</span>
3192       Francesco said. <span class="quote">“<span class="quote">So many people want to work with us, and we
3193       can’t always hire them because of budget constraints.</span>”</span>
3194     </p><p>
3195       Blender has had a lot of success raising money from its community
3196       over the years. In many ways, the pitch has gotten easier to make.
3197       Not only is crowdfunding simply more familiar to the public, but
3198       people know and trust Blender to deliver, and Ton has developed a
3199       reputation as an effective community leader and visionary for
3200       their work. <span class="quote">“<span class="quote">There is a whole community who sees and
3201       understands the benefit of these projects,</span>”</span> Francesco said.
3202     </p><p>
3203       While these benefits of each open-movie project make a compelling
3204       pitch for crowdfunding campaigns, Francesco told us the Blender
3205       Institute has found some limitations in the standard crowdfunding
3206       model where you propose a specific project and ask for funding.
3207       <span class="quote">“<span class="quote">Once a project is over, everyone goes home,</span>”</span> he
3208       said. <span class="quote">“<span class="quote">It is great fun, but then it ends. That is a
3209       problem.</span>”</span>
3210     </p><p>
3211       To make their work more sustainable, they needed a way to receive
3212       ongoing support rather than on a project-by-project basis. Their
3213       solution is Blender Cloud, a subscription-style crowdfunding model
3214       akin to the online crowdfunding platform, Patreon. For about ten
3215       euros each month, subscribers get access to download everything
3216       the Blender Institute produces—software, art, training, and more.
3217       All of the assets are available under an Attribution license (CC
3218       BY) or placed in the public domain (CC0), but they are initially
3219       made available only to subscribers. Blender Cloud enables
3220       subscribers to follow Blender’s movie projects as they develop,
3221       sharing detailed information and content used in the creative
3222       process. Blender Cloud also has extensive training materials and
3223       libraries of characters and other assets used in various projects.
3224     </p><p>
3225       The continuous financial support provided by Blender Cloud
3226       subsidizes five to six full-time employees at the Blender
3227       Institute. Francesco says their goal is to grow their subscriber
3228       base. <span class="quote">“<span class="quote">This is our freedom,</span>”</span> he told us, <span class="quote">“<span class="quote">and
3229       for artists, freedom is everything.</span>”</span>
3230     </p><p>
3231       Blender Cloud is the primary revenue stream of the Blender
3232       Institute. The Blender Foundation is funded primarily by
3233       donations, and that money goes toward software development and
3234       maintenance. The revenue streams of the Institute and Foundation
3235       are deliberately kept separate. Blender also has other revenue
3236       streams, such as the Blender Store, where people can purchase
3237       DVDs, T-shirts, and other Blender products.
3238     </p><p>
3239       Ton has worked on projects relating to his Blender software for
3240       nearly twenty years. Throughout most of that time, he has been
3241       committed to making the software and the content produced with the
3242       software free and open. Selling a license has never been part of
3243       the business model.
3244     </p><p>
3245       Since 2006, he has been making films available along with all of
3246       their source material. He says he has hardly ever seen people
3247       stepping into Blender’s shoes and trying to make money off of
3248       their content. Ton believes this is because the true value of what
3249       they do is in the creative and production process. <span class="quote">“<span class="quote">Even
3250       when you share everything, all your original sources, it still
3251       takes a lot of talent, skills, time, and budget to reproduce what
3252       you did,</span>”</span> Ton said.
3253     </p><p>
3254       For Ton and Blender, it all comes back to doing.
3255     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Chapter 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>
3256         Cards Against Humanity is a private, for-profit company that
3257         makes a popular party game by the same name. Founded in 2011 in
3258         the U.S.
3259       </p><p>
3260           <a class="ulink" href="http://www.cardsagainsthumanity.com" target="_top">http://www.cardsagainsthumanity.com</a>
3261         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for
3262         physical copies
3263       </p><p><span class="strong"><strong>Interview date</strong></span>: February 3,
3264         2016
3265       </p><p><span class="strong"><strong>Interviewee</strong></span>: Max Temkin,
3266         cofounder
3267       </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}
3268     \textit{
3269         Profile written by Sarah Hinchliff Pearson
3270       }
3271     \end{flushright}</td></tr></table></div><p>
3272       If you ask cofounder Max Temkin, there is nothing particularly
3273       interesting about the Cards Against Humanity business model.
3274       <span class="quote">“<span class="quote">We make a product. We sell it for money. Then we spend less
3275       money than we make,</span>”</span> Max said.
3276     </p><p>
3277       He is right. Cards Against Humanity is a simple party game,
3278       modeled after the game Apples to Apples. To play, one player asks
3279       a question or fill-in-the-blank statement from a black card, and
3280       the other players submit their funniest white card in response.
3281       The catch is that all of the cards are filled with crude,
3282       gruesome, and otherwise awful things. For the right kind of people
3283       (<span class="quote">“<span class="quote">horrible people,</span>”</span> according to Cards Against
3284       Humanity advertising), this makes for a hilarious and fun game.
3285     </p><p>
3286       The revenue model is simple. Physical copies of the game are sold
3287       for a profit. And it works. At the time of this writing, Cards
3288       Against Humanity is the number-one best-selling item out of all
3289       toys and games on Amazon. There are official expansion packs
3290       available, and several official themed packs and international
3291       editions as well.
3292     </p><p>
3293       But Cards Against Humanity is also available for free. Anyone can
3294       download a digital version of the game on the Cards Against
3295       Humanity website. More than one million people have downloaded the
3296       game since the company began tracking the numbers.
3297     </p><p>
3298       The game is available under an
3299       Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA). That
3300       means, in addition to copying the game, anyone can create new
3301       versions of the game as long as they make it available under the
3302       same noncommercial terms. The ability to adapt the game is like an
3303       entire new game unto itself.
3304     </p><p>
3305       All together, these factors—the crass tone of the game and
3306       company, the free download, the openness to fans remixing the
3307       game—give the game a massive cult following.
3308     </p><p>
3309       Their success is not the result of a grand plan. Instead, Cards
3310       Against Humanity was the last in a long line of games and comedy
3311       projects that Max Temkin and his friends put together for their
3312       own amusement. As Max tells the story, they made the game so they
3313       could play it themselves on New Year’s Eve because they were too
3314       nerdy to be invited to other parties. The game was a hit, so they
3315       decided to put it up online as a free PDF. People started asking
3316       if they could pay to have the game printed for them, and
3317       eventually they decided to run a Kickstarter to fund the printing.
3318       They set their Kickstarter goal at $4,000—and raised $15,000. The
3319       game was officially released in May 2011.
3320     </p><p>
3321       The game caught on quickly, and it has only grown more popular
3322       over time. Max says the eight founders never had a meeting where
3323       they decided to make it an ongoing business. <span class="quote">“<span class="quote">It kind of
3324       just happened,</span>”</span> he said.
3325     </p><p>
3326       But this tale of a <span class="quote">“<span class="quote">happy accident</span>”</span> belies marketing
3327       genius. Just like the game, the Cards Against Humanity brand is
3328       irreverent and memorable. It is hard to forget a company that
3329       calls the FAQ on their website <span class="quote">“<span class="quote">Your dumb questions.</span>”</span>
3330     </p><p>
3331       Like most quality satire, however, there is more to the joke than
3332       vulgarity and shock value. The company’s marketing efforts around
3333       Black Friday illustrate this particularly well. For those outside
3334       the United States, Black Friday is the term for the day after the
3335       Thanksgiving holiday, the biggest shopping day of the year. It is
3336       an incredibly important day for Cards Against Humanity, like it is
3337       for all U.S. retailers. Max said they struggled with what to do on
3338       Black Friday because they didn’t want to support what he called
3339       the <span class="quote">“<span class="quote">orgy of consumerism</span>”</span> the day has become,
3340       particularly since it follows a day that is about being grateful
3341       for what you have. In 2013, after deliberating, they decided to
3342       have an Everything Costs $5 More sale.
3343     </p><p><span class="quote">“<span class="quote">We sweated it out the night before Black Friday, wondering
3344       if our fans were going to hate us for it,</span>”</span> he said.
3345       <span class="quote">“<span class="quote">But it made us laugh so we went with it. People totally
3346       caught the joke.</span>”</span>
3347     </p><p>
3348       This sort of bold transparency delights the media, but more
3349       importantly, it engages their fans. <span class="quote">“<span class="quote">One of the most
3350       surprising things you can do in capitalism is just be honest with
3351       people,</span>”</span> Max said. <span class="quote">“<span class="quote">It shocks people that there is
3352       transparency about what you are doing.</span>”</span>
3353     </p><p>
3354       Max also likened it to a grand improv scene. <span class="quote">“<span class="quote">If we do
3355       something a little subversive and unexpected, the public wants to
3356       be a part of the joke.</span>”</span> One year they did a Give Cards
3357       Against Humanity $5 event, where people literally paid them five
3358       dollars for no reason. Their fans wanted to make the joke funnier
3359       by making it successful. They made $70,000 in a single day.
3360     </p><p>
3361       This remarkable trust they have in their customers is what
3362       inspired their decision to apply a Creative Commons license to the
3363       game. Trusting your customers to reuse and remix your work
3364       requires a leap of faith. Cards Against Humanity obviously isn’t
3365       afraid of doing the unexpected, but there are lines even they do
3366       not want to cross. Before applying the license, Max said they
3367       worried that some fans would adapt the game to include all of the
3368       jokes they intentionally never made because they crossed that
3369       line. <span class="quote">“<span class="quote">It happened, and the world didn’t end,</span>”</span> Max
3370       said. <span class="quote">“<span class="quote">If that is the worst cost of using CC, I’d pay that a
3371       hundred times over because there are so many benefits.</span>”</span>
3372     </p><p>
3373       Any successful product inspires its biggest fans to create remixes
3374       of it, but unsanctioned adaptations are more likely to fly under
3375       the radar. The Creative Commons license gives fans of Cards
3376       Against Humanity the freedom to run with the game and copy, adapt,
3377       and promote their creations openly. Today there are thousands of
3378       fan expansions of the game.
3379     </p><p>
3380       Max said, <span class="quote">“<span class="quote">CC was a no-brainer for us because it gets the
3381       most people involved. Making the game free and available under a
3382       CC license led to the unbelievable situation where we are one of
3383       the best-marketed games in the world, and we have never spent a
3384       dime on marketing.</span>”</span>
3385     </p><p>
3386       Of course, there are limits to what the company allows its
3387       customers to do with the game. They chose the
3388       Attribution-NonCommercial-ShareAlike license because it restricts
3389       people from using the game to make money. It also requires that
3390       adaptations of the game be made available under the same licensing
3391       terms if they are shared publicly. Cards Against Humanity also
3392       polices its brand. <span class="quote">“<span class="quote">We feel like we’re the only ones who can
3393       use our brand and our game and make money off of it,</span>”</span> Max
3394       said. About 99.9 percent of the time, they just send an email to
3395       those making commercial use of the game, and that is the end of
3396       it. There have only been a handful of instances where they had to
3397       get a lawyer involved.
3398     </p><p>
3399       Just as there is more than meets the eye to the Cards Against
3400       Humanity business model, the same can be said of the game itself.
3401       To be playable, every white card has to work syntactically with
3402       enough black cards. The eight creators invest an incredible amount
3403       of work into creating new cards for the game. <span class="quote">“<span class="quote">We have
3404       daylong arguments about commas,</span>”</span> Max said. <span class="quote">“<span class="quote">The
3405       slacker tone of the cards gives people the impression that it is
3406       easy to write them, but it is actually a lot of work and
3407       quibbling.</span>”</span>
3408     </p><p>
3409       That means cocreation with their fans really doesn’t work. The
3410       company has a submission mechanism on their website, and they get
3411       thousands of suggestions, but it is very rare that a submitted
3412       card is adopted. Instead, the eight initial creators remain the
3413       primary authors of expansion decks and other new products released
3414       by the company. Interestingly, the creativity of their customer
3415       base is really only an asset to the company once their original
3416       work is created and published when people make their own
3417       adaptations of the game.
3418     </p><p>
3419       For all of their success, the creators of Cards Against Humanity
3420       are only partially motivated by money. Max says they have always
3421       been interested in the Walt Disney philosophy of financial
3422       success. <span class="quote">“<span class="quote">We don’t make jokes and games to make money—we
3423       make money so we can make more jokes and games,</span>”</span> he said.
3424     </p><p>
3425       In fact, the company has given more than $4 million to various
3426       charities and causes. <span class="quote">“<span class="quote">Cards is not our life plan,</span>”</span>
3427       Max said. <span class="quote">“<span class="quote">We all have other interests and hobbies. We are
3428       passionate about other things going on in our lives. A lot of the
3429       activism we have done comes out of us taking things from the rest
3430       of our lives and channeling some of the excitement from the game
3431       into it.</span>”</span>
3432     </p><p>
3433       Seeing money as fuel rather than the ultimate goal is what has
3434       enabled them to embrace Creative Commons licensing without
3435       reservation. CC licensing ended up being a savvy marketing move
3436       for the company, but nonetheless, giving up exclusive control of
3437       your work necessarily means giving up some opportunities to
3438       extract more money from customers.
3439     </p><p><span class="quote">“<span class="quote">It’s not right for everyone to release everything under CC
3440       licensing,</span>”</span> Max said. <span class="quote">“<span class="quote">If your only goal is to make a
3441       lot of money, then CC is not best strategy. This kind of business
3442       model, though, speaks to your values, and who you are and why
3443       you’re making things.</span>”</span>
3444     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Chapter 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>
3445         The Conversation is an independent source of news, sourced from
3446         the academic and research community and delivered direct to the
3447         public over the Internet. Founded in 2011 in Australia.
3448       </p><p>
3449           <a class="ulink" href="http://theconversation.com" target="_top">http://theconversation.com</a>
3450         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging
3451         content creators (universities pay membership fees to have their
3452         faculties serve as writers), grant funding
3453       </p><p><span class="strong"><strong>Interview date</strong></span>: February 4,
3454         2016
3455       </p><p><span class="strong"><strong>Interviewee</strong></span>: Andrew Jaspan,
3456         founder
3457       </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}
3458     \textit{
3459         Profile written by Paul Stacey
3460       }
3461     \end{flushright}</td></tr></table></div><p>
3462       Andrew Jaspan spent years as an editor of major newspapers
3463       including the Observer in London, the Sunday Herald in Glasgow,
3464       and the Age in Melbourne, Australia. He experienced firsthand the
3465       decline of newspapers, including the collapse of revenues,
3466       layoffs, and the constant pressure to reduce costs. After he left
3467       the Age in 2005, his concern for the future journalism didn’t go
3468       away. Andrew made a commitment to come up with an alternative
3469       model.
3470     </p><p>
3471       Around the time he left his job as editor of the Melbourne Age,
3472       Andrew wondered where citizens would get news grounded in fact and
3473       evidence rather than opinion or ideology. He believed there was
3474       still an appetite for journalism with depth and substance but was
3475       concerned about the increasing focus on the sensational and sexy.
3476     </p><p>
3477       While at the Age, he’d become friends with a vice-chancellor of a
3478       university in Melbourne who encouraged him to talk to smart people
3479       across campus—an astrophysicist, a Nobel laureate, earth
3480       scientists, economists . . . These were the kind of smart people
3481       he wished were more involved in informing the world about what is
3482       going on and correcting the errors that appear in media. However,
3483       they were reluctant to engage with mass media. Often, journalists
3484       didn’t understand what they said, or unilaterally chose what
3485       aspect of a story to tell, putting out a version that these people
3486       felt was wrong or mischaracterized. Newspapers want to attract a
3487       mass audience. Scholars want to communicate serious news,
3488       findings, and insights. It’s not a perfect match. Universities are
3489       massive repositories of knowledge, research, wisdom, and
3490       expertise. But a lot of that stays behind a wall of their own
3491       making—there are the walled garden and ivory tower metaphors, and
3492       in more literal terms, the paywall. Broadly speaking, universities
3493       are part of society but disconnected from it. They are an enormous
3494       public resource but not that good at presenting their expertise to
3495       the wider public.
3496     </p><p>
3497       Andrew believed he could to help connect academics back into the
3498       public arena, and maybe help society find solutions to big
3499       problems. He thought about pairing professional editors with
3500       university and research experts, working one-on-one to refine
3501       everything from story structure to headline, captions, and quotes.
3502       The editors could help turn something that is academic into
3503       something understandable and readable. And this would be a key
3504       difference from traditional journalism—the subject matter expert
3505       would get a chance to check the article and give final approval
3506       before it is published. Compare this with reporters just picking
3507       and choosing the quotes and writing whatever they want.
3508     </p><p>
3509       The people he spoke to liked this idea, and Andrew embarked on
3510       raising money and support with the help of the Commonwealth
3511       Scientific and Industrial Research Organisation (CSIRO), the
3512       University of Melbourne, Monash University, the University of
3513       Technology Sydney, and the University of Western Australia. These
3514       founding partners saw the value of an independent information
3515       channel that would also showcase the talent and knowledge of the
3516       university and research sector. With their help, in 2011, the
3517       Conversation, was launched as an independent news site in
3518       Australia. Everything published in the Conversation is openly
3519       licensed with Creative Commons.
3520     </p><p>
3521       The Conversation is founded on the belief that underpinning a
3522       functioning democracy is access to independent, high-quality,
3523       informative journalism. The Conversation’s aim is for people to
3524       have a better understanding of current affairs and complex
3525       issues—and hopefully a better quality of public discourse. The
3526       Conversation sees itself as a source of trusted information
3527       dedicated to the public good. Their core mission is simple: to
3528       provide readers with a reliable source of evidence-based
3529       information.
3530     </p><p>
3531       Andrew worked hard to reinvent a methodology for creating
3532       reliable, credible content. He introduced strict new working
3533       practices, a charter, and codes of conduct.<a href="#ftn.idm1075" class="footnote" name="idm1075"><sup class="footnote">[114]</sup></a> These include fully disclosing who every author is
3534       (with their relevant expertise); who is funding their research;
3535       and if there are any potential or real conflicts of interest. Also
3536       important is where the content originates, and even though it
3537       comes from the university and research community, it still needs
3538       to be fully disclosed. The Conversation does not sit behind a
3539       paywall. Andrew believes access to information is an issue of
3540       equality—everyone should have access, like access to clean water.
3541       The Conversation is committed to an open and free Internet.
3542       Everyone should have free access to their content, and be able to
3543       share it or republish it.
3544     </p><p>
3545       Creative Commons help with these goals; articles are published
3546       with the Attribution- NoDerivs license (CC BY-ND). They’re freely
3547       available for others to republish elsewhere as long as attribution
3548       is given and the content is not edited. Over five years, more than
3549       twenty-two thousand sites have republished their content. The
3550       Conversation website gets about 2.9 million unique views per
3551       month, but through republication they have thirty-five million
3552       readers. This couldn’t have been done without the Creative Commons
3553       license, and in Andrew’s view, Creative Commons is central to
3554       everything the Conversation does.
3555     </p><p>
3556       When readers come across the Conversation, they seem to like what
3557       they find and recommend it to their friends, peers, and networks.
3558       Readership has grown primarily through word of mouth. While they
3559       don’t have sales and marketing, they do promote their work through
3560       social media (including Twitter and Facebook), and by being an
3561       accredited supplier to Google News.
3562     </p><p>
3563       It’s usual for the founders of any company to ask themselves what
3564       kind of company it should be. It quickly became clear to the
3565       founders of the Conversation that they wanted to create a public
3566       good rather than make money off of information. Most media
3567       companies are working to aggregate as many eyeballs as possible
3568       and sell ads. The Conversation founders didn’t want this model. It
3569       takes no advertising and is a not-for-profit venture.
3570     </p><p>
3571       There are now different editions of the Conversation for Africa,
3572       the United Kingdom, France, and the United States, in addition to
3573       the one for Australia. All five editions have their own editorial
3574       mastheads, advisory boards, and content. The Conversation’s global
3575       virtual newsroom has roughly ninety staff working with thirty-five
3576       thousand academics from over sixteen hundred universities around
3577       the world. The Conversation would like to be working with
3578       university scholars from even more parts of the world.
3579     </p><p>
3580       Additionally, each edition has its own set of founding partners,
3581       strategic partners, and funders. They’ve received funding from
3582       foundations, corporates, institutions, and individual donations,
3583       but the Conversation is shifting toward paid memberships by
3584       universities and research institutions to sustain operations. This
3585       would safeguard the current service and help improve coverage and
3586       features.
3587     </p><p>
3588       When professors from member universities write an article, there
3589       is some branding of the university associated with the article. On
3590       the Conversation website, paying university members are listed as
3591       <span class="quote">“<span class="quote">members and funders.</span>”</span> Early participants may be
3592       designated as <span class="quote">“<span class="quote">founding members,</span>”</span> with seats on the
3593       editorial advisory board.
3594     </p><p>
3595       Academics are not paid for their contributions, but they get free
3596       editing from a professional (four to five hours per piece, on
3597       average). They also get access to a large audience. Every author
3598       and member university has access to a special analytics dashboard
3599       where they can check the reach of an article. The metrics include
3600       what people are tweeting, the comments, countries the readership
3601       represents, where the article is being republished, and the number
3602       of readers per article.
3603     </p><p>
3604       The Conversation plans to expand the dashboard to show not just
3605       reach but impact. This tracks activities, behaviors, and events
3606       that occurred as a result of publication, including things like a
3607       scholar being asked to go on a show to discuss their piece, give a
3608       talk at a conference, collaborate, submit a journal paper, and
3609       consult a company on a topic.
3610     </p><p>
3611       These reach and impact metrics show the benefits of membership.
3612       With the Conversation, universities can engage with the public and
3613       show why they’re of value.
3614     </p><p>
3615       With its tagline, <span class="quote">“<span class="quote">Academic Rigor, Journalistic
3616       Flair,</span>”</span> the Conversation represents a new form of
3617       journalism that contributes to a more informed citizenry and
3618       improved democracy around the world. Its open business model and
3619       use of Creative Commons show how it’s possible to generate both a
3620       public good and operational revenue at the same time.
3621     </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>Chapter 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>
3622         Cory Doctorow is a science fiction writer, activist, blogger,
3623         and journalist. Based in the U.S.
3624       </p><p><a class="ulink" href="http://craphound.com" target="_top">http://craphound.com</a> and
3625         <a class="ulink" href="http://boingboing.net" target="_top">http://boingboing.net</a>
3626       </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for
3627         physical copies (book sales), pay-what-you-want, selling
3628         translation rights to books
3629       </p><p><span class="strong"><strong>Interview date</strong></span>: January 12,
3630         2016
3631       </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}
3632     \textit{
3633         Profile written by Sarah Hinchliff Pearson
3634       }
3635     \end{flushright}</td></tr></table></div><p>
3636       Cory Doctorow hates the term <span class="quote">“<span class="quote">business model,</span>”</span> and he
3637       is adamant that he is not a brand. <span class="quote">“<span class="quote">To me, branding is the
3638       idea that you can take a thing that has certain qualities, remove
3639       the qualities, and go on selling it,</span>”</span> he said. <span class="quote">“<span class="quote">I’m
3640       not out there trying to figure out how to be a brand. I’m doing
3641       this thing that animates me to work crazy insane hours because
3642       it’s the most important thing I know how to do.</span>”</span>
3643     </p><p>
3644       Cory calls himself an entrepreneur. He likes to say his success
3645       came from making stuff people happened to like and then getting
3646       out of the way of them sharing it.
3647     </p><p>
3648       He is a science fiction writer, activist, blogger, and journalist.
3649       Beginning with his first novel, Down and Out in the Magic Kingdom,
3650       in 2003, his work has been published under a Creative Commons
3651       license. Cory is coeditor of the popular CC-licensed site Boing
3652       Boing, where he writes about technology, politics, and
3653       intellectual property. He has also written several nonfiction
3654       books, including the most recent Information Doesn’t Want to Be
3655       Free, about the ways in which creators can make a living in the
3656       Internet age.
3657     </p><p>
3658       Cory primarily makes money by selling physical books, but he also
3659       takes on paid speaking gigs and is experimenting with
3660       pay-what-you-want models for his work.
3661     </p><p>
3662       While Cory’s extensive body of fiction work has a large following,
3663       he is just as well known for his activism. He is an outspoken
3664       opponent of restrictive copyright and digital-rights-management
3665       (DRM) technology used to lock up content because he thinks both
3666       undermine creators and the public interest. He is currently a
3667       special adviser at the Electronic Frontier Foundation, where he is
3668       involved in a lawsuit challenging the U.S. law that protects DRM.
3669       Cory says his political work doesn’t directly make him money, but
3670       if he gave it up, he thinks he would lose credibility and, more
3671       importantly, lose the drive that propels him to create. <span class="quote">“<span class="quote">My
3672       political work is a different expression of the same
3673       artistic-political urge,</span>”</span> he said. <span class="quote">“<span class="quote">I have this
3674       suspicion that if I gave up the things that didn’t make me money,
3675       the genuineness would leach out of what I do, and the quality that
3676       causes people to like what I do would be gone.</span>”</span>
3677     </p><p>
3678       Cory has been financially successful, but money is not his primary
3679       motivation. At the start of his book Information Doesn’t Want to
3680       Be Free, he stresses how important it is not to become an artist
3681       if your goal is to get rich. <span class="quote">“<span class="quote">Entering the arts because you
3682       want to get rich is like buying lottery tickets because you want
3683       to get rich,</span>”</span> he wrote. <span class="quote">“<span class="quote">It might work, but it almost
3684       certainly won’t. Though, of course, someone always wins the
3685       lottery.</span>”</span> He acknowledges that he is one of the lucky few
3686       to <span class="quote">“<span class="quote">make it,</span>”</span> but he says he would be writing no
3687       matter what. <span class="quote">“<span class="quote">I am compelled to write,</span>”</span> he wrote.
3688       <span class="quote">“<span class="quote">Long before I wrote to keep myself fed and sheltered, I was
3689       writing to keep myself sane.</span>”</span>
3690     </p><p>
3691       Just as money is not his primary motivation to create, money is
3692       not his primary motivation to share. For Cory, sharing his work
3693       with Creative Commons is a moral imperative. <span class="quote">“<span class="quote">It felt
3694       morally right,</span>”</span> he said of his decision to adopt Creative
3695       Commons licenses. <span class="quote">“<span class="quote">I felt like I wasn’t contributing to the
3696       culture of surveillance and censorship that has been created to
3697       try to stop copying.</span>”</span> In other words, using CC licenses
3698       symbolizes his worldview.
3699     </p><p>
3700       He also feels like there is a solid commercial basis for licensing
3701       his work with Creative Commons. While he acknowledges he hasn’t
3702       been able to do a controlled experiment to compare the commercial
3703       benefits of licensing with CC against reserving all rights, he
3704       thinks he has sold more books using a CC license than he would
3705       have without it. Cory says his goal is to convince people they
3706       should pay him for his work. <span class="quote">“<span class="quote">I started by not calling them
3707       thieves,</span>”</span> he said.
3708     </p><p>
3709       Cory started using CC licenses soon after they were first created.
3710       At the time his first novel came out, he says the science fiction
3711       genre was overrun with people scanning and downloading books
3712       without permission. When he and his publisher took a closer look
3713       at who was doing that sort of thing online, they realized it
3714       looked a lot like book promotion. <span class="quote">“<span class="quote">I knew there was a
3715       relationship between having enthusiastic readers and having a
3716       successful career as a writer,</span>”</span> he said. <span class="quote">“<span class="quote">At the
3717       time, it took eighty hours to OCR a book, which is a big effort. I
3718       decided to spare them the time and energy, and give them the book
3719       for free in a format destined to spread.</span>”</span>
3720     </p><p>
3721       Cory admits the stakes were pretty low for him when he first
3722       adopted Creative Commons licenses. He only had to sell two
3723       thousand copies of his book to break even. People often said he
3724       was only able to use CC licenses successfully at that time because
3725       he was just starting out. Now they say he can only do it because
3726       he is an established author.
3727     </p><p>
3728       The bottom line, Cory says, is that no one has found a way to
3729       prevent people from copying the stuff they like. Rather than
3730       fighting the tide, Cory makes his work intrinsically shareable.
3731       <span class="quote">“<span class="quote">Getting the hell out of the way for people who want to
3732       share their love of you with other people sounds obvious, but it’s
3733       remarkable how many people don’t do it,</span>”</span> he said.
3734     </p><p>
3735       Making his work available under Creative Commons licenses enables
3736       him to view his biggest fans as his ambassadors. <span class="quote">“<span class="quote">Being open
3737       to fan activity makes you part of the conversation about what fans
3738       do with your work and how they interact with it,</span>”</span> he said.
3739       Cory’s own website routinely highlights cool things his audience
3740       has done with his work. Unlike corporations like Disney that tend
3741       to have a hands-off relationship with their fan activity, he has a
3742       symbiotic relationship with his audience. <span class="quote">“<span class="quote">Engaging with
3743       your audience can’t guarantee you success,</span>”</span> he said.
3744       <span class="quote">“<span class="quote">And Disney is an example of being able to remain aloof and
3745       still being the most successful company in the creative industry
3746       in history. But I figure my likelihood of being Disney is pretty
3747       slim, so I should take all the help I can get.</span>”</span>
3748     </p><p>
3749       His first book was published under the most restrictive Creative
3750       Commons license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND).
3751       It allows only verbatim copying for noncommercial purposes. His
3752       later work is published under the
3753       Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA), which
3754       gives people the right to adapt his work for noncommercial
3755       purposes but only if they share it back under the same license
3756       terms. Before releasing his work under a CC license that allows
3757       adaptations, he always sells the right to translate the book to
3758       other languages to a commercial publisher first. He wants to reach
3759       new potential buyers in other parts of the world, and he thinks it
3760       is more difficult to get people to pay for translations if there
3761       are fan translations already available for free.
3762     </p><p>
3763       In his book Information Doesn’t Want to Be Free, Cory likens his
3764       philosophy to thinking like a dandelion. Dandelions produce
3765       thousands of seeds each spring, and they are blown into the air
3766       going in every direction. The strategy is to maximize the number
3767       of blind chances the dandelion has for continuing its genetic
3768       line. Similarly, he says there are lots of people out there who
3769       may want to buy creative work or compensate authors for it in some
3770       other way. <span class="quote">“<span class="quote">The more places your work can find itself, the
3771       greater the likelihood that it will find one of those would-be
3772       customers in some unsuspected crack in the metaphorical
3773       pavement,</span>”</span> he wrote. <span class="quote">“<span class="quote">The copies that others make of
3774       my work cost me nothing, and present the possibility that I’ll get
3775       something.</span>”</span>
3776     </p><p>
3777       Applying a CC license to his work increases the chances it will be
3778       shared more widely around the Web. He avoids DRM—and openly
3779       opposes the practice—for similar reasons. DRM has the effect of
3780       tying a work to a particular platform. This digital lock, in turn,
3781       strips the authors of control over their own work and hands that
3782       control over to the platform. He calls it Cory’s First Law:
3783       <span class="quote">“<span class="quote">Anytime someone puts a lock on something that belongs to
3784       you and won’t give you the key, that lock isn’t there for your
3785       benefit.</span>”</span>
3786     </p><p>
3787       Cory operates under the premise that artists benefit when there
3788       are more, rather than fewer, places where people can access their
3789       work. The Internet has opened up those avenues, but DRM is
3790       designed to limit them. <span class="quote">“<span class="quote">On the one hand, we can credibly
3791       make our work available to a widely dispersed audience,</span>”</span> he
3792       said. <span class="quote">“<span class="quote">On the other hand, the intermediaries we historically
3793       sold to are making it harder to go around them.</span>”</span> Cory
3794       continually looks for ways to reach his audience without relying
3795       upon major platforms that will try to take control over his work.
3796     </p><p>
3797       Cory says his e-book sales have been lower than those of his
3798       competitors, and he attributes some of that to the CC license
3799       making the work available for free. But he believes people are
3800       willing to pay for content they like, even when it is available
3801       for free, as long as it is easy to do. He was extremely successful
3802       using Humble Bundle, a platform that allows people to pay what
3803       they want for DRM-free versions of a bundle of a particular
3804       creator’s work. He is planning to try his own pay-what-you-want
3805       experiment soon.
3806     </p><p>
3807       Fans are particularly willing to pay when they feel personally
3808       connected to the artist. Cory works hard to create that personal
3809       connection. One way he does this is by personally answering every
3810       single email he gets. <span class="quote">“<span class="quote">If you look at the history of
3811       artists, most die in penury,</span>”</span> he said. <span class="quote">“<span class="quote">That reality
3812       means that for artists, we have to find ways to support ourselves
3813       when public tastes shift, when copyright stops producing.
3814       Future-proofing your artistic career in many ways means figuring
3815       out how to stay connected to those people who have been touched by
3816       your work.</span>”</span>
3817     </p><p>
3818       Cory’s realism about the difficulty of making a living in the arts
3819       does not reflect pessimism about the Internet age. Instead, he
3820       says the fact that it is hard to make a living as an artist is
3821       nothing new. What is new, he writes in his book, <span class="quote">“<span class="quote">is how
3822       many ways there are to make things, and to get them into other
3823       people’s hands and minds.</span>”</span>
3824     </p><p>
3825       It has never been easier to think like a dandelion.
3826     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Chapter 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>
3827         Figshare is a for-profit company offering an online repository
3828         where researchers can preserve and share the output of their
3829         research, including figures, data sets, images, and videos.
3830         Founded in 2011 in the UK.
3831       </p><p>
3832           <a class="ulink" href="http://figshare.com" target="_top">http://figshare.com</a>
3833         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform
3834         providing paid services to creators
3835       </p><p><span class="strong"><strong>Interview date</strong></span>: January 28,
3836         2016
3837       </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Hahnel,
3838         founder
3839       </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}
3840     \textit{
3841         Profile written by Paul Stacey
3842       }
3843     \end{flushright}</td></tr></table></div><p>
3844       Figshare’s mission is to change the face of academic publishing
3845       through improved dissemination, discoverability, and reusability
3846       of scholarly research. Figshare is a repository where users can
3847       make all the output of their research available—from posters and
3848       presentations to data sets and code—in a way that’s easy to
3849       discover, cite, and share. Users can upload any file format, which
3850       can then be previewed in a Web browser. Research output is
3851       disseminated in a way that the current scholarly-publishing model
3852       does not allow.
3853     </p><p>
3854       Figshare founder Mark Hahnel often gets asked: How do you make
3855       money? How do we know you’ll be here in five years? Can you, as a
3856       for-profit venture, be trusted? Answers have evolved over time.
3857     </p><p>
3858       Mark traces the origins of Figshare back to when he was a graduate
3859       student getting his PhD in stem cell biology. His research
3860       involved working with videos of stem cells in motion. However,
3861       when he went to publish his research, there was no way for him to
3862       also publish the videos, figures, graphs, and data sets. This was
3863       frustrating. Mark believed publishing his complete research would
3864       lead to more citations and be better for his career.
3865     </p><p>
3866       Mark does not consider himself an advanced software programmer.
3867       Fortunately, things like cloud-based computing and wikis had
3868       become mainstream, and he believed it ought to be possible to put
3869       all his research online and share it with anyone. So he began
3870       working on a solution.
3871     </p><p>
3872       There were two key needs: licenses to make the data citable, and
3873       persistent identifiers— URL links that always point back to the
3874       original object ensuring the research is citable for the long
3875       term.
3876     </p><p>
3877       Mark chose Digital Object Identifiers (DOIs) to meet the need for
3878       a persistent identifier. In the DOI system, an object’s metadata
3879       is stored as a series of numbers in the DOI name. Referring to an
3880       object by its DOI is more stable than referring to it by its URL,
3881       because the location of an object (the web page or URL) can often
3882       change. Mark partnered with DataCite for the provision of DOIs for
3883       research data.
3884     </p><p>
3885       As for licenses, Mark chose Creative Commons. The open-access and
3886       open-science communities were already using and recommending
3887       Creative Commons. Based on what was happening in those communities
3888       and Mark’s dialogue with peers, he went with CC0 (in the public
3889       domain) for data sets and CC BY (Attribution) for figures, videos,
3890       and data sets.
3891     </p><p>
3892       So Mark began using DOIs and Creative Commons for his own research
3893       work. He had a science blog where he wrote about it and made all
3894       his data open. People started commenting on his blog that they
3895       wanted to do the same. So he opened it up for them to use, too.
3896     </p><p>
3897       People liked the interface and simple upload process. People
3898       started asking if they could also share theses, grant proposals,
3899       and code. Inclusion of code raised new licensing issues, as
3900       Creative Commons licenses are not used for software. To allow the
3901       sharing of software code, Mark chose the MIT license, but GNU and
3902       Apache licenses can also be used.
3903     </p><p>
3904       Mark sought investment to make this into a scalable product. After
3905       a few unsuccessful funding pitches, UK-based Digital Science
3906       expressed interest but insisted on a more viable business model.
3907       They made an initial investment, and together they came up with a
3908       freemium-like business model.
3909     </p><p>
3910       Under the freemium model, academics upload their research to
3911       Figshare for storage and sharing for free. Each research object is
3912       licensed with Creative Commons and receives a DOI link. The
3913       premium option charges researchers a fee for gigabytes of private
3914       storage space, and for private online space designed for a set
3915       number of research collaborators, which is ideal for larger teams
3916       and geographically dispersed research groups. Figshare sums up its
3917       value proposition to researchers as <span class="quote">“<span class="quote">You retain ownership.
3918       You license it. You get credit. We just make sure it
3919       persists.</span>”</span>
3920     </p><p>
3921       In January 2012, Figshare was launched. (The fig in Figshare
3922       stands for figures.) Using investment funds, Mark made significant
3923       improvements to Figshare. For example, researchers could quickly
3924       preview their research files within a browser without having to
3925       download them first or require third-party software. Journals who
3926       were still largely publishing articles as static noninteractive
3927       PDFs became interested in having Figshare provide that
3928       functionality for them.
3929     </p><p>
3930       Figshare diversified its business model to include services for
3931       journals. Figshare began hosting large amounts of data for the
3932       journals’ online articles. This additional data improved the
3933       quality of the articles. Outsourcing this service to Figshare
3934       freed publishers from having to develop this functionality as part
3935       of their own infrastructure. Figshare-hosted data also provides a
3936       link back to the article, generating additional click-through and
3937       readership—a benefit to both journal publishers and researchers.
3938       Figshare now provides research-data infrastructure for a wide
3939       variety of publishers including Wiley, Springer Nature, PLOS, and
3940       Taylor and Francis, to name a few, and has convinced them to use
3941       Creative Commons licenses for the data.
3942     </p><p>
3943       Governments allocate significant public funds to research. In
3944       parallel with the launch of Figshare, governments around the world
3945       began requesting the research they fund be open and accessible.
3946       They mandated that researchers and academic institutions better
3947       manage and disseminate their research outputs. Institutions
3948       looking to comply with this new mandate became interested in
3949       Figshare. Figshare once again diversified its business model,
3950       adding services for institutions.
3951     </p><p>
3952       Figshare now offers a range of fee-based services to institutions,
3953       including their own minibranded Figshare space (called Figshare
3954       for Institutions) that securely hosts research data of
3955       institutions in the cloud. Services include not just hosting but
3956       data metrics, data dissemination, and user-group administration.
3957       Figshare’s workflow, and the services they offer for institutions,
3958       take into account the needs of librarians and administrators, as
3959       well as of the researchers.
3960     </p><p>
3961       As with researchers and publishers, Fig-share encouraged
3962       institutions to share their research with CC BY (Attribution) and
3963       their data with CC0 (into the public domain). Funders who require
3964       researchers and institutions to use open licensing believe in the
3965       social responsibilities and benefits of making research accessible
3966       to all. Publishing research in this open way has come to be called
3967       open access. But not all funders specify CC BY; some institutions
3968       want to offer their researchers a choice, including less
3969       permissive licenses like CC BY-NC (Attribution-NonCommercial), CC
3970       BY-SA (Attribution-ShareAlike), or CC BY-ND
3971       (Attribution-NoDerivs).
3972     </p><p>
3973       For Mark this created a conflict. On the one hand, the principles
3974       and benefits of open science are at the heart of Figshare, and
3975       Mark believes CC BY is the best license for this. On the other
3976       hand, institutions were saying they wouldn’t use Figshare unless
3977       it offered a choice in licenses. He initially refused to offer
3978       anything beyond CC0 and CC BY, but after seeing an open-source
3979       CERN project offer all Creative Commons licenses without any
3980       negative repercussions, he decided to follow suit.
3981     </p><p>
3982       Mark is thinking of doing a Figshare study that tracks research
3983       dissemination according to Creative Commons license, and gathering
3984       metrics on views, citations, and downloads. You could see which
3985       license generates the biggest impact. If the data showed that CC
3986       BY is more impactful, Mark believes more and more researchers and
3987       institutions will make it their license of choice.
3988     </p><p>
3989       Figshare has an Application Programming Interface (API) that makes
3990       it possible for data to be pulled from Figshare and used in other
3991       applications. As an example, Mark shared a Figshare data set
3992       showing the journal subscriptions that higher-education
3993       institutions in the United Kingdom paid to ten major
3994       publishers.<a href="#ftn.idm1183" class="footnote" name="idm1183"><sup class="footnote">[115]</sup></a> Figshare’s API enables that data to be pulled into an
3995       app developed by a completely different researcher that converts
3996       the data into a visually interesting graph, which any viewer can
3997       alter by changing any of the variables.<a href="#ftn.idm1186" class="footnote" name="idm1186"><sup class="footnote">[116]</sup></a>
3998     </p><p>
3999       The free version of Figshare has built a community of academics,
4000       who through word of mouth and presentations have promoted and
4001       spread awareness of Figshare. To amplify and reward the community,
4002       Figshare established an Advisor program, providing those who
4003       promoted Figshare with hoodies and T-shirts, early access to new
4004       features, and travel expenses when they gave presentations outside
4005       of their area. These Advisors also helped Mark on what license to
4006       use for software code and whether to offer universities an option
4007       of using Creative Commons licenses.
4008     </p><p>
4009       Mark says his success is partly about being in the right place at
4010       the right time. He also believes that the diversification of
4011       Figshare’s model over time has been key to success. Figshare now
4012       offers a comprehensive set of services to researchers, publishers,
4013       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
4014       subscriptions, he believes Figshare would have struggled. In
4015       Figshare’s early days, their primary users were early-career and
4016       late-career academics. It has only been because funders mandated
4017       open licensing that Figshare is now being used by the mainstream.
4018     </p><p>
4019       Today Figshare has 26 million–plus page views, 7.5 million–plus
4020       downloads, 800,000–plus user uploads, 2 million–plus articles,
4021       500,000-plus collections, and 5,000–plus projects. Sixty percent
4022       of their traffic comes from Google. A sister company called
4023       Altmetric tracks the use of Figshare by others, including
4024       Wikipedia and news sources.
4025     </p><p>
4026       Figshare uses the revenue it generates from the premium
4027       subscribers, journal publishers, and institutions to fund and
4028       expand what it can offer to researchers for free. Figshare has
4029       publicly stuck to its principles—keeping the free service free and
4030       requiring the use of CC BY and CC0 from the start—and from Mark’s
4031       perspective, this is why people trust Figshare. Mark sees new
4032       competitors coming forward who are just in it for money. If
4033       Figshare was only in it for the money, they wouldn’t care about
4034       offering a free version. Figshare’s principles and advocacy for
4035       openness are a key differentiator. Going forward, Mark sees
4036       Figshare not only as supporting open access to research but also
4037       enabling people to collaborate and make new discoveries.
4038     </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>Chapter 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>
4039         Figure.NZ is a nonprofit charity that makes an online data
4040         platform designed to make data reusable and easy to understand.
4041         Founded in 2012 in New Zealand.
4042       </p><p>
4043           <a class="ulink" href="http://figure.nz" target="_top">http://figure.nz</a>
4044         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform
4045         providing paid services to creators, donations, sponsorships
4046       </p><p><span class="strong"><strong>Interview date</strong></span>: May 3, 2016
4047       </p><p><span class="strong"><strong>Interviewee</strong></span>: Lillian Grace,
4048         founder
4049       </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}
4050     \textit{
4051         Profile written by Paul Stacey
4052       }
4053     \end{flushright}</td></tr></table></div><p>
4054       In the paper Harnessing the Economic and Social Power of Data
4055       presented at 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
4056       thousands of valuable and relevant data sets freely available to
4057       us right now, but most people don’t use them. She used to think
4058       this meant people didn’t care about being informed, but she’s come
4059       to see that she was wrong. Almost everyone wants to be informed
4060       about issues that matter—not only to them, but also to their
4061       families, their communities, their businesses, and their country.
4062       But there’s a big difference between availability and
4063       accessibility of information. Data is spread across thousands of
4064       sites and is held within databases and spreadsheets that require
4065       both time and skill to engage with. To use data when making a
4066       decision, you have to know what specific question to ask, identify
4067       a source that has collected the data, and manipulate complex tools
4068       to extract and visualize the information within the data set.
4069       Lillian established Figure.NZ to make data truly accessible to
4070       all, with a specific focus on New Zealand.
4071     </p><p>
4072       Lillian had the idea for Figure.NZ in February 2012 while working
4073       for the New Zealand Institute, a think tank concerned with
4074       improving economic prosperity, social well-being, environmental
4075       quality, and environmental productivity for New Zealand and New
4076       Zealanders. While giving talks to community and business groups,
4077       Lillian realized <span class="quote">“<span class="quote">every single issue we addressed would have
4078       been easier to deal with if more people understood the basic
4079       facts.</span>”</span> But understanding the basic facts sometimes
4080       requires data and research that you often have to pay for.
4081     </p><p>
4082       Lillian began to imagine a website that lifted data up to a visual
4083       form that could be easily understood and freely accessed.
4084       Initially launched as Wiki New Zealand, the original idea was that
4085       people could contribute their data and visuals via a wiki.
4086       However, few people had graphs that could be used and shared, and
4087       there were no standards or consistency around the data and the
4088       visuals. Realizing the wiki model wasn’t working, Lillian brought
4089       the process of data aggregation, curation, and visual presentation
4090       in-house, and invested in the technology to help automate some of
4091       it. Wiki New Zealand became Figure.NZ, and efforts were reoriented
4092       toward providing services to those wanting to open their data and
4093       present it visually.
4094     </p><p>
4095       Here’s how it works. Figure.NZ sources data from other
4096       organizations, including corporations, public repositories,
4097       government departments, and academics. Figure.NZ imports and
4098       extracts that data, and then validates and standardizes it—all
4099       with a strong eye on what will be best for users. They then make
4100       the data available in a series of standardized forms, both human-
4101       and machine-readable, with rich metadata about the sources, the
4102       licenses, and data types. Figure.NZ has a chart-designing tool
4103       that makes simple bar, line, and area graphs from any data source.
4104       The graphs are posted to the Figure.NZ website, and they can also
4105       be exported in a variety of formats for print or online use.
4106       Figure.NZ makes its data and graphs available using the
4107       Attribution (CC BY) license. This allows others to reuse, revise,
4108       remix, and redistribute Figure.NZ data and graphs as long as they
4109       give attribution to the original source and to Figure.NZ.
4110     </p><p>
4111       Lillian characterizes the initial decision to use Creative Commons
4112       as naively fortunate. It was first recommended to her by a
4113       colleague. Lillian spent time looking at what Creative Commons
4114       offered and thought it looked good, was clear, and made common
4115       sense. It was easy to use and easy for others to understand. Over
4116       time, she’s come to realize just how fortunate and important that
4117       decision turned out to be. New Zealand’s government has an
4118       open-access and licensing framework called NZGOAL, which provides
4119       guidance for agencies when they release copyrighted and
4120       noncopyrighted work and material.<a href="#ftn.idm1218" class="footnote" name="idm1218"><sup class="footnote">[119]</sup></a> It aims to standardize the licensing of works with
4121       government copyright and how they can be reused, and it does this
4122       with Creative Commons licenses. As a result, 98 percent of all
4123       government-agency data is Creative Commons licensed, fitting in
4124       nicely with Figure.NZ’s decision.
4125     </p><p>
4126       Lillian thinks current ideas of what a business is are relatively
4127       new, only a hundred years old or so. She’s convinced that twenty
4128       years from now, we will see new and different models for business.
4129       Figure.NZ is set up as a nonprofit charity. It is purpose-driven
4130       but also strives to pay people well and thinks like a business.
4131       Lillian sees the charity-nonprofit status as an essential element
4132       for the mission and purpose of Figure.NZ. She believes Wikipedia
4133       would not work if it were for profit, and similarly, Figure.NZ’s
4134       nonprofit status assures people who have data and people who want
4135       to use it that they can rely on Figure.NZ’s motives. People see
4136       them as a trusted wrangler and source.
4137     </p><p>
4138       Although Figure.NZ is a social enterprise that openly licenses
4139       their data and graphs for everyone to use for free, they have
4140       taken care not to be perceived as a free service all around the
4141       table. Lillian believes hundreds of millions of dollars are spent
4142       by the government and organizations to collect data. However, very
4143       little money is spent on taking that data and making it
4144       accessible, understandable, and useful for decision making.
4145       Government uses some of the data for policy, but Lillian believes
4146       that it is underutilized and the potential value is much larger.
4147       Figure.NZ is focused on solving that problem. They believe a
4148       portion of money allocated to collecting data should go into
4149       making sure that data is useful and generates value. If the
4150       government wants citizens to understand why certain decisions are
4151       being made and to be more aware about what the government is
4152       doing, why not transform the data it collects into easily
4153       understood visuals? It could even become a way for a government or
4154       any organization to differentiate, market, and brand itself.
4155     </p><p>
4156       Figure.NZ spends a lot of time seeking to understand the
4157       motivations of data collectors and to identify the channels where
4158       it can provide value. Every part of their business model has been
4159       focused on who is going to get value from the data and visuals.
4160     </p><p>
4161       Figure.NZ has multiple lines of business. They provide commercial
4162       services to organizations that want their data publicly available
4163       and want to use Figure.NZ as their publishing platform. People who
4164       want to publish open data appreciate Figure.NZ’s ability to do it
4165       faster, more easily, and better than they can. Customers are
4166       encouraged to help their users find, use, and make things from the
4167       data they make available on Figure.NZ’s website. Customers control
4168       what is released and the license terms (although Figure.NZ
4169       encourages Creative Commons licensing). Figure.NZ also serves
4170       customers who want a specific collection of charts created—for
4171       example, for their website or annual report. Charging the
4172       organizations that want to make their data available enables
4173       Figure.NZ to provide their site free to all users, to truly
4174       democratize data.
4175     </p><p>
4176       Lillian notes that the current state of most data is terrible and
4177       often not well understood by the people who have it. This
4178       sometimes makes it difficult for customers and Figure.NZ to figure
4179       out what it would cost to import, standardize, and display that
4180       data in a useful way. To deal with this, Figure.NZ uses
4181       <span class="quote">“<span class="quote">high-trust contracts,</span>”</span> where customers allocate a
4182       certain budget to the task that Figure.NZ is then free to draw
4183       from, as long as Figure.NZ frequently reports on what they’ve
4184       produced so the customer can determine the value for money. This
4185       strategy has helped build trust and transparency about the level
4186       of effort associated with doing work that has never been done
4187       before.
4188     </p><p>
4189       A second line of business is what Figure.NZ calls partners. ASB
4190       Bank and Statistics New Zealand are partners who back Figure.NZ’s
4191       efforts. As one example, with their support Figure.NZ has been
4192       able to create Business Figures, a special way for businesses to
4193       find useful data without having to know what questions to
4194       ask.<a href="#ftn.idm1228" class="footnote" name="idm1228"><sup class="footnote">[120]</sup></a>
4195     </p><p>
4196       Figure.NZ also has patrons.<a href="#ftn.idm1232" class="footnote" name="idm1232"><sup class="footnote">[121]</sup></a> Patrons donate to topic areas they care about,
4197       directly enabling Figure.NZ to get data together to flesh out
4198       those areas. Patrons do not direct what data is included or
4199       excluded.
4200     </p><p>
4201       Figure.NZ also accepts philanthropic donations, which are used to
4202       provide more content, extend technology, and improve services, or
4203       are targeted to fund a specific effort or provide in-kind support.
4204       As a charity, donations are tax deductible.
4205     </p><p>
4206       Figure.NZ has morphed and grown over time. With data aggregation,
4207       curation, and visualizing services all in-house, Figure.NZ has
4208       developed a deep expertise in taking random styles of data,
4209       standardizing it, and making it useful. Lillian realized that
4210       Figure.NZ could easily become a warehouse of seventy people doing
4211       data. But for Lillian, growth isn’t always good. In her view,
4212       bigger often means less effective. Lillian set artificial
4213       constraints on growth, forcing the organization to think
4214       differently and be more efficient. Rather than in-house growth,
4215       they are growing and building external relationships.
4216     </p><p>
4217       Figure.NZ’s website displays visuals and data associated with a
4218       wide range of categories including crime, economy, education,
4219       employment, energy, environment, health, information and
4220       communications technology, industry, tourism, and many others. A
4221       search function helps users find tables and graphs. Figure.NZ does
4222       not provide analysis or interpretation of the data or visuals.
4223       Their goal is to teach people how to think, not think for them.
4224       Figure.NZ wants to create intuitive experiences, not user manuals.
4225     </p><p>
4226       Figure.NZ believes data and visuals should be useful. They provide
4227       their customers with a data collection template and teach them why
4228       it’s important and how to use it. They’ve begun putting more
4229       emphasis on tracking what users of their website want. They also
4230       get requests from social media and through email for them to share
4231       data for a specific topic—for example, can you share data for
4232       water quality? If they have the data, they respond quickly; if
4233       they don’t, they try and identify the organizations that would
4234       have that data and forge a relationship so they can be included on
4235       Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place
4236       for people to be curious about, access, and interpret data on
4237       topics they are interested in.
4238     </p><p>
4239       Lillian has a deep and profound vision for Figure.NZ that goes
4240       well beyond simply providing open-data services. She says things
4241       are different now. "We used to live in a world where it was
4242       really hard to share information widely. And in that world, the
4243       best future was created by having a few great leaders who
4244       essentially had access to the information and made decisions on
4245       behalf of others, whether it was on behalf of a country or
4246       companies.
4247     </p><p>
4248       "But now we live in a world where it’s really easy to share
4249       information widely and also to communicate widely. In the world we
4250       live in now, the best future is the one where everyone can make
4251       well-informed decisions.
4252     </p><p>
4253       "The use of numbers and data as a way of making well-informed
4254       decisions is one of the areas where there is the biggest gaps. We
4255       don’t really use numbers as a part of our thinking and part of our
4256       understanding yet.
4257     </p><p>
4258       "Part of the reason is the way data is spread across hundreds
4259       of sites. In addition, for the most part, deep thinking based on
4260       data is constrained to experts because most people don’t have data
4261       literacy. There once was a time when many citizens in society
4262       couldn’t read or write. However, as a society, we’ve now come to
4263       believe that reading and writing skills should be something all
4264       citizens have. We haven’t yet adopted a similar belief around
4265       numbers and data literacy. We largely still believe that only a
4266       few specially trained people can analyze and think with numbers.
4267     </p><p>
4268       "Figure.NZ may be the first organization to assert that
4269       everyone can use numbers in their thinking, and it’s built a
4270       technological platform along with trust and a network of
4271       relationships to make that possible. What you can see on Figure.NZ
4272       are tens of thousands of graphs, maps, and data.
4273     </p><p>
4274         <span class="quote">“<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help
4275       people analyze what they see around them. A way to be thoughtful
4276       and informed about society. A means of engaging in conversation
4277       and shaping decision making that transcends personal experience.
4278       The long-term value and impact is almost impossible to measure,
4279       but the goal is to help citizens gain understanding and work
4280       together in more informed ways to shape the future.</span>”</span>
4281       </p><p>
4282       Lillian sees Figure.NZ’s model as having global potential. But for
4283       now, their focus is completely on making Figure.NZ work in New
4284       Zealand and to get the <span class="quote">“<span class="quote">network effect</span>”</span>— users
4285       dramatically increasing value for themselves and for others
4286       through use of their service. Creative Commons is core to making
4287       the network effect possible.
4288     </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>Chapter 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>
4289         Knowledge Unlatched is a not-for-profit community interest
4290         company that brings libraries together to pool funds to publish
4291         open-access books. Founded in 2012 in the UK.
4292       </p><p>
4293           <a class="ulink" href="http://knowledgeunlatched.org" target="_top">http://knowledgeunlatched.org</a>
4294         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
4295         (specialized)
4296       </p><p><span class="strong"><strong>Interview date</strong></span>: February 26,
4297         2016
4298       </p><p><span class="strong"><strong>Interviewee</strong></span>: Frances Pinter,
4299         founder
4300       </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}
4301     \textit{
4302         Profile written by Paul Stacey
4303       }
4304     \end{flushright}</td></tr></table></div><p>
4305       The serial entrepreneur Dr. Frances Pinter has been at the
4306       forefront of innovation in the publishing industry for nearly
4307       forty years. She founded the UK-based Knowledge Unlatched with a
4308       mission to enable open access to scholarly books. For Frances, the
4309       current scholarly- book-publishing system is not working for
4310       anyone, and especially not for monographs in the humanities and
4311       social sciences. Knowledge Unlatched is committed to changing this
4312       and has been working with libraries to create a sustainable
4313       alternative model for publishing scholarly books, sharing the cost
4314       of making monographs (released under a Creative Commons license)
4315       and savings costs over the long term. Since its launch, Knowledge
4316       Unlatched has received several awards, including the IFLA/Brill
4317       Open Access award in 2014 and a Curtin University Commercial
4318       Innovation Award for Innovation in Education in 2015.
4319     </p><p>
4320       Dr. Pinter has been in academic publishing most of her career.
4321       About ten years ago, she became acquainted with the Creative
4322       Commons founder Lawrence Lessig and got interested in Creative
4323       Commons as a tool for both protecting content online and
4324       distributing it free to users.
4325     </p><p>
4326       Not long after, she ran a project in Africa convincing publishers
4327       in Uganda and South Africa to put some of their content online for
4328       free using a Creative Commons license and to see what happened to
4329       print sales. Sales went up, not down.
4330     </p><p>
4331       In 2008, Bloomsbury Academic, a new imprint of Bloomsbury
4332       Publishing in the United Kingdom, appointed her its founding
4333       publisher in London. As part of the launch, Frances convinced
4334       Bloomsbury to differentiate themselves by putting out monographs
4335       for free online under a Creative Commons license (BY-NC or
4336       BY-NC-ND, i.e., Attribution-NonCommercial or
4337       Attribution-NonCommercial-NoDerivs). This was seen as risky, as
4338       the biggest cost for publishers is getting a book to the stage
4339       where it can be printed. If everyone read the online book for
4340       free, there would be no print-book sales at all, and the costs
4341       associated with getting the book to print would be lost.
4342       Surprisingly, Bloomsbury found that sales of the print versions of
4343       these books were 10 to 20 percent higher than normal. Frances
4344       found it intriguing that the Creative Commons–licensed free online
4345       book acts as a marketing vehicle for the print format.
4346     </p><p>
4347       Frances began to look at customer interest in the three forms of
4348       the book: 1) the Creative Commons–licensed free online book in PDF
4349       form, 2) the printed book, and 3) a digital version of the book on
4350       an aggregator platform with enhanced features. She thought of this
4351       as the <span class="quote">“<span class="quote">ice cream model</span>”</span>: the free PDF was vanilla
4352       ice cream, the printed book was an ice cream cone, and the
4353       enhanced e-book was an ice cream sundae.
4354     </p><p>
4355       After a while, Frances had an epiphany—what if there was a way to
4356       get libraries to underwrite the costs of making these books up
4357       until they’re ready be printed, in other words, cover the fixed
4358       costs of getting to the first digital copy? Then you could either
4359       bring down the cost of the printed book, or do a whole bunch of
4360       interesting things with the printed book and e-book—the ice cream
4361       cone or sundae part of the model.
4362     </p><p>
4363       This idea is similar to the article-processing charge some
4364       open-access journals charge researchers to cover publishing costs.
4365       Frances began to imagine a coalition of libraries paying for the
4366       prepress costs—a <span class="quote">“<span class="quote">book-processing charge</span>”</span>—and
4367       providing everyone in the world with an open-access version of the
4368       books released under a Creative Commons license.
4369     </p><p>
4370       This idea really took hold in her mind. She didn’t really have a
4371       name for it but began talking about it and making presentations to
4372       see if there was interest. The more she talked about it, the more
4373       people agreed it had appeal. She offered a bottle of champagne to
4374       anyone who could come up with a good name for the idea. Her
4375       husband came up with Knowledge Unlatched, and after two years of
4376       generating interest, she decided to move forward and launch a
4377       community interest company (a UK term for not-for-profit social
4378       enterprises) in 2012.
4379     </p><p>
4380       She describes the business model in a paper called Knowledge
4381       Unlatched: Toward an Open and Networked Future for Academic
4382       Publishing:
4383     </p><div class="orderedlist"><ol class="orderedlist compact" type="1"><li class="listitem"><p>
4384           Publishers offer titles for sale reflecting origination costs
4385           only via Knowledge Unlatched.
4386         </p></li><li class="listitem"><p>
4387           Individual libraries select titles either as individual titles
4388           or as collections (as they do from library suppliers now).
4389         </p></li><li class="listitem"><p>
4390           Their selections are sent to Knowledge Unlatched specifying
4391           the titles to be purchased at the stated price(s).
4392         </p></li><li class="listitem"><p>
4393           The price, called a Title Fee (set by publishers and
4394           negotiated by Knowledge Unlatched), is paid to publishers to
4395           cover the fixed costs of publishing each of the titles that
4396           were selected by a minimum number of libraries to cover the
4397           Title Fee.
4398         </p></li><li class="listitem"><p>
4399           Publishers make the selected titles available Open Access (on
4400           a Creative Commons or similar open license) and are then paid
4401           the Title Fee which is the total collected from the libraries.
4402         </p></li><li class="listitem"><p>
4403           Publishers make print copies, e-Pub, and other digital
4404           versions of selected titles available to member libraries at a
4405           discount that reflects their contribution to the Title Fee and
4406           incentivizes membership.<a href="#ftn.idm1285" class="footnote" name="idm1285"><sup class="footnote">[122]</sup></a>
4407         </p></li></ol></div><p>
4408       The first round of this model resulted in a collection of
4409       twenty-eight current titles from thirteen recognized scholarly
4410       publishers being unlatched. The target was to have two hundred
4411       libraries participate. The cost of the package per library was
4412       capped at $1,680, which was an average price of sixty dollars per
4413       book, but in the end they had nearly three hundred libraries
4414       sharing the costs, and the price per book came in at just under
4415       forty-three dollars.
4416     </p><p>
4417       The open-access, Creative Commons versions of these twenty-eight
4418       books are still available online.<a href="#ftn.idm1290" class="footnote" name="idm1290"><sup class="footnote">[123]</sup></a> Most books have been licensed with CC BY-NC or CC
4419       BY-NC-ND. Authors are the copyright holder, not the publisher, and
4420       negotiate choice of license as part of the publishing agreement.
4421       Frances has found that most authors want to retain control over
4422       the commercial and remix use of their work. Publishers list the
4423       book in their catalogs, and the noncommercial restriction in the
4424       Creative Commons license ensures authors continue to get royalties
4425       on sales of physical copies.
4426     </p><p>
4427       There are three cost variables to consider for each round: the
4428       overall cost incurred by the publishers, total cost for each
4429       library to acquire all the books, and the individual price per
4430       book. The fee publishers charge for each title is a fixed charge,
4431       and Knowledge Unlatched calculates the total amount for all the
4432       books being unlatched at a time. The cost of an order for each
4433       library is capped at a maximum based on a minimum number of
4434       libraries participating. If the number of participating libraries
4435       exceeds the minimum, then the cost of the order and the price per
4436       book go down for each library.
4437     </p><p>
4438       The second round, recently completed, unlatched seventy-eight
4439       books from twenty-six publishers. For this round, Frances was
4440       experimenting with the size and shape of the offerings. Books were
4441       being bundled into eight small packages separated by subject
4442       (including Anthropology, History, Literature, Media and
4443       Communications, and Politics), of around ten books per package.
4444       Three hundred libraries around the world have to commit to at
4445       least six of the eight packages to enable unlatching. The average
4446       cost per book was just under fifty dollars. The unlatching process
4447       took roughly ten months. It started with a call to publishers for
4448       titles, followed by having a library task force select the titles,
4449       getting authors’ permissions, getting the libraries to pledge,
4450       billing the libraries, and finally, unlatching.
4451     </p><p>
4452       The longest part of the whole process is getting libraries to
4453       pledge and commit funds. It takes about five months, as library
4454       buy-in has to fit within acquisition cycles, budget cycles, and
4455       library-committee meetings.
4456     </p><p>
4457       Knowledge Unlatched informs and recruits libraries through social
4458       media, mailing lists, listservs, and library associations. Of the
4459       three hundred libraries that participated in the first round, 80
4460       percent are also participating in the second round, and there are
4461       an additional eighty new libraries taking part. Knowledge
4462       Unlatched is also working not just with individual libraries but
4463       also library consortia, which has been getting even more libraries
4464       involved.
4465     </p><p>
4466       Knowledge Unlatched is scaling up, offering 150 new titles in the
4467       second half of 2016. It will also offer backlist titles, and in
4468       2017 will start to make journals open access too.
4469     </p><p>
4470       Knowledge Unlatched deliberately chose monographs as the initial
4471       type of book to unlatch. Monographs are foundational and
4472       important, but also problematic to keep going in the standard
4473       closed publishing model.
4474     </p><p>
4475       The cost for the publisher to get to a first digital copy of a
4476       monograph is $5,000 to $50,000. A good one costs in the $10,000 to
4477       $15,000 range. Monographs typically don’t sell a lot of copies. A
4478       publisher who in the past sold three thousand copies now typically
4479       sells only three hundred. That makes unlatching monographs a low
4480       risk for publishers. For the first round, it took five months to
4481       get thirteen publishers. For the second round, it took one month
4482       to get twenty-six.
4483     </p><p>
4484       Authors don’t generally make a lot of royalties from monographs.
4485       Royalties range from zero dollars to 5 to 10 percent of receipts.
4486       The value to the author is the awareness it brings to them; when
4487       their book is being read, it increases their reputation. Open
4488       access through unlatching generates many more downloads and
4489       therefore awareness. (On the Knowledge Unlatched website, you can
4490       find interviews with the twenty-eight round-one authors describing
4491       their experience and the benefits of taking part.)<a href="#ftn.idm1301" class="footnote" name="idm1301"><sup class="footnote">[124]</sup></a>
4492     </p><p>
4493       Library budgets are constantly being squeezed, partly due to the
4494       inflation of journal subscriptions. But even without budget
4495       constraints, academic libraries are moving away from buying
4496       physical copies. An academic library catalog entry is typically a
4497       URL to wherever the book is hosted. Or if they have enough
4498       electronic storage space, they may download the digital file into
4499       their digital repository. Only secondarily do they consider
4500       getting a print book, and if they do, they buy it separately from
4501       the digital version.
4502     </p><p>
4503       Knowledge Unlatched offers libraries a compelling economic
4504       argument. Many of the participating libraries would have bought a
4505       copy of the monograph anyway, but instead of paying $95 for a
4506       print copy or $150 for a digital multiple-use copy, they pay $50
4507       to unlatch. It costs them less, and it opens the book to not just
4508       the participating libraries, but to the world.
4509     </p><p>
4510       Not only do the economics make sense, but there is very strong
4511       alignment with library mandates. The participating libraries pay
4512       less than they would have in the closed model, and the open-access
4513       book is available to all libraries. While this means
4514       nonparticipating libraries could be seen as free riders, in the
4515       library world, wealthy libraries are used to paying more than poor
4516       libraries and accept that part of their money should be spent to
4517       support open access. <span class="quote">“<span class="quote">Free ride</span>”</span> is more like
4518       community responsibility. By the end of March 2016, the round-one
4519       books had been downloaded nearly eighty thousand times in 175
4520       countries.
4521     </p><p>
4522       For publishers, authors, and librarians, the Knowledge Unlatched
4523       model for monographs is a win-win-win.
4524     </p><p>
4525       In the first round, Knowledge Unlatched’s overheads were covered
4526       by grants. In the second round, they aim to demonstrate the model
4527       is sustainable. Libraries and publishers will each pay a 7.5
4528       percent service charge that will go toward Knowledge Unlatched’s
4529       running costs. With plans to scale up in future rounds, Frances
4530       figures they can fully recover costs when they are unlatching two
4531       hundred books at a time. Moving forward, Knowledge Unlatched is
4532       making investments in technology and processes. Future plans
4533       include unlatching journals and older books.
4534     </p><p>
4535       Frances believes that Knowledge Unlatched is tapping into new ways
4536       of valuing academic content. It’s about considering how many
4537       people can find, access, and use your content without pay
4538       barriers. Knowledge Unlatched taps into the new possibilities and
4539       behaviors of the digital world. In the Knowledge Unlatched model,
4540       the content-creation process is exactly the same as it always has
4541       been, but the economics are different. For Frances, Knowledge
4542       Unlatched is connected to the past but moving into the future, an
4543       evolution rather than a revolution.
4544     </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>Chapter 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>
4545         Lumen Learning is a for-profit company helping educational
4546         institutions use open educational resources (OER). Founded in
4547         2013 in the U.S.
4548       </p><p>
4549           <a class="ulink" href="http://lumenlearning.com" target="_top">http://lumenlearning.com</a>
4550         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for
4551         custom services, grant funding
4552       </p><p><span class="strong"><strong>Interview date</strong></span>: December 21,
4553         2015
4554       </p><p><span class="strong"><strong>Interviewees</strong></span>: David Wiley and
4555         Kim Thanos, cofounders
4556       </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}
4557     \textit{
4558         Profile written by Paul Stacey
4559       }
4560     \end{flushright}</td></tr></table></div><p>
4561       Cofounded by open education visionary Dr. David Wiley and
4562       education-technology strategist Kim Thanos, Lumen Learning is
4563       dedicated to improving student success, bringing new ideas to
4564       pedagogy, and making education more affordable by facilitating
4565       adoption of open educational resources. In 2012, David and Kim
4566       partnered on a grant-funded project called the Kaleidoscope Open
4567       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
4568       courses across eight colleges predominantly serving at-risk
4569       students, with goals to dramatically reduce textbook costs and
4570       collaborate to improve the courses to help students succeed. David
4571       and Kim exceeded those goals: the cost of the required textbooks,
4572       replaced with OER, decreased to zero dollars, and average
4573       student-success rates improved by 5 to 10 percent when compared
4574       with previous years. After a second round of funding, a total of
4575       more than twenty-five institutions participated in and benefited
4576       from this project. It was career changing for David and Kim to see
4577       the impact this initiative had on low-income students. David and
4578       Kim sought further funding from the Bill and Melinda Gates
4579       Foundation, who asked them to define a plan to scale their work in
4580       a financially sustainable way. That is when they decided to create
4581       Lumen Learning.
4582     </p><p>
4583       David and Kim went back and forth on whether it should be a
4584       nonprofit or for- profit. A nonprofit would make it a more
4585       comfortable fit with the education sector but meant they’d be
4586       constantly fund-raising and seeking grants from philanthropies.
4587       Also, grants usually require money to be used in certain ways for
4588       specific deliverables. If you learn things along the way that
4589       change how you think the grant money should be used, there often
4590       isn’t a lot of flexibility to do so.
4591     </p><p>
4592       But as a for-profit, they’d have to convince educational
4593       institutions to pay for what Lumen had to offer. On the positive
4594       side, they’d have more control over what to do with the revenue
4595       and investment money; they could make decisions to invest the
4596       funds or use them differently based on the situation and shifting
4597       opportunities. In the end, they chose the for-profit status, with
4598       its different model for and approach to sustainability.
4599     </p><p>
4600       Right from the start, David and Kim positioned Lumen Learning as a
4601       way to help institutions engage in open educational resources, or
4602       OER. OER are teaching, learning, and research materials, in all
4603       different media, that reside in the public domain or are released
4604       under an open license that permits free use and repurposing by
4605       others.
4606     </p><p>
4607       Originally, Lumen did custom contracts for each institution. This
4608       was complicated and challenging to manage. However, through that
4609       process patterns emerged which allowed them to generalize a set of
4610       approaches and offerings. Today they don’t customize as much as
4611       they used to, and instead they tend to work with customers who can
4612       use their off-the-shelf options. Lumen finds that institutions and
4613       faculty are generally very good at seeing the value Lumen brings
4614       and are willing to pay for it. Serving disadvantaged learner
4615       populations has led Lumen to be very pragmatic; they describe what
4616       they offer in quantitative terms—with facts and figures—and in a
4617       way that is very student-focused. Lumen Learning helps colleges
4618       and universities—
4619     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4620           replace expensive textbooks in high-enrollment courses with
4621           OER;
4622         </p></li><li class="listitem"><p>
4623           provide enrolled students day one access to Lumen’s fully
4624           customizable OER course materials through the institution’s
4625           learning-management system;
4626         </p></li><li class="listitem"><p>
4627           measure improvements in student success with metrics like
4628           passing rates, persistence, and course completion; and
4629         </p></li><li class="listitem"><p>
4630           collaborate with faculty to make ongoing improvements to OER
4631           based on student success research.
4632         </p></li></ul></div><p>
4633       Lumen has developed a suite of open, Creative Commons–licensed
4634       courseware in more than sixty-five subjects. All courses are
4635       freely and publicly available right off their website. They can be
4636       copied and used by others as long as they provide attribution to
4637       Lumen Learning following the terms of the Creative Commons
4638       license.
4639     </p><p>
4640       Then there are three types of bundled services that cost money.
4641       One option, which Lumen calls Candela courseware, offers
4642       integration with the institution’s learning-management system,
4643       technical and pedagogical support, and tracking of effectiveness.
4644       Candela courseware costs institutions ten dollars per enrolled
4645       student.
4646     </p><p>
4647       A second option is Waymaker, which offers the services of Candela
4648       but adds personalized learning technologies, such as study plans,
4649       automated messages, and assessments, and helps instructors find
4650       and support the students who need it most. Waymaker courses cost
4651       twenty-five dollars per enrolled student.
4652     </p><p>
4653       The third and emerging line of business for Lumen is providing
4654       guidance and support for institutions and state systems that are
4655       pursuing the development of complete OER degrees. Often called
4656       Z-Degrees, these programs eliminate textbook costs for students in
4657       all courses that make up the degree (both required and elective)
4658       by replacing commercial textbooks and other expensive resources
4659       with OER.
4660     </p><p>
4661       Lumen generates revenue by charging for their value-added tools
4662       and services on top of their free courses, just as solar-power
4663       companies provide the tools and services that help people use a
4664       free resource—sunlight. And Lumen’s business model focuses on
4665       getting the institutions to pay, not the students. With projects
4666       they did prior to Lumen, David and Kim learned that students who
4667       have access to all course materials from day one have greater
4668       success. If students had to pay, Lumen would have to restrict
4669       access to those who paid. Right from the start, their stance was
4670       that they would not put their content behind a paywall. Lumen
4671       invests zero dollars in technologies and processes for restricting
4672       access—no digital rights management, no time bombs. While this has
4673       been a challenge from a business-model perspective, from an
4674       open-access perspective, it has generated immense goodwill in the
4675       community.
4676     </p><p>
4677       In most cases, development of their courses is funded by the
4678       institution Lumen has a contract with. When creating new courses,
4679       Lumen typically works with the faculty who are teaching the new
4680       course. They’re often part of the institution paying Lumen, but
4681       sometimes Lumen has to expand the team and contract faculty from
4682       other institutions. First, the faculty identifies all of the
4683       course’s learning outcomes. Lumen then searches for, aggregates,
4684       and curates the best OER they can find that addresses those
4685       learning needs, which the faculty reviews.
4686     </p><p>
4687       Sometimes faculty like the existing OER but not the way it is
4688       presented. The open licensing of existing OER allows Lumen to pick
4689       and choose from images, videos, and other media to adapt and
4690       customize the course. Lumen creates new content as they discover
4691       gaps in existing OER. Test-bank items and feedback for students on
4692       their progress are areas where new content is frequently needed.
4693       Once a course is created, Lumen puts it on their platform with all
4694       the attributions and links to the original sources intact, and any
4695       of Lumen’s new content is given an Attribution (CC BY) license.
4696     </p><p>
4697       Using only OER made them experience firsthand how complex it could
4698       be to mix differently licensed work together. A common strategy
4699       with OER is to place the Creative Commons license and attribution
4700       information in the website’s footer, which stays the same for all
4701       pages. This doesn’t quite work, however, when mixing different OER
4702       together.
4703     </p><p>
4704       Remixing OER often results in multiple attributions on every page
4705       of every course—text from one place, images from another, and
4706       videos from yet another. Some are licensed as Attribution (CC BY),
4707       others as Attribution-ShareAlike (CC BY-SA). If this information
4708       is put within the text of the course, faculty members sometimes
4709       try to edit it and students find it a distraction. Lumen dealt
4710       with this challenge by capturing the license and attribution
4711       information as metadata, and getting it to show up at the end of
4712       each page.
4713     </p><p>
4714       Lumen’s commitment to open licensing and helping low-income
4715       students has led to strong relationships with institutions,
4716       open-education enthusiasts, and grant funders. People in their
4717       network generously increase the visibility of Lumen through
4718       presentations, word of mouth, and referrals. Sometimes the number
4719       of general inquiries exceed Lumen’s sales capacity.
4720     </p><p>
4721       To manage demand and ensure the success of projects, their
4722       strategy is to be proactive and focus on what’s going on in higher
4723       education in different regions of the United States, watching out
4724       for things happening at the system level in a way that fits with
4725       what Lumen offers. A great example is the Virginia community
4726       college system, which is building out Z-Degrees. David and Kim say
4727       there are nine other U.S. states with similar system-level
4728       activity where Lumen is strategically focusing its efforts. Where
4729       there are projects that would require a lot of resources on
4730       Lumen’s part, they prioritize the ones that would impact the
4731       largest number of students.
4732     </p><p>
4733       As a business, Lumen is committed to openness. There are two core
4734       nonnegotiables: Lumen’s use of CC BY, the most permissive of the
4735       Creative Commons licenses, for all the materials it creates; and
4736       day-one access for students. Having clear nonnegotiables allows
4737       them to then engage with the education community to solve for
4738       other challenges and work with institutions to identify new
4739       business models that achieve institution goals, while keeping
4740       Lumen healthy.
4741     </p><p>
4742       Openness also means that Lumen’s OER must necessarily be
4743       nonexclusive and nonrivalrous. This represents several big
4744       challenges for the business model: Why should you invest in
4745       creating something that people will be reluctant to pay for? How
4746       do you ensure that the investment the diverse education community
4747       makes in OER is not exploited? Lumen thinks we all need to be
4748       clear about how we are benefiting from and contributing to the
4749       open community.
4750     </p><p>
4751       In the OER sector, there are examples of corporations, and even
4752       institutions, acting as free riders. Some simply take and use open
4753       resources without paying anything or contributing anything back.
4754       Others give back the minimum amount so they can save face.
4755       Sustainability will require those using open resources to give
4756       back an amount that seems fair or even give back something that is
4757       generous.
4758     </p><p>
4759       Lumen does track institutions accessing and using their free
4760       content. They proactively contact those institutions, with an
4761       estimate of how much their students are saving and encouraging
4762       them to switch to a paid model. Lumen explains the advantages of
4763       the paid model: a more interactive relationship with Lumen;
4764       integration with the institution’s learning-management system; a
4765       guarantee of support for faculty and students; and future
4766       sustainability with funding supporting the evolution and
4767       improvement of the OER they are using.
4768     </p><p>
4769       Lumen works hard to be a good corporate citizen in the OER
4770       community. For David and Kim, a good corporate citizen gives more
4771       than they take, adds unique value, and is very transparent about
4772       what they are taking from community, what they are giving back,
4773       and what they are monetizing. Lumen believes these are the
4774       building blocks of a sustainable model and strives for a correct
4775       balance of all these factors.
4776     </p><p>
4777       Licensing all the content they produce with CC BY is a key part of
4778       giving more value than they take. They’ve also worked hard at
4779       finding the right structure for their value-add and how to package
4780       it in a way that is understandable and repeatable.
4781     </p><p>
4782       As of the fall 2016 term, Lumen had eighty-six different open
4783       courses, working relationships with ninety-two institutions, and
4784       more than seventy-five thousand student enrollments. Lumen
4785       received early start-up funding from the Bill and Melinda Gates
4786       Foundation, the Hewlett Foundation, and the Shuttleworth
4787       Foundation. Since then, Lumen has also attracted investment
4788       funding. Over the last three years, Lumen has been roughly 60
4789       percent grant funded, 20 percent revenue earned, and 20 percent
4790       funded with angel capital. Going forward, their strategy is to
4791       replace grant funding with revenue.
4792     </p><p>
4793       In creating Lumen Learning, David and Kim say they’ve landed on
4794       solutions they never imagined, and there is still a lot of
4795       learning taking place. For them, open business models are an
4796       emerging field where we are all learning through sharing. Their
4797       biggest recommendations for others wanting to pursue the open
4798       model are to make your commitment to open resources public, let
4799       people know where you stand, and don’t back away from it. It
4800       really is about trust.
4801     </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>Chapter 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>
4802         Jonathan Mann is a singer and songwriter who is most well known
4803         as the <span class="quote">“<span class="quote">Song A Day</span>”</span> guy. Based in the U.S.
4804       </p><p><a class="ulink" href="http://jonathanmann.net" target="_top">http://jonathanmann.net</a> and
4805         <a class="ulink" href="http://jonathanmann.bandcamp.com" target="_top">http://jonathanmann.bandcamp.com</a>
4806       </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for
4807         custom services, pay-what-you-want, crowdfunding
4808         (subscription-based), charging for in-person version (speaking
4809         engagements and musical performances)
4810       </p><p><span class="strong"><strong>Interview date</strong></span>: February 22,
4811         2016
4812       </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}
4813     \textit{
4814         Profile written by Sarah Hinchliff Pearson
4815       }
4816     \end{flushright}</td></tr></table></div><p>
4817       Jonathan Mann thinks of his business model as
4818       <span class="quote">“<span class="quote">hustling</span>”</span>—seizing nearly every opportunity he sees
4819       to make money. The bulk of his income comes from writing songs
4820       under commission for people and companies, but he has a wide
4821       variety of income sources. He has supporters on the crowdfunding
4822       site Patreon. He gets advertising revenue from YouTube and
4823       Bandcamp, where he posts all of his music. He gives paid speaking
4824       engagements about creativity and motivation. He has been hired by
4825       major conferences to write songs summarizing what speakers have
4826       said in the conference sessions.
4827     </p><p>
4828       His entrepreneurial spirit is coupled with a willingness to take
4829       action quickly. A perfect illustration of his ability to act fast
4830       happened in 2010, when he read that Apple was having a conference
4831       the following day to address a snafu related to the iPhone 4. He
4832       decided to write and post a song about the iPhone 4 that day, and
4833       the next day he got a call from the public relations people at
4834       Apple wanting to use and promote his video at the Apple
4835       conference. The song then went viral, and the experience landed
4836       him in Time magazine.
4837     </p><p>
4838       Jonathan’s successful <span class="quote">“<span class="quote">hustling</span>”</span> is also about
4839       old-fashioned persistence. He is currently in his eighth straight
4840       year of writing one song each day. He holds the Guinness World
4841       Record for consecutive daily songwriting, and he is widely known
4842       as the <span class="quote">“<span class="quote">song-a-day guy.</span>”</span>
4843     </p><p>
4844       He fell into this role by, naturally, seizing a random opportunity
4845       a friend alerted him to seven years ago—an event called Fun-A-Day,
4846       where people are supposed to create a piece of art every day for
4847       thirty-one days straight. He was in need of a new project, so he
4848       decided to give it a try by writing and posting a song each day.
4849       He added a video component to the songs because he knew people
4850       were more likely to watch video online than simply listening to
4851       audio files.
4852     </p><p>
4853       He had a really good time doing the thirty-one-day challenge, so
4854       he decided to see if he could continue it for one year. He never
4855       stopped. He has written and posted a new song literally every day,
4856       seven days a week, since he began the project in 2009. When he
4857       isn’t writing songs that he is hired to write by clients, he
4858       writes songs about whatever is on his mind that day. His songs are
4859       catchy and mostly lighthearted, but they often contain at least an
4860       undercurrent of a deeper theme or meaning. Occasionally, they are
4861       extremely personal, like the song he cowrote with his exgirlfriend
4862       announcing their breakup. Rain or shine, in sickness or health,
4863       Jonathan posts and writes a song every day. If he is on a flight
4864       or otherwise incapable of getting Internet access in time to meet
4865       the deadline, he will prepare ahead and have someone else post the
4866       song for him.
4867     </p><p>
4868       Over time, the song-a-day gig became the basis of his livelihood.
4869       In the beginning, he made money one of two ways. The first was by
4870       entering a wide variety of contests and winning a handful. The
4871       second was by having the occasional song and video go some varying
4872       degree of viral, which would bring more eyeballs and mean that
4873       there were more people wanting him to write songs for them. Today
4874       he earns most of his money this way.
4875     </p><p>
4876       His website explains his gig as <span class="quote">“<span class="quote">taking any message, from
4877       the super simple to the totally complicated, and conveying that
4878       message through a heartfelt, fun and quirky song.</span>”</span> He
4879       charges $500 to create a produced song and $300 for an acoustic
4880       song. He has been hired for product launches, weddings,
4881       conferences, and even Kickstarter campaigns like the one that
4882       funded the production of this book.
4883     </p><p>
4884       Jonathan can’t recall when exactly he first learned about Creative
4885       Commons, but he began applying CC licenses to his songs and videos
4886       as soon as he discovered the option. <span class="quote">“<span class="quote">CC seems like such a
4887       no-brainer,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">I don’t understand how
4888       anything else would make sense. It seems like such an obvious
4889       thing that you would want your work to be able to be
4890       shared.</span>”</span>
4891     </p><p>
4892       His songs are essentially marketing for his services, so obviously
4893       the further his songs spread, the better. Using CC licenses helps
4894       grease the wheels, letting people know that Jonathan allows and
4895       encourages them to copy, interact with, and remix his music.
4896       <span class="quote">“<span class="quote">If you let someone cover your song or remix it or use parts
4897       of it, that’s how music is supposed to work,</span>”</span> Jonathan
4898       said. <span class="quote">“<span class="quote">That is how music has worked since the beginning of
4899       time. Our me-me, mine-mine culture has undermined that.</span>”</span>
4900     </p><p>
4901       There are some people who cover his songs fairly regularly, and he
4902       would never shut that down. But he acknowledges there is a lot
4903       more he could do to build community. <span class="quote">“<span class="quote">There is all of this
4904       conventional wisdom about how to build an audience online, and I
4905       generally think I don’t do any of that,</span>”</span> Jonathan said.
4906     </p><p>
4907       He does have a fan community he cultivates on Bandcamp, but it
4908       isn’t his major focus. <span class="quote">“<span class="quote">I do have a core audience that has
4909       stuck around for a really long time, some even longer than I’ve
4910       been doing song-a-day,</span>”</span> he said. <span class="quote">“<span class="quote">There is also a
4911       transitional aspect that drop in and get what they need and then
4912       move on.</span>”</span> Focusing less on community building than other
4913       artists makes sense given Jonathan’s primary income source of
4914       writing custom songs for clients.
4915     </p><p>
4916       Jonathan recognizes what comes naturally to him and leverages
4917       those skills. Through the practice of daily songwriting, he
4918       realized he has a gift for distilling complicated subjects into
4919       simple concepts and putting them to music. In his song <span class="quote">“<span class="quote">How
4920       to Choose a Master Password,</span>”</span> Jonathan explained the
4921       process of creating a secure password in a silly, simple song. He
4922       was hired to write the song by a client who handed him a long
4923       technical blog post from which to draw the information. Like a
4924       good (and rare) journalist, he translated the technical concepts
4925       into something understandable.
4926     </p><p>
4927       When he is hired by a client to write a song, he first asks them
4928       to send a list of talking points and other information they want
4929       to include in the song. He puts all of that into a text file and
4930       starts moving things around, cutting and pasting until the message
4931       starts to come together. The first thing he tries to do is grok
4932       the core message and develop the chorus. Then he looks for
4933       connections or parts he can make rhyme. The entire process really
4934       does resemble good journalism, but of course the final product of
4935       his work is a song rather than news. <span class="quote">“<span class="quote">There is something
4936       about being challenged and forced to take information that doesn’t
4937       seem like it should be sung about or doesn’t seem like it lends
4938       itself to a song,</span>”</span> he said. <span class="quote">“<span class="quote">I find that creative
4939       challenge really satisfying. I enjoy getting lost in that
4940       process.</span>”</span>
4941     </p><p>
4942       Jonathan admits that in an ideal world, he would exclusively write
4943       the music he wanted to write, rather than what clients hire him to
4944       write. But his business model is about capitalizing on his
4945       strengths as a songwriter, and he has found a way to keep it
4946       interesting for himself.
4947     </p><p>
4948       Jonathan uses nearly every tool possible to make money from his
4949       art, but he does have lines he won’t cross. He won’t write songs
4950       about things he fundamentally does not believe in, and there are
4951       times he has turned down jobs on principle. He also won’t stray
4952       too much from his natural style. <span class="quote">“<span class="quote">My style is silly, so I
4953       can’t really accommodate people who want something super
4954       serious,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">I do what I do very easily,
4955       and it’s part of who I am.</span>”</span> Jonathan hasn’t gotten into
4956       writing commercials for the same reasons; he is best at using his
4957       own unique style rather than mimicking others.
4958     </p><p>
4959       Jonathan’s song-a-day commitment exemplifies the power of habit
4960       and grit. Conventional wisdom about creative productivity,
4961       including advice in books like the best-seller The Creative Habit
4962       by Twyla Tharp, routinely emphasizes the importance of ritual and
4963       action. No amount of planning can replace the value of simple
4964       practice and just doing. Jonathan Mann’s work is a living
4965       embodiment of these principles.
4966     </p><p>
4967       When he speaks about his work, he talks about how much the
4968       song-a-day process has changed him. Rather than seeing any given
4969       piece of work as precious and getting stuck on trying to make it
4970       perfect, he has become comfortable with just doing. If today’s
4971       song is a bust, tomorrow’s song might be better.
4972     </p><p>
4973       Jonathan seems to have this mentality about his career more
4974       generally. He is constantly experimenting with ways to make a
4975       living while sharing his work as widely as possible, seeing what
4976       sticks. While he has major accomplishments he is proud of, like
4977       being in the Guinness World Records or having his song used by
4978       Steve Jobs, he says he never truly feels successful.
4979     </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
4980       certain extent, a creative person is not ever going to feel
4981       completely satisfied because then so much of what drives you would
4982       be gone.</span>”</span>
4983     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Chapter 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>
4984         The Noun Project is a for-profit company offering an online
4985         platform to display visual icons from a global network of
4986         designers. Founded in 2010 in the U.S.
4987       </p><p>
4988           <a class="ulink" href="http://thenounproject.com" target="_top">http://thenounproject.com</a>
4989         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a
4990         transaction fee, charging for custom services
4991       </p><p><span class="strong"><strong>Interview date</strong></span>: October 6,
4992         2015
4993       </p><p><span class="strong"><strong>Interviewee</strong></span>: Edward Boatman,
4994         cofounder
4995       </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}
4996     \textit{
4997         Profile written by Paul Stacey
4998       }
4999     \end{flushright}</td></tr></table></div><p>
5000       The Noun Project creates and shares visual language. There are
5001       millions who use Noun Project symbols to simplify communication
5002       across borders, languages, and cultures.
5003     </p><p>
5004       The original idea for the Noun Project came to cofounder Edward
5005       Boatman while he was a student in architecture design school. He’d
5006       always done a lot of sketches and started to draw what used to
5007       fascinate him as a child, like trains, sequoias, and bulldozers.
5008       He began thinking how great it would be if he had a simple image
5009       or small icon of every single object or concept on the planet.
5010     </p><p>
5011       When Edward went on to work at an architecture firm, he had to
5012       make a lot of presentation boards for clients. But finding
5013       high-quality sources for symbols and icons was difficult. He
5014       couldn’t find any website that could provide them. Perhaps his
5015       idea for creating a library of icons could actually help people in
5016       similar situations.
5017     </p><p>
5018       With his partner, Sofya Polyakov, he began collecting symbols for
5019       a website and writing a business plan. Inspiration came from the
5020       book Professor and the Madman, which chronicles the use of
5021       crowdsourcing to create the Oxford English Dictionary in 1870.
5022       Edward began to imagine crowdsourcing icons and symbols from
5023       volunteer designers around the world.
5024     </p><p>
5025       Then Edward got laid off during the recession, which turned out to
5026       be a huge catalyst. He decided to give his idea a go, and in 2010
5027       Edward and Sofya launched the Noun Project with a Kickstarter
5028       campaign, back when Kickstarter was in its infancy.<a href="#ftn.idm1428" class="footnote" name="idm1428"><sup class="footnote">[126]</sup></a> They thought it’d be a good way to introduce the
5029       global web community to their idea. Their goal was to raise
5030       $1,500, but in twenty days they got over $14,000. They realized
5031       their idea had the potential to be something much bigger.
5032     </p><p>
5033       They created a platform where symbols and icons could be uploaded,
5034       and Edward began recruiting talented designers to contribute their
5035       designs, a process he describes as a relatively easy sell. Lots of
5036       designers have old drawings just gathering <span class="quote">“<span class="quote">digital
5037       dust</span>”</span> on their hard drives. It’s easy to convince them to
5038       finally share them with the world.
5039     </p><p>
5040       The Noun Project currently has about seven thousand designers from
5041       around the world. But not all submissions are accepted. The Noun
5042       Project’s quality-review process means that only the best works
5043       become part of its collection. They make sure to provide
5044       encouraging, constructive feedback whenever they reject a piece of
5045       work, which maintains and builds the relationship they have with
5046       their global community of designers.
5047     </p><p>
5048       Creative Commons is an integral part of the Noun Project’s
5049       business model; this decision was inspired by Chris Anderson’s
5050       book Free: The Future of Radical Price, which introduced Edward to
5051       the idea that you could build a business model around free
5052       content.
5053     </p><p>
5054       Edward knew he wanted to offer a free visual language while still
5055       providing some protection and reward for its contributors. There
5056       is a tension between those two goals, but for Edward, Creative
5057       Commons licenses bring this idealism and business opportunity
5058       together elegantly. He chose the Attribution (CC BY) license,
5059       which means people can download the icons for free and modify them
5060       and even use them commercially. The requirement to give
5061       attribution to the original creator ensures that the creator can
5062       build a reputation and get global recognition for their work. And
5063       if they simply want to offer an icon that people can use without
5064       having to give credit, they can use CC0 to put the work into the
5065       public domain.
5066     </p><p>
5067       Noun Project’s business model and means of generating revenue have
5068       evolved significantly over time. Their initial plan was to sell
5069       T-shirts with the icons on it, which in retrospect Edward says was
5070       a horrible idea. They did get a lot of email from people saying
5071       they loved the icons but asking if they could pay a fee instead of
5072       giving attribution. Ad agencies (among others) wanted to keep
5073       marketing and presentation materials clean and free of attribution
5074       statements. For Edward, <span class="quote">“<span class="quote">That’s when our lightbulb went
5075       off.</span>”</span>
5076     </p><p>
5077       They asked their global network of designers whether they’d be
5078       open to receiving modest remuneration instead of attribution.
5079       Designers saw it as a win-win. The idea that you could offer your
5080       designs for free and have a global audience and maybe even make
5081       some money was pretty exciting for most designers.
5082     </p><p>
5083       The Noun Project first adopted a model whereby using an icon
5084       without giving attribution would cost $1.99 per icon. The model’s
5085       second iteration added a subscription component, where there would
5086       be a monthly fee to access a certain number of icons—ten, fifty, a
5087       hundred, or five hundred. However, users didn’t like these
5088       hard-count options. They preferred to try out many similar icons
5089       to see which worked best before eventually choosing the one they
5090       wanted to use. So the Noun Project moved to an unlimited model,
5091       whereby users have unlimited access to the whole library for a
5092       flat monthly fee. This service is called NounPro and costs $9.99
5093       per month. Edward says this model is working well—good for
5094       customers, good for creators, and good for the platform.
5095     </p><p>
5096       Customers then began asking for an application-programming
5097       interface (API), which would allow Noun Project icons and symbols
5098       to be directly accessed from within other applications. Edward
5099       knew that the icons and symbols would be valuable in a lot of
5100       different contexts and that they couldn’t possibly know all of
5101       them in advance, so they built an API with a lot of flexibility.
5102       Knowing that most API applications would want to use the icons
5103       without giving attribution, the API was built with the aim of
5104       charging for its use. You can use what’s called the
5105       <span class="quote">“<span class="quote">Playground API</span>”</span> for free to test how it integrates
5106       with your application, but full implementation will require you to
5107       purchase the API Pro version.
5108     </p><p>
5109       The Noun Project shares revenue with its international designers.
5110       For one-off purchases, the revenue is split 70 percent to the
5111       designer and 30 percent to Noun Project.
5112     </p><p>
5113       The revenue from premium purchases (the subscription and API
5114       options) is split a little differently. At the end of each month,
5115       the total revenue from subscriptions is divided by Noun Project’s
5116       total number of downloads, resulting in a rate per download—for
5117       example, it could be $0.13 per download for that month. For each
5118       download, the revenue is split 40 percent to the designer and 60
5119       percent to the Noun Project. (For API usage, it’s per use instead
5120       of per download.) Noun Project’s share is higher this time as it’s
5121       providing more service to the user.
5122     </p><p>
5123       The Noun Project tries to be completely transparent about their
5124       royalty structure.<a href="#ftn.idm1445" class="footnote" name="idm1445"><sup class="footnote">[127]</sup></a> They tend to over communicate with creators about it
5125       because building trust is the top priority.
5126     </p><p>
5127       For most creators, contributing to the Noun Project is not a
5128       full-time job but something they do on the side. Edward
5129       categorizes monthly earnings for creators into three broad
5130       categories: enough money to buy beer; enough to pay the bills; and
5131       most successful of all, enough to pay the rent.
5132     </p><p>
5133       Recently the Noun Project launched a new app called Lingo.
5134       Designers can use Lingo to organize not just their Noun Project
5135       icons and symbols but also their photos, illustrations, UX
5136       designs, et cetera. You simply drag any visual item directly into
5137       Lingo to save it. Lingo also works for teams so people can share
5138       visuals with each other and search across their combined
5139       collections. Lingo is free for personal use. A pro version for
5140       $9.99 per month lets you add guests. A team version for $49.95 per
5141       month allows up to twenty-five team members to collaborate, and to
5142       view, use, edit, and add new assets to each other’s collections.
5143       And if you subscribe to NounPro, you can access Noun Project from
5144       within Lingo.
5145     </p><p>
5146       The Noun Project gives a ton of value away for free. A very large
5147       percentage of their roughly one million members have a free
5148       account, but there are still lots of paid accounts coming from
5149       digital designers, advertising and design agencies, educators, and
5150       others who need to communicate ideas visually.
5151     </p><p>
5152       For Edward, <span class="quote">“<span class="quote">creating, sharing, and celebrating the world’s
5153       visual language</span>”</span> is the most important aspect of what they
5154       do; it’s their stated mission. It differentiates them from others
5155       who offer graphics, icons, or clip art.
5156     </p><p>
5157       Noun Project creators agree. When surveyed on why they participate
5158       in the Noun Project, this is how designers rank their reasons: 1)
5159       to support the Noun Project mission, 2) to promote their own
5160       personal brand, and 3) to generate money. It’s striking to see
5161       that money comes third, and mission, first. If you want to engage
5162       a global network of contributors, it’s important to have a mission
5163       beyond making money.
5164     </p><p>
5165       In Edward’s view, Creative Commons is central to their mission of
5166       sharing and social good. Using Creative Commons makes the Noun
5167       Project’s mission genuine and has generated a lot of their initial
5168       traction and credibility. CC comes with a built-in community of
5169       users and fans.
5170     </p><p>
5171       Edward told us, <span class="quote">“<span class="quote">Don’t underestimate the power of a
5172       passionate community around your product or your business. They
5173       are going to go to bat for you when you’re getting ripped in the
5174       media. If you go down the road of choosing to work with Creative
5175       Commons, you’re taking the first step to building a great
5176       community and tapping into a really awesome community that comes
5177       with it. But you need to continue to foster that community through
5178       other initiatives and continue to nurture it.</span>”</span>
5179     </p><p>
5180       The Noun Project nurtures their creators’ second
5181       motivation—promoting a personal brand—by connecting every icon and
5182       symbol to the creator’s name and profile page; each profile
5183       features their full collection. Users can also search the icons by
5184       the creator’s name.
5185     </p><p>
5186       The Noun Project also builds community through
5187       Iconathons—hackathons for icons.<a href="#ftn.idm1459" class="footnote" name="idm1459"><sup class="footnote">[128]</sup></a> In partnership with a sponsoring organization, the
5188       Noun Project comes up with a theme (e.g., sustainable energy, food
5189       bank, guerrilla gardening, human rights) and a list of icons that
5190       are needed, which designers are invited to create at the event.
5191       The results are vectorized, and added to the Noun Project using
5192       CC0 so they can be used by anyone for free.
5193     </p><p>
5194       Providing a free version of their product that satisfies a lot of
5195       their customers’ needs has actually enabled the Noun Project to
5196       build the paid version, using a service-oriented model. The Noun
5197       Project’s success lies in creating services and content that are a
5198       strategic mix of free and paid while staying true to their
5199       mission—creating, sharing, and celebrating the world’s visual
5200       language. Integrating Creative Commons into their model has been
5201       key to that goal.
5202     </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>Chapter 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>
5203         The Open Data Institute is an independent nonprofit that
5204         connects, equips, and inspires people around the world to
5205         innovate with data. Founded in 2012 in the UK.
5206       </p><p>
5207           <a class="ulink" href="http://theodi.org" target="_top">http://theodi.org</a>
5208         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant and
5209         government funding, charging for custom services, donations
5210       </p><p><span class="strong"><strong>Interview date</strong></span>: November 11,
5211         2015
5212       </p><p><span class="strong"><strong>Interviewee</strong></span>: Jeni Tennison,
5213         technical director
5214       </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}
5215     \textit{
5216         Profile written by Paul Stacey
5217       }
5218     \end{flushright}</td></tr></table></div><p>
5219       Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012,
5220       the London-based Open Data Institute (ODI) offers data-related
5221       training, events, consulting services, and research. For ODI,
5222       Creative Commons licenses are central to making their own business
5223       model and their customers’ open. CC BY (Attribution), CC BY-SA
5224       (Attribution-ShareAlike), and CC0 (placed in the public domain)
5225       all play a critical role in ODI’s mission to help people around
5226       the world innovate with data.
5227     </p><p>
5228       Data underpins planning and decision making across all aspects of
5229       society. Weather data helps farmers know when to plant their
5230       crops, flight time data from airplane companies helps us plan our
5231       travel, data on local housing informs city planning. When this
5232       data is not only accurate and timely, but open and accessible, it
5233       opens up new possibilities. Open data can be a resource businesses
5234       use to build new products and services. It can help governments
5235       measure progress, improve efficiency, and target investments. It
5236       can help citizens improve their lives by better understanding what
5237       is happening around them.
5238     </p><p>
5239       The Open Data Institute’s 2012–17 business plan starts out by
5240       describing its vision to establish itself as a world-leading
5241       center and to research and be innovative with the opportunities
5242       created by the UK government’s open data policy. (The government
5243       was an early pioneer in open policy and open-data initiatives.) It
5244       goes on to say that the ODI wants to—
5245     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5246           demonstrate the commercial value of open government data and
5247           how open-data policies affect this;
5248         </p></li><li class="listitem"><p>
5249           develop the economic benefits case and business models for
5250           open data;
5251         </p></li><li class="listitem"><p>
5252           help UK businesses use open data; and
5253         </p></li><li class="listitem"><p>
5254           show how open data can improve public services.<a href="#ftn.idm1488" class="footnote" name="idm1488"><sup class="footnote">[129]</sup></a>
5255         </p></li></ul></div><p>
5256       ODI is very explicit about how it wants to make open business
5257       models, and defining what this means. Jeni Tennison, ODI’s
5258       technical director, puts it this way: <span class="quote">“<span class="quote">There is a whole
5259       ecosystem of open—open-source software, open government,
5260       open-access research—and a whole ecosystem of data. ODI’s work
5261       cuts across both, with an emphasis on where they overlap—with open
5262       data.</span>”</span> ODI’s particular focus is to show open data’s
5263       potential for revenue.
5264     </p><p>
5265       As an independent nonprofit, ODI secured £10 million over five
5266       years from the UK government via Innovate UK, an agency that
5267       promotes innovation in science and technology. For this funding,
5268       ODI has to secure matching funds from other sources, some of which
5269       were met through a $4.75-million investment from the Omidyar
5270       Network.
5271     </p><p>
5272       Jeni started out as a developer and technical architect for
5273       data.gov.uk, the UK government’s pioneering open-data initiative.
5274       She helped make data sets from government departments available as
5275       open data. She joined ODI in 2012 when it was just starting up, as
5276       one of six people. It now has a staff of about sixty.
5277     </p><p>
5278       ODI strives to have half its annual budget come from the core UK
5279       government and Omidyar grants, and the other half from
5280       project-based research and commercial work. In Jeni’s view, having
5281       this balance of revenue sources establishes some stability, but
5282       also keeps them motivated to go out and generate these matching
5283       funds in response to market needs.
5284     </p><p>
5285       On the commercial side, ODI generates funding through memberships,
5286       training, and advisory services.
5287     </p><p>
5288       You can join the ODI as an individual or commercial member.
5289       Individual membership is pay-what-you-can, with options ranging
5290       from £1 to £100. Members receive a newsletter and related
5291       communications and a discount on ODI training courses and the
5292       annual summit, and they can display an ODI-supporter badge on
5293       their website. Commercial membership is divided into two tiers:
5294       small to medium size enterprises and nonprofits at £720 a year,
5295       and corporations and government organizations at £2,200 a year.
5296       Commercial members have greater opportunities to connect and
5297       collaborate, explore the benefits of open data, and unlock new
5298       business opportunities. (All members are listed on their
5299       website.)<a href="#ftn.idm1498" class="footnote" name="idm1498"><sup class="footnote">[130]</sup></a>
5300     </p><p>
5301       ODI provides standardized open data training courses in which
5302       anyone can enroll. The initial idea was to offer an intensive and
5303       academically oriented diploma in open data, but it quickly became
5304       clear there was no market for that. Instead, they offered a
5305       five-day-long public training course, which has subsequently been
5306       reduced to three days; now the most popular course is one day
5307       long. The fee, in addition to the time commitment, can be a
5308       barrier for participation. Jeni says, <span class="quote">“<span class="quote">Most of the people
5309       who would be able to pay don’t know they need it. Most who know
5310       they need it can’t pay.</span>”</span> Public-sector organizations
5311       sometimes give vouchers to their employees so they can attend as a
5312       form of professional development.
5313     </p><p>
5314       ODI customizes training for clients as well, for which there is
5315       more demand. Custom training usually emerges through an
5316       established relationship with an organization. The training
5317       program is based on a definition of open-data knowledge as
5318       applicable to the organization and on the skills needed by their
5319       high-level executives, management, and technical staff. The
5320       training tends to generate high interest and commitment.
5321     </p><p>
5322       Education about open data is also a part of ODI’s annual summit
5323       event, where curated presentations and speakers showcase the work
5324       of ODI and its members across the entire ecosystem. Tickets to the
5325       summit are available to the public, and hundreds of people and
5326       organizations attend and participate. In 2014, there were four
5327       thematic tracks and over 750 attendees.
5328     </p><p>
5329       In addition to memberships and training, ODI provides advisory
5330       services to help with technical-data support, technology
5331       development, change management, policies, and other areas. ODI has
5332       advised large commercial organizations, small businesses, and
5333       international governments; the focus at the moment is on
5334       government, but ODI is working to shift more toward commercial
5335       organizations.
5336     </p><p>
5337       On the commercial side, the following value propositions seem to
5338       resonate:
5339     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5340           Data-driven insights. Businesses need data from outside their
5341           business to get more insight. Businesses can generate value
5342           and more effectively pursue their own goals if they open up
5343           their own data too. Big data is a hot topic.
5344         </p></li><li class="listitem"><p>
5345           Open innovation. Many large-scale enterprises are aware they
5346           don’t innovate very well. One way they can innovate is to open
5347           up their data. ODI encourages them to do so even if it exposes
5348           problems and challenges. The key is to invite other people to
5349           help while still maintaining organizational autonomy.
5350         </p></li><li class="listitem"><p>
5351           Corporate social responsibility. While this resonates with
5352           businesses, ODI cautions against having it be the sole reason
5353           for making data open. If a business is just thinking about
5354           open data as a way to be transparent and accountable, they can
5355           miss out on efficiencies and opportunities.
5356         </p></li></ul></div><p>
5357       During their early years, ODI wanted to focus solely on the United
5358       Kingdom. But in their first year, large delegations of government
5359       visitors from over fifty countries wanted to learn more about the
5360       UK government’s open-data practices and how ODI saw that
5361       translating into economic value. They were contracted as a service
5362       provider to international governments, which prompted a need to
5363       set up international ODI <span class="quote">“<span class="quote">nodes.</span>”</span>
5364     </p><p>
5365       Nodes are franchises of the ODI at a regional or city level.
5366       Hosted by existing (for-profit or not-for-profit) organizations,
5367       they operate locally but are part of the global network. Each ODI
5368       node adopts the charter, a set of guiding principles and rules
5369       under which ODI operates. They develop and deliver training,
5370       connect people and businesses through membership and events, and
5371       communicate open-data stories from their part of the world. There
5372       are twenty-seven different nodes across nineteen countries. ODI
5373       nodes are charged a small fee to be part of the network and to use
5374       the brand.
5375     </p><p>
5376       ODI also runs programs to help start-ups in the UK and across
5377       Europe develop a sustainable business around open data, offering
5378       mentoring, advice, training, and even office space.<a href="#ftn.idm1518" class="footnote" name="idm1518"><sup class="footnote">[131]</sup></a>
5379     </p><p>
5380       A big part of ODI’s business model revolves around community
5381       building. Memberships, training, summits, consulting services,
5382       nodes, and start-up programs create an ever-growing network of
5383       open-data users and leaders. (In fact, ODI even operates something
5384       called an Open Data Leaders Network.) For ODI, community is key to
5385       success. They devote significant time and effort to build it, not
5386       just online but through face-to-face events.
5387     </p><p>
5388       ODI has created an online tool that organizations can use to
5389       assess the legal, practical, technical, and social aspects of
5390       their open data. If it is of high quality, the organization can
5391       earn ODI’s Open Data Certificate, a globally recognized mark that
5392       signals that their open data is useful, reliable, accessible,
5393       discoverable, and supported.<a href="#ftn.idm1524" class="footnote" name="idm1524"><sup class="footnote">[132]</sup></a>
5394     </p><p>
5395       Separate from commercial activities, the ODI generates funding
5396       through research grants. Research includes looking at evidence on
5397       the impact of open data, development of open-data tools and
5398       standards, and how to deploy open data at scale.
5399     </p><p>
5400       Creative Commons 4.0 licenses cover database rights and ODI
5401       recommends CC BY, CC BY-SA, and CC0 for data releases. ODI
5402       encourages publishers of data to use Creative Commons licenses
5403       rather than creating new <span class="quote">“<span class="quote">open licenses</span>”</span> of their
5404       own.
5405     </p><p>
5406       For ODI, open is at the heart of what they do. They also release
5407       any software code they produce under open-source-software
5408       licenses, and publications and reports under CC BY or CC BY-SA
5409       licenses. ODI’s mission is to connect and equip people around the
5410       world so they can innovate with data. Disseminating stories,
5411       research, guidance, and code under an open license is essential
5412       for achieving that mission. It also demonstrates that it is
5413       perfectly possible to generate sustainable revenue streams that do
5414       not rely on restrictive licensing of content, data, or code.
5415       People pay to have ODI experts provide training to them, not for
5416       the content of the training; people pay for the advice ODI gives
5417       them, not for the methodologies they use. Producing open content,
5418       data, and source code helps establish credibility and creates
5419       leads for the paid services that they offer. According to Jeni,
5420       <span class="quote">“<span class="quote">The biggest lesson we have learned is that it is completely
5421       possible to be open, get customers, and make money.</span>”</span>
5422     </p><p>
5423       To serve as evidence of a successful open business model and
5424       return on investment, ODI has a public dashboard of key
5425       performance indicators. Here are a few metrics as of April 27,
5426       2016:
5427     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5428           Total amount of cash investments unlocked in direct
5429           investments in ODI, competition funding, direct contracts, and
5430           partnerships, and income that ODI nodes and ODI start-ups have
5431           generated since joining the ODI program: £44.5 million
5432         </p></li><li class="listitem"><p>
5433           Total number of active members and nodes across the globe:
5434           1,350
5435         </p></li><li class="listitem"><p>
5436           Total sales since ODI began: £7.44 million
5437         </p></li><li class="listitem"><p>
5438           Total number of unique people reached since ODI began, in
5439           person and online: 2.2 million
5440         </p></li><li class="listitem"><p>
5441           Total Open Data Certificates created: 151,000
5442         </p></li><li class="listitem"><p>
5443           Total number of people trained by ODI and its nodes since ODI
5444           began: 5,080<a href="#ftn.idm1546" class="footnote" name="idm1546"><sup class="footnote">[133]</sup></a>
5445         </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>;
5446           <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>Chapter 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>
5447         Opendesk is a for-profit company offering an online platform
5448         that connects furniture designers around the world with
5449         customers and local makers who bring the designs to life.
5450         Founded in 2014 in the UK.
5451       </p><p>
5452           <a class="ulink" href="http://www.opendesk.cc" target="_top">http://www.opendesk.cc</a>
5453         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a
5454         transaction fee
5455       </p><p><span class="strong"><strong>Interview date</strong></span>: November 4,
5456         2015
5457       </p><p><span class="strong"><strong>Interviewees</strong></span>: Nick
5458         Ierodiaconou and Joni Steiner, cofounders
5459       </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}
5460     \textit{
5461         Profile written by Paul Stacey
5462       }
5463     \end{flushright}</td></tr></table></div><p>
5464       Opendesk is an online platform that connects furniture designers
5465       around the world not just with customers but also with local
5466       registered makers who bring the designs to life. Opendesk and the
5467       designer receive a portion of every sale that is made by a maker.
5468     </p><p>
5469       Cofounders Nick Ierodiaconou and Joni Steiner studied and worked
5470       as architects together. They also made goods. Their first client
5471       was Mint Digital, who had an interest in open licensing. Nick and
5472       Joni were exploring digital fabrication, and Mint’s interest in
5473       open licensing got them to thinking how the open-source world may
5474       interact and apply to physical goods. They sought to design
5475       something for their client that was also reproducible. As they put
5476       it, they decided to <span class="quote">“<span class="quote">ship the recipe, but not the
5477       goods.</span>”</span> They created the design using software, put it
5478       under an open license, and had it manufactured locally near the
5479       client. This was the start of the idea for Opendesk. The idea for
5480       Wikihouse—another open project dedicated to accessible housing for
5481       all—started as discussions around the same table. The two projects
5482       ultimately went on separate paths, with Wikihouse becoming a
5483       nonprofit foundation and Opendesk a for-profit company.
5484     </p><p>
5485       When Nick and Joni set out to create Opendesk, there were a lot of
5486       questions about the viability of distributed manufacturing. No one
5487       was doing it in a way that was even close to realistic or
5488       competitive. The design community had the intent, but fulfilling
5489       this vision was still a long way away.
5490     </p><p>
5491       And now this sector is emerging, and Nick and Joni are highly
5492       interested in the commercialization aspects of it. As part of
5493       coming up with a business model, they began investigating
5494       intellectual property and licensing options. It was a thorny
5495       space, especially for designs. Just what aspect of a design is
5496       copyrightable? What is patentable? How can allowing for digital
5497       sharing and distribution be balanced against the designer’s desire
5498       to still hold ownership? In the end, they decided there was no
5499       need to reinvent the wheel and settled on using Creative Commons.
5500     </p><p>
5501       When designing the Opendesk system, they had two goals. They
5502       wanted anyone, anywhere in the world, to be able to download
5503       designs so that they could be made locally, and they wanted a
5504       viable model that benefited designers when their designs were
5505       sold. Coming up with a business model was going to be complex.
5506     </p><p>
5507       They gave a lot of thought to three angles—the potential for
5508       social sharing, allowing designers to choose their license, and
5509       the impact these choices would have on the business model.
5510     </p><p>
5511       In support of social sharing, Opendesk actively advocates for (but
5512       doesn’t demand) open licensing. And Nick and Joni are agnostic
5513       about which Creative Commons license is used; it’s up to the
5514       designer. They can be proprietary or choose from the full suite of
5515       Creative Commons licenses, deciding for themselves how open or
5516       closed they want to be.
5517     </p><p>
5518       For the most part, designers love the idea of sharing content.
5519       They understand that you get positive feedback when you’re
5520       attributed, what Nick and Joni called <span class="quote">“<span class="quote">reputational
5521       glow.</span>”</span> And Opendesk does an awesome job profiling the
5522       designers.<a href="#ftn.idm1572" class="footnote" name="idm1572"><sup class="footnote">[134]</sup></a>
5523     </p><p>
5524       While designers are largely OK with personal sharing, there is a
5525       concern that someone will take the design and manufacture the
5526       furniture in bulk, with the designer not getting any benefits. So
5527       most Opendesk designers choose the Attribution-NonCommercial
5528       license (CC BY-NC).
5529     </p><p>
5530       Anyone can download a design and make it themselves, provided it’s
5531       for noncommercial use — and there have been many, many downloads.
5532       Or users can buy the product from Opendesk, or from a registered
5533       maker in Opendesk’s network, for on-demand personal fabrication.
5534       The network of Opendesk makers currently is made up of those who
5535       do digital fabrication using a computer-controlled CNC (Computer
5536       Numeric Control) machining device that cuts shapes out of wooden
5537       sheets according to the specifications in the design file.
5538     </p><p>
5539       Makers benefit from being part of Opendesk’s network. Making
5540       furniture for local customers is paid work, and Opendesk generates
5541       business for them. Joni said, <span class="quote">“<span class="quote">Finding a whole network and
5542       community of makers was pretty easy because we built a site where
5543       people could write in about their capabilities. Building the
5544       community by learning from the maker community is how we have
5545       moved forward.</span>”</span> Opendesk now has relationships with
5546       hundreds of makers in countries all around the world.<a href="#ftn.idm1579" class="footnote" name="idm1579"><sup class="footnote">[135]</sup></a>
5547     </p><p>
5548       The makers are a critical part of the Opendesk business model.
5549       Their model builds off the makers’ quotes. Here’s how it’s
5550       expressed on Opendesk’s website:
5551     </p><p>
5552       When customers buy an Opendesk product directly from a registered
5553       maker, they pay:
5554     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5555           the manufacturing cost as set by the maker (this covers
5556           material and labour costs for the product to be manufactured
5557           and any extra assembly costs charged by the maker)
5558         </p></li><li class="listitem"><p>
5559           a design fee for the designer (a design fee that is paid to
5560           the designer every time their design is used)
5561         </p></li><li class="listitem"><p>
5562           a percentage fee to the Opendesk platform (this supports the
5563           infrastructure and ongoing development of the platform that
5564           helps us build out our marketplace)
5565         </p></li><li class="listitem"><p>
5566           a percentage fee to the channel through which the sale is made
5567           (at the moment this is Opendesk, but in the future we aim to
5568           open this up to third-party sellers who can sell Opendesk
5569           products through their own channels—this covers sales and
5570           marketing fees for the relevant channel)
5571         </p></li><li class="listitem"><p>
5572           a local delivery service charge (the delivery is typically
5573           charged by the maker, but in some cases may be paid to a
5574           third-party delivery partner)
5575         </p></li><li class="listitem"><p>
5576           charges for any additional services the customer chooses, such
5577           as on-site assembly (additional services are discretionary—in
5578           many cases makers will be happy to quote for assembly on-site
5579           and designers may offer bespoke design options)
5580         </p></li><li class="listitem"><p>
5581           local sales taxes (variable by customer and maker
5582           location)<a href="#ftn.idm1599" class="footnote" name="idm1599"><sup class="footnote">[136]</sup></a>
5583         </p></li></ul></div><p>
5584       They then go into detail how makers’ quotes are created:
5585     </p><p>
5586       When a customer wants to buy an Opendesk . . . they are provided
5587       with a transparent breakdown of fees including the manufacturing
5588       cost, design fee, Opendesk platform fee and channel fees. If a
5589       customer opts to buy by getting in touch directly with a
5590       registered local maker using a downloaded Opendesk file, the maker
5591       is responsible for ensuring the design fee, Opendesk platform fee
5592       and channel fees are included in any quote at the time of sale.
5593       Percentage fees are always based on the underlying manufacturing
5594       cost and are typically apportioned as follows:
5595     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5596           manufacturing cost: fabrication, finishing and any other costs
5597           as set by the maker (excluding any services like delivery or
5598           on-site assembly)
5599         </p></li><li class="listitem"><p>
5600           design fee: 8 percent of the manufacturing cost
5601         </p></li><li class="listitem"><p>
5602           platform fee: 12 percent of the manufacturing cost
5603         </p></li><li class="listitem"><p>
5604           channel fee: 18 percent of the manufacturing cost
5605         </p></li><li class="listitem"><p>
5606           sales tax: as applicable (depends on product and location)
5607         </p></li></ul></div><p>
5608       Opendesk shares revenue with their community of designers.
5609       According to Nick and Joni, a typical designer fee is around 2.5
5610       percent, so Opendesk’s 8 percent is more generous, and providing a
5611       higher value to the designer.
5612     </p><p>
5613       The Opendesk website features stories of designers and makers.
5614       Denis Fuzii published the design for the Valovi Chair from his
5615       studio in São Paulo. His designs have been downloaded over five
5616       thousand times in ninety-five countries. I.J. CNC Services is Ian
5617       Jinks, a professional maker based in the United Kingdom. Opendesk
5618       now makes up a large proportion of his business.
5619     </p><p>
5620       To manage resources and remain effective, Opendesk has so far
5621       focused on a very narrow niche—primarily office furniture of a
5622       certain simple aesthetic, which uses only one type of material and
5623       one manufacturing technique. This allows them to be more strategic
5624       and more disruptive in the market, by getting things to market
5625       quickly with competitive prices. It also reflects their vision of
5626       creating reproducible and functional pieces.
5627     </p><p>
5628       On their website, Opendesk describes what they do as <span class="quote">“<span class="quote">open
5629       making</span>”</span>: <span class="quote">“<span class="quote">Designers get a global distribution
5630       channel. Makers get profitable jobs and new customers. You get
5631       designer products without the designer price tag, a more social,
5632       eco-friendly alternative to mass-production and an affordable way
5633       to buy custom-made products.</span>”</span>
5634     </p><p>
5635       Nick and Joni say that customers like the fact that the furniture
5636       has a known provenance. People really like that their furniture
5637       was designed by a certain international designer but was made by a
5638       maker in their local community; it’s a great story to tell. It
5639       certainly sets apart Opendesk furniture from the usual
5640       mass-produced items from a store.
5641     </p><p>
5642       Nick and Joni are taking a community-based approach to define and
5643       evolve Opendesk and the <span class="quote">“<span class="quote">open making</span>”</span> business model.
5644       They’re engaging thought leaders and practitioners to define this
5645       new movement. They have a separate Open Making site, which
5646       includes a manifesto, a field guide, and an invitation to get
5647       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 and
5648       business practices they’d like to see used.
5649     </p><p>
5650       Nick and Joni talked a lot with us about intellectual property
5651       (IP) and commercialization. Many of their designers fear the idea
5652       that someone could take one of their design files and make and
5653       sell infinite number of pieces of furniture with it. As a
5654       consequence, most Opendesk designers choose the
5655       Attribution-NonCommercial license (CC BY-NC).
5656     </p><p>
5657       Opendesk established a set of principles for what their community
5658       considers commercial and noncommercial use. Their website states:
5659     </p><p>
5660       It is unambiguously commercial use when anyone:
5661     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5662           charges a fee or makes a profit when making an Opendesk
5663         </p></li><li class="listitem"><p>
5664           sells (or bases a commercial service on) an Opendesk
5665         </p></li></ul></div><p>
5666       It follows from this that noncommercial use is when you make an
5667       Opendesk yourself, with no intention to gain commercial advantage
5668       or monetary compensation. For example, these qualify as
5669       noncommercial:
5670     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5671           you are an individual with your own CNC machine, or access to
5672           a shared CNC machine, and will personally cut and make a few
5673           pieces of furniture yourself
5674         </p></li><li class="listitem"><p>
5675           you are a student (or teacher) and you use the design files
5676           for educational purposes or training (and do not intend to
5677           sell the resulting pieces)
5678         </p></li><li class="listitem"><p>
5679           you work for a charity and get furniture cut by volunteers, or
5680           by employees at a fab lab or maker space
5681         </p></li></ul></div><p>
5682       Whether or not people technically are doing things that implicate
5683       IP, Nick and Joni have found that people tend to comply with the
5684       wishes of creators out of a sense of fairness. They have found
5685       that behavioral economics can replace some of the thorny legal
5686       issues. In their business model, Nick and Joni are trying to
5687       suspend the focus on IP and build an open business model that
5688       works for all stakeholders—designers, channels, manufacturers, and
5689       customers. For them, the value Opendesk generates hangs off
5690       <span class="quote">“<span class="quote">open,</span>”</span> not IP.
5691     </p><p>
5692       The mission of Opendesk is about relocalizing manufacturing, which
5693       changes the way we think about how goods are made.
5694       Commercialization is integral to their mission, and they’ve begun
5695       to focus on success metrics that track how many makers and
5696       designers are engaged through Opendesk in revenue-making work.
5697     </p><p>
5698       As a global platform for local making, Opendesk’s business model
5699       has been built on honesty, transparency, and inclusivity. As Nick
5700       and Joni describe it, they put ideas out there that get traction
5701       and then have faith in people.
5702     </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>Chapter 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>
5703         OpenStax is a nonprofit that provides free, openly licensed
5704         textbooks for high-enrollment introductory college courses and
5705         Advanced Placement courses. Founded in 2012 in the U.S.
5706       </p><p>
5707           <a class="ulink" href="http://www.openstaxcollege.org" target="_top">http://www.openstaxcollege.org</a>
5708         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding,
5709         charging for custom services, charging for physical copies
5710         (textbook sales)
5711       </p><p><span class="strong"><strong>Interview date</strong></span>: December 16,
5712         2015
5713       </p><p><span class="strong"><strong>Interviewee</strong></span>: David Harris,
5714         editor-in-chief
5715       </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}
5716     \textit{
5717         Profile written by Paul Stacey
5718       }
5719     \end{flushright}</td></tr></table></div><p>
5720       OpenStax is an extension of a program called Connexions, which was
5721       started in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron
5722       Professor of Electrical and Computer Engineering at Rice
5723       University in Houston, Texas. Frustrated by the limitations of
5724       traditional textbooks and courses, Dr. Baraniuk wanted to provide
5725       authors and learners a way to share and freely adapt educational
5726       materials such as courses, books, and reports. Today, Connexions
5727       (now called OpenStax CNX) is one of the world’s best libraries of
5728       customizable educational materials, all licensed with Creative
5729       Commons and available to anyone, anywhere, anytime—for free.
5730     </p><p>
5731       In 2008, while in a senior leadership role at WebAssign and
5732       looking at ways to reduce the risk that came with relying on
5733       publishers, David Harris began investigating open educational
5734       resources (OER) and discovered Connexions. A year and a half
5735       later, Connexions received a grant to help grow the use of OER so
5736       that it could meet the needs of students who couldn’t afford
5737       textbooks. David came on board to spearhead this effort.
5738       Connexions became OpenStax CNX; the program to create open
5739       textbooks became OpenStax College, now simply called OpenStax.
5740     </p><p>
5741       David brought with him a deep understanding of the best practices
5742       of publishing along with where publishers have inefficiencies. In
5743       David’s view, peer review and high standards for quality are
5744       critically important if you want to scale easily. Books have to
5745       have logical scope and sequence, they have to exist as a whole and
5746       not in pieces, and they have to be easy to find. The working
5747       hypothesis for the launch of OpenStax was to professionally
5748       produce a turnkey textbook by investing effort up front, with the
5749       expectation that this would lead to rapid growth through easy
5750       downstream adoptions by faculty and students.
5751     </p><p>
5752       In 2012, OpenStax College launched as a nonprofit with the aim of
5753       producing high-quality, peer-reviewed full-color textbooks that
5754       would be available for free for the twenty-five most heavily
5755       attended college courses in the nation. Today they are fast
5756       approaching that number. There is data that proves the success of
5757       their original hypothesis on how many students they could help and
5758       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
5759       with no sales force!
5760     </p><p>
5761       OpenStax textbooks are all Attribution (CC BY) licensed, and each
5762       textbook is available as a PDF, an e-book, or web pages. Those who
5763       want a physical copy can buy one for an affordable price. Given
5764       the cost of education and student debt in North America, free or
5765       very low-cost textbooks are very appealing. OpenStax encourages
5766       students to talk to their professor and librarians about these
5767       textbooks and to advocate for their use.
5768     </p><p>
5769       Teachers are invited to try out a single chapter from one of the
5770       textbooks with students. If that goes well, they’re encouraged to
5771       adopt the entire book. They can simply paste a URL into their
5772       course syllabus, for free and unlimited access. And with the CC BY
5773       license, teachers are free to delete chapters, make changes, and
5774       customize any book to fit their needs.
5775     </p><p>
5776       Any teacher can post corrections, suggest examples for difficult
5777       concepts, or volunteer as an editor or author. As many teachers
5778       also want supplemental material to accompany a textbook, OpenStax
5779       also provides slide presentations, test banks, answer keys, and so
5780       on.
5781     </p><p>
5782       Institutions can stand out by offering students a lower-cost
5783       education through the use of OpenStax textbooks; there’s even a
5784       textbook-savings calculator they can use to see how much students
5785       would save. OpenStax keeps a running list of institutions that
5786       have adopted their textbooks.<a href="#ftn.idm1671" class="footnote" name="idm1671"><sup class="footnote">[139]</sup></a>
5787     </p><p>
5788       Unlike traditional publishers’ monolithic approach of controlling
5789       intellectual property, distribution, and so many other aspects,
5790       OpenStax has adopted a model that embraces open licensing and
5791       relies on an extensive network of partners.
5792     </p><p>
5793       Up-front funding of a professionally produced all-color turnkey
5794       textbook is expensive. For this part of their model, OpenStax
5795       relies on philanthropy. They have initially been funded by the
5796       William and Flora Hewlett Foundation, the Laura and John Arnold
5797       Foundation, the Bill and Melinda Gates Foundation, the 20 Million
5798       Minds Foundation, the Maxfield Foundation, the Calvin K. Kazanjian
5799       Foundation, and Rice University. To develop additional titles and
5800       supporting technology is probably still going to require
5801       philanthropic investment.
5802     </p><p>
5803       However, ongoing operations will not rely on foundation grants but
5804       instead on funds received through an ecosystem of over forty
5805       partners, whereby a partner takes core content from OpenStax and
5806       adds features that it can create revenue from. For example,
5807       WebAssign, an online homework and assessment tool, takes the
5808       physics book and adds algorithmically generated physics problems,
5809       with problem-specific feedback, detailed solutions, and tutorial
5810       support. WebAssign resources are available to students for a fee.
5811     </p><p>
5812       Another example is Odigia, who has turned OpenStax books into
5813       interactive learning experiences and created additional tools to
5814       measure and promote student engagement. Odigia licenses its
5815       learning platform to institutions. Partners like Odigia and
5816       WebAssign give a percentage of the revenue they earn back to
5817       OpenStax, as mission-support fees. OpenStax has already published
5818       revisions of their titles, such as Introduction to Sociology 2e,
5819       using these funds.
5820     </p><p>
5821       In David’s view, this approach lets the market operate at peak
5822       efficiency. OpenStax’s partners don’t have to worry about
5823       developing textbook content, freeing them up from those
5824       development costs and letting them focus on what they do best.
5825       With OpenStax textbooks available at no cost, they can provide
5826       their services at a lower cost—not free, but still saving students
5827       money. OpenStax benefits not only by receiving mission-support
5828       fees but through free publicity and marketing. OpenStax doesn’t
5829       have a sales force; partners are out there showcasing their
5830       materials.
5831     </p><p>
5832       OpenStax’s cost of sales to acquire a single student is very, very
5833       low and is a fraction of what traditional players in the market
5834       face. This year, Tyton Partners is actually evaluating the costs
5835       of sales for an OER effort like OpenStax in comparison with
5836       incumbents. David looks forward to sharing these findings with the
5837       community.
5838     </p><p>
5839       While OpenStax books are available online for free, many students
5840       still want a print copy. Through a partnership with a print and
5841       courier company, OpenStax offers a complete solution that scales.
5842       OpenStax sells tens of thousands of print books. The price of an
5843       OpenStax sociology textbook is about twenty-eight dollars, a
5844       fraction of what sociology textbooks usually cost. OpenStax keeps
5845       the prices low but does aim to earn a small margin on each book
5846       sold, which also contributes to ongoing operations.
5847     </p><p>
5848       Campus-based bookstores are part of the OpenStax solution.
5849       OpenStax collaborates with NACSCORP (the National Association of
5850       College Stores Corporation) to provide print versions of their
5851       textbooks in the stores. While the overall cost of the textbook is
5852       significantly less than a traditional textbook, bookstores can
5853       still make a profit on sales. Sometimes students take the savings
5854       they have from the lower-priced book and use it to buy other
5855       things in the bookstore. And OpenStax is trying to break the
5856       expensive behavior of excessive returns by having a no-returns
5857       policy. This is working well, since the sell-through of their
5858       print titles is virtually a hundred percent.
5859     </p><p>
5860       David thinks of the OpenStax model as <span class="quote">“<span class="quote">OER 2.0.</span>”</span> So
5861       what is OER 1.0? Historically in the OER field, many OER
5862       initiatives have been locally funded by institutions or government
5863       ministries. In David’s view, this results in content that has high
5864       local value but is infrequently adopted nationally. It’s therefore
5865       difficult to show payback over a time scale that is reasonable.
5866     </p><p>
5867       OER 2.0 is about OER intended to be used and adopted on a national
5868       level right from the start. This requires a bigger investment up
5869       front but pays off through wide geographic adoption. The OER 2.0
5870       process for OpenStax involves two development models. The first is
5871       what David calls the acquisition model, where OpenStax purchases
5872       the rights from a publisher or author for an already published
5873       book and then extensively revises it. The OpenStax physics
5874       textbook, for example, was licensed from an author after the
5875       publisher released the rights back to the authors. The second
5876       model is to develop a book from scratch, a good example being
5877       their biology book.
5878     </p><p>
5879       The process is similar for both models. First they look at the
5880       scope and sequence of existing textbooks. They ask questions like
5881       what does the customer need? Where are students having challenges?
5882       Then they identify potential authors and put them through a
5883       rigorous evaluation—only one in ten authors make it through.
5884       OpenStax selects a team of authors who come together to develop a
5885       template for a chapter and collectively write the first draft (or
5886       revise it, in the acquisitions model). (OpenStax doesn’t do books
5887       with just a single author as David says it risks the project going
5888       longer than scheduled.) The draft is peer-reviewed with no less
5889       than three reviewers per chapter. A second draft is generated,
5890       with artists producing illustrations and visuals to go along with
5891       the text. The book is then copyedited to ensure grammatical
5892       correctness and a singular voice. Finally, it goes into production
5893       and through a final proofread. The whole process is very
5894       time-consuming.
5895     </p><p>
5896       All the people involved in this process are paid. OpenStax does
5897       not rely on volunteers. Writers, reviewers, illustrators, and
5898       editors are all paid an up-front fee—OpenStax does not use a
5899       royalty model. A best-selling author might make more money under
5900       the traditional publishing model, but that is only maybe 5 percent
5901       of all authors. From David’s perspective, 95 percent of all
5902       authors do better under the OER 2.0 model, as there is no risk to
5903       them and they earn all the money up front.
5904     </p><p>
5905       David thinks of the Attribution license (CC BY) as the
5906       <span class="quote">“<span class="quote">innovation license.</span>”</span> It’s core to the mission of
5907       OpenStax, letting people use their textbooks in innovative ways
5908       without having to ask for permission. It frees up the whole market
5909       and has been central to OpenStax being able to bring on partners.
5910       OpenStax sees a lot of customization of their materials. By
5911       enabling frictionless remixing, CC BY gives teachers control and
5912       academic freedom.
5913     </p><p>
5914       Using CC BY is also a good example of using strategies that
5915       traditional publishers can’t. Traditional publishers rely on
5916       copyright to prevent others from making copies and heavily invest
5917       in digital rights management to ensure their books aren’t shared.
5918       By using CC BY, OpenStax avoids having to deal with digital rights
5919       management and its costs. OpenStax books can be copied and shared
5920       over and over again. CC BY changes the rules of engagement and
5921       takes advantage of traditional market inefficiencies.
5922     </p><p>
5923       As of September 16, 2016, OpenStax has achieved some impressive
5924       results. From the OpenStax at a Glance fact sheet from their
5925       recent press kit:
5926     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5927           Books published: 23
5928         </p></li><li class="listitem"><p>
5929           Students who have used OpenStax: 1.6 million
5930         </p></li><li class="listitem"><p>
5931           Money saved for students: $155 million
5932         </p></li><li class="listitem"><p>
5933           Money saved for students in the 2016/17 academic year: $77
5934           million
5935         </p></li><li class="listitem"><p>
5936           Schools that have used OpenStax: 2,668 (This number reflects
5937           all institutions using at least one OpenStax textbook. Out of
5938           2,668 schools, 517 are two-year colleges, 835 four-year
5939           colleges and universities, and 344 colleges and universities
5940           outside the U.S.)
5941         </p></li></ul></div><p>
5942       While OpenStax has to date been focused on the United States,
5943       there is overseas adoption especially in the science, technology,
5944       engineering, and math (STEM) fields. Large scale adoption in the
5945       United States is seen as a necessary precursor to international
5946       interest.
5947     </p><p>
5948       OpenStax has primarily focused on introductory-level college
5949       courses where there is high enrollment, but they are starting to
5950       think about verticals—a broad offering for a specific group or
5951       need. David thinks it would be terrific if OpenStax could provide
5952       access to free textbooks through the entire curriculum of a
5953       nursing degree, for example.
5954     </p><p>
5955       Finally, for OpenStax success is not just about the adoption of
5956       their textbooks and student savings. There is a human aspect to
5957       the work that is hard to quantify but incredibly important. They
5958       get emails from students saying how OpenStax saved them from
5959       making difficult choices like buying food or a textbook. OpenStax
5960       would also like to assess the impact their books have on learning
5961       efficiency, persistence, and completion. By building an open
5962       business model based on Creative Commons, OpenStax is making it
5963       possible for every student who wants access to education to get
5964       it.
5965     </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>Chapter 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>
5966         Amanda Palmer is a musician, artist, and writer. Based in the
5967         U.S.
5968       </p><p>
5969           <a class="ulink" href="http://amandapalmer.net" target="_top">http://amandapalmer.net</a>
5970         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
5971         (subscription-based), pay-what-you-want, charging for physical
5972         copies (book and album sales), charg-ing for in-person version
5973         (performances), selling merchandise
5974       </p><p><span class="strong"><strong>Interview date</strong></span>: December 15,
5975         2015
5976       </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}
5977     \textit{
5978         Profile written by Sarah Hinchliff Pearson
5979       }
5980     \end{flushright}</td></tr></table></div><p>
5981       Since the beginning of her career, Amanda Palmer has been on what
5982       she calls a <span class="quote">“<span class="quote">journey with no roadmap,</span>”</span> continually
5983       experimenting to find new ways to sustain her creative
5984       work.<a href="#ftn.idm1718" class="footnote" name="idm1718"><sup class="footnote">[140]</sup></a>
5985     </p><p>
5986       In her best-selling book, The Art of Asking, Amanda articulates
5987       exactly what she has been and continues to strive for—<span class="quote">“<span class="quote">the
5988       ideal sweet spot . . . in which the artist can share freely and
5989       directly feel the reverberations of their artistic gifts to the
5990       community, and make a living doing that.</span>”</span>
5991     </p><p>
5992       While she seems to have successfully found that sweet spot for
5993       herself, Amanda is the first to acknowledge there is no silver
5994       bullet. She thinks the digital age is both an exciting and
5995       frustrating time for creators. <span class="quote">“<span class="quote">On the one hand, we have
5996       this beautiful shareability,</span>”</span> Amanda said. <span class="quote">“<span class="quote">On the
5997       other, you’ve got a bunch of confused artists wondering how to
5998       make money to buy food so we can make more art.</span>”</span>
5999     </p><p>
6000       Amanda began her artistic career as a street performer. She would
6001       dress up in an antique wedding gown, paint her face white, stand
6002       on a stack of milk crates, and hand out flowers to strangers as
6003       part of a silent dramatic performance. She collected money in a
6004       hat. Most people walked by her without stopping, but an essential
6005       few stopped to watch and drop some money into her hat to show
6006       their appreciation. Rather than dwelling on the majority of people
6007       who ignored her, she felt thankful for those who stopped.
6008       <span class="quote">“<span class="quote">All I needed was . . . some people,</span>”</span> she wrote in
6009       her book. <span class="quote">“<span class="quote">Enough people. Enough to make it worth coming
6010       back the next day, enough people to help me make rent and put food
6011       on the table. Enough so I could keep making art.</span>”</span>
6012     </p><p>
6013       Amanda has come a long way from her street-performing days, but
6014       her career remains dominated by that same sentiment—finding ways
6015       to reach <span class="quote">“<span class="quote">her crowd</span>”</span> and feeling gratitude when she
6016       does. With her band the Dresden Dolls, Amanda tried the
6017       traditional path of signing with a record label. It didn’t take
6018       for a variety of reasons, but one of them was that the label had
6019       absolutely no interest in Amanda’s view of success. They wanted
6020       hits, but making music for the masses was never what Amanda and
6021       the Dresden Dolls set out to do.
6022     </p><p>
6023       After leaving the record label in 2008, she began experimenting
6024       with different ways to make a living. She released music directly
6025       to the public without involving a middle man, releasing digital
6026       files on a <span class="quote">“<span class="quote">pay what you want</span>”</span> basis and selling CDs
6027       and vinyl. She also made money from live performances and
6028       merchandise sales. Eventually, in 2012 she decided to try her hand
6029       at the sort of crowdfunding we know so well today. Her Kickstarter
6030       project started with a goal of $100,000, and she made $1.2
6031       million. It remains one of the most successful Kickstarter
6032       projects of all time.
6033     </p><p>
6034       Today, Amanda has switched gears away from crowdfunding for
6035       specific projects to instead getting consistent financial support
6036       from her fan base on Patreon, a crowdfunding site that allows
6037       artists to get recurring donations from fans. More than eight
6038       thousand people have signed up to support her so she can create
6039       music, art, and any other creative <span class="quote">“<span class="quote">thing</span>”</span> that she
6040       is inspired to make. The recurring pledges are made on a
6041       <span class="quote">“<span class="quote">per thing</span>”</span> basis. All of the content she makes is
6042       made freely available under an
6043       Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA).
6044     </p><p>
6045       Making her music and art available under Creative Commons
6046       licensing undoubtedly limits her options for how she makes a
6047       living. But sharing her work has been part of her model since the
6048       beginning of her career, even before she discovered Creative
6049       Commons. Amanda says the Dresden Dolls used to get ten emails per
6050       week from fans asking if they could use their music for different
6051       projects. They said yes to all of the requests, as long as it
6052       wasn’t for a completely for-profit venture. At the time, they used
6053       a short-form agreement written by Amanda herself. <span class="quote">“<span class="quote">I made
6054       everyone sign that contract so at least I wouldn’t be leaving the
6055       band vulnerable to someone later going on and putting our music in
6056       a Camel cigarette ad,</span>”</span> Amanda said. Once she discovered
6057       Creative Commons, adopting the licenses was an easy decision
6058       because it gave them a more formal, standardized way of doing what
6059       they had been doing all along. The NonCommercial licenses were a
6060       natural fit.
6061     </p><p>
6062       Amanda embraces the way her fans share and build upon her music.
6063       In The Art of Asking, she wrote that some of her fans’ unofficial
6064       videos using her music surpass the official videos in number of
6065       views on YouTube. Rather than seeing this sort of thing as
6066       competition, Amanda celebrates it. <span class="quote">“<span class="quote">We got into this because
6067       we wanted to share the joy of music,</span>”</span> she said.
6068     </p><p>
6069       This is symbolic of how nearly everything she does in her career
6070       is motivated by a desire to connect with her fans. At the start of
6071       her career, she and the band would throw concerts at house
6072       parties. As the gatherings grew, the line between fans and friends
6073       was completely blurred. <span class="quote">“<span class="quote">Not only did most our early fans
6074       know where I lived and where we practiced, but most of them had
6075       also been in my kitchen,</span>”</span> Amanda wrote in The Art of
6076       Asking.
6077     </p><p>
6078       Even though her fan base is now huge and global, she continues to
6079       seek this sort of human connection with her fans. She seeks out
6080       face-to-face contact with her fans every chance she can get. Her
6081       hugely successful Kickstarter featured fifty concerts at house
6082       parties for backers. She spends hours in the signing line after
6083       shows. It helps that Amanda has the kind of dynamic, engaging
6084       personality that instantly draws people to her, but a big
6085       component of her ability to connect with people is her willingness
6086       to listen. <span class="quote">“<span class="quote">Listening fast and caring immediately is a skill
6087       unto itself,</span>”</span> Amanda wrote.
6088     </p><p>
6089       Another part of the connection fans feel with Amanda is how much
6090       they know about her life. Rather than trying to craft a public
6091       persona or image, she essentially lives her life as an open book.
6092       She has written openly about incredibly personal events in her
6093       life, and she isn’t afraid to be vulnerable. Having that kind of
6094       trust in her fans—the trust it takes to be truly honest—begets
6095       trust from her fans in return. When she meets fans for the first
6096       time after a show, they can legitimately feel like they know her.
6097     </p><p><span class="quote">“<span class="quote">With social media, we’re so concerned with the picture
6098       looking palatable and consumable that we forget that being human
6099       and showing the flaws and exposing the vulnerability actually
6100       create a deeper connection than just looking fantastic,</span>”</span>
6101       Amanda said. <span class="quote">“<span class="quote">Everything in our culture is telling us
6102       otherwise. But my experience has shown me that the risk of making
6103       yourself vulnerable is almost always worth it.</span>”</span>
6104     </p><p>
6105       Not only does she disclose intimate details of her life to them,
6106       she sleeps on their couches, listens to their stories, cries with
6107       them. In short, she treats her fans like friends in nearly every
6108       possible way, even when they are complete strangers. This
6109       mentality—that fans are friends—is completely intertwined with
6110       Amanda’s success as an artist. It is also intertwined with her use
6111       of Creative Commons licenses. Because that is what you do with
6112       your friends—you share.
6113     </p><p>
6114       After years of investing time and energy into building trust with
6115       her fans, she has a strong enough relationship with them to ask
6116       for support—through pay-what-you-want donations, Kickstarter,
6117       Patreon, or even asking them to lend a hand at a concert. As
6118       Amanda explains it, crowdfunding (which is really what all of
6119       these different things are) is about asking for support from
6120       people who know and trust you. People who feel personally invested
6121       in your success.
6122     </p><p><span class="quote">“<span class="quote">When you openly, radically trust people, they not only take
6123       care of you, they become your allies, your family,</span>”</span> she
6124       wrote. There really is a feeling of solidarity within her core fan
6125       base. From the beginning, Amanda and her band encouraged people to
6126       dress up for their shows. They consciously cultivated a feeling of
6127       belonging to their <span class="quote">“<span class="quote">weird little family.</span>”</span>
6128     </p><p>
6129       This sort of intimacy with fans is not possible or even desirable
6130       for every creator. <span class="quote">“<span class="quote">I don’t take for granted that I happen
6131       to be the type of person who loves cavorting with
6132       strangers,</span>”</span> Amanda said. <span class="quote">“<span class="quote">I recognize that it’s not
6133       necessarily everyone’s idea of a good time. Everyone does it
6134       differently. Replicating what I have done won’t work for others if
6135       it isn’t joyful to them. It’s about finding a way to channel
6136       energy in a way that is joyful to you.</span>”</span>
6137     </p><p>
6138       Yet while Amanda joyfully interacts with her fans and involves
6139       them in her work as much as possible, she does keep one job
6140       primarily to herself—writing the music. She loves the creativity
6141       with which her fans use and adapt her work, but she intentionally
6142       does not involve them at the first stage of creating her artistic
6143       work. And, of course, the songs and music are what initially draw
6144       people to Amanda Palmer. It is only once she has connected to
6145       people through her music that she can then begin to build ties
6146       with them on a more personal level, both in person and online. In
6147       her book, Amanda describes it as casting a net. It starts with the
6148       art and then the bond strengthens with human connection.
6149     </p><p>
6150       For Amanda, the entire point of being an artist is to establish
6151       and maintain this connection. <span class="quote">“<span class="quote">It sounds so corny,</span>”</span>
6152       she said, <span class="quote">“<span class="quote">but my experience in forty years on this planet
6153       has pointed me to an obvious truth—that connection with human
6154       beings feels so much better and more fulfilling than approaching
6155       art through a capitalist lens. There is no more satisfying end
6156       goal than having someone tell you that what you do is genuinely of
6157       value to them.</span>”</span>
6158     </p><p>
6159       As she explains it, when a fan gives her a ten-dollar bill,
6160       usually what they are saying is that the money symbolizes some
6161       deeper value the music provided them. For Amanda, art is not just
6162       a product; it’s a relationship. Viewed from this lens, what Amanda
6163       does today is not that different from what she did as a young
6164       street performer. She shares her music and other artistic gifts.
6165       She shares herself. And then rather than forcing people to help
6166       her, she lets them.
6167     </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>Chapter 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>
6168         PLOS (Public Library of Science) is a nonprofit that publishes a
6169         library of academic journals and other scientific literature.
6170         Founded in 2000 in the U.S.
6171       </p><p>
6172           <a class="ulink" href="http://plos.org" target="_top">http://plos.org</a>
6173         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging
6174         content creators an author processing charge to be featured in
6175         the journal
6176       </p><p><span class="strong"><strong>Interview date</strong></span>: March 7, 2016
6177       </p><p><span class="strong"><strong>Interviewee</strong></span>: Louise Page,
6178         publisher
6179       </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}
6180     \textit{
6181         Profile written by Paul Stacey
6182       }
6183     \end{flushright}</td></tr></table></div><p>
6184       The Public Library of Science (PLOS) began in 2000 when three
6185       leading scientists—Harold E. Varmus, Patrick O. Brown, and Michael
6186       Eisen—started an online petition. They were calling for scientists
6187       to stop submitting papers to journals that didn’t make the full
6188       text of their papers freely available immediately or within six
6189       months. Although tens of thousands signed the petition, most did
6190       not follow through. In August 2001, Patrick and Michael announced
6191       that they would start their own nonprofit publishing operation to
6192       do just what the petition promised. With start-up grant support
6193       from the Gordon and Betty Moore Foundation, PLOS was launched to
6194       provide new open-access journals for biomedicine, with research
6195       articles being released under Attribution (CC BY) licenses.
6196     </p><p>
6197       Traditionally, academic publishing begins with an author
6198       submitting a manuscript to a publisher. After in-house technical
6199       and ethical considerations, the article is then peer-reviewed to
6200       determine if the quality of the work is acceptable for publishing.
6201       Once accepted, the publisher takes the article through the process
6202       of copyediting, typesetting, and eventual publishing in a print or
6203       online publication. Traditional journal publishers recover costs
6204       and earn profit by charging a subscription fee to libraries or an
6205       access fee to users wanting to read the journal or article.
6206     </p><p>
6207       For Louise Page, the current publisher of PLOS, this traditional
6208       model results in inequity. Access is restricted to those who can
6209       pay. Most research is funded through government-appointed
6210       agencies, that is, with public funds. It’s unjust that the public
6211       who funded the research would be required to pay again to access
6212       the results. Not everyone can afford the ever-escalating
6213       subscription fees publishers charge, especially when library
6214       budgets are being reduced. Restricting access to the results of
6215       scientific research slows the dissemination of this research and
6216       advancement of the field. It was time for a new model.
6217     </p><p>
6218       That new model became known as open access. That is, free and open
6219       availability on the Internet. Open-access research articles are
6220       not behind a paywall and do not require a login. A key benefit of
6221       open access is that it allows people to freely use, copy, and
6222       distribute the articles, as they are primarily published under an
6223       Attribution (CC BY) license (which only requires the user to
6224       provide appropriate attribution). And more importantly, policy
6225       makers, clinicians, entrepreneurs, educators, and students around
6226       the world have free and timely access to the latest research
6227       immediately on publication.
6228     </p><p>
6229       However, open access requires rethinking the business model of
6230       research publication. Rather than charge a subscription fee to
6231       access the journal, PLOS decided to turn the model on its head and
6232       charge a publication fee, known as an article-processing charge.
6233       This up-front fee, generally paid by the funder of the research or
6234       the author’s institution, covers the expenses such as editorial
6235       oversight, peer-review management, journal production, online
6236       hosting, and support for discovery. Fees are per article and are
6237       billed upon acceptance for publishing. There are no additional
6238       charges based on word length, figures, or other elements.
6239     </p><p>
6240       Calculating the article-processing charge involves taking all the
6241       costs associated with publishing the journal and determining a
6242       cost per article that collectively recovers costs. For PLOS’s
6243       journals in biology, medicine, genetics, computational biology,
6244       neglected tropical diseases, and pathogens, the article-processing
6245       charge ranges from $2,250 to $2,900. Article-publication charges
6246       for PLOS ONE, a journal started in 2006, are just under $1,500.
6247     </p><p>
6248       PLOS believes that lack of funds should not be a barrier to
6249       publication. Since its inception, PLOS has provided fee support
6250       for individuals and institutions to help authors who can’t afford
6251       the article-processing charges.
6252     </p><p>
6253       Louise identifies marketing as one area of big difference between
6254       PLOS and traditional journal publishers. Traditional journals have
6255       to invest heavily in staff, buildings, and infrastructure to
6256       market their journal and convince customers to subscribe.
6257       Restricting access to subscribers means that tools for managing
6258       access control are necessary. They spend millions of dollars on
6259       access-control systems, staff to manage them, and sales staff.
6260       With PLOS’s open-access publishing, there’s no need for these
6261       massive expenses; the articles are free, open, and accessible to
6262       all upon publication. Additionally, traditional publishers tend to
6263       spend more on marketing to libraries, who ultimately pay the
6264       subscription fees. PLOS provides a better service for authors by
6265       promoting their research directly to the research community and
6266       giving the authors exposure. And this encourages other authors to
6267       submit their work for publication.
6268     </p><p>
6269       For Louise, PLOS would not exist without the Attribution license
6270       (CC BY). This makes it very clear what rights are associated with
6271       the content and provides a safe way for researchers to make their
6272       work available while ensuring they get recognition (appropriate
6273       attribution). For PLOS, all of this aligns with how they think
6274       research content should be published and disseminated.
6275     </p><p>
6276       PLOS also has a broad open-data policy. To get their research
6277       paper published, PLOS authors must also make their data available
6278       in a public repository and provide a data-availability statement.
6279     </p><p>
6280       Business-operation costs associated with the open-access model
6281       still largely follow the existing publishing model. PLOS journals
6282       are online only, but the editorial, peer-review, production,
6283       typesetting, and publishing stages are all the same as for a
6284       traditional publisher. The editorial teams must be top notch. PLOS
6285       has to function as well as or better than other premier journals,
6286       as researchers have a choice about where to publish.
6287     </p><p>
6288       Researchers are influenced by journal rankings, which reflect the
6289       place of a journal within its field, the relative difficulty of
6290       being published in that journal, and the prestige associated with
6291       it. PLOS journals rank high, even though they are relatively new.
6292     </p><p>
6293       The promotion and tenure of researchers are partially based how
6294       many times other researchers cite their articles. Louise says when
6295       researchers want to discover and read the work of others in their
6296       field, they go to an online aggregator or search engine, and not
6297       typically to a particular journal. The CC BY licensing of PLOS
6298       research articles ensures easy access for readers and generates
6299       more discovery and citations for authors.
6300     </p><p>
6301       Louise believes that open access has been a huge success,
6302       progressing from a movement led by a small cadre of researchers to
6303       something that is now widespread and used in some form by every
6304       journal publisher. PLOS has had a big impact. In 2012 to 2014,
6305       they published more open-access articles than BioMed Central, the
6306       original open-access publisher, or anyone else.
6307     </p><p>
6308       PLOS further disrupted the traditional journal-publishing model by
6309       pioneering the concept of a megajournal. The PLOS ONE megajournal,
6310       launched in 2006, is an open-access peer-reviewed academic journal
6311       that is much larger than a traditional journal, publishing
6312       thousands of articles per year and benefiting from economies of
6313       scale. PLOS ONE has a broad scope, covering science and medicine
6314       as well as social sciences and the humanities. The review and
6315       editorial process is less subjective. Articles are accepted for
6316       publication based on whether they are technically sound rather
6317       than perceived importance or relevance. This is very important in
6318       the current debate about the integrity and reproducibility of
6319       research because negative or null results can then be published as
6320       well, which are generally rejected by traditional journals. PLOS
6321       ONE, like all the PLOS journals, is online only with no print
6322       version. PLOS passes on the financial savings accrued through
6323       economies of scale to researchers and the public by lowering the
6324       article-processing charges, which are below that of other
6325       journals. PLOS ONE is the biggest journal in the world and has
6326       really set the bar for publishing academic journal articles on a
6327       large scale. Other publishers see the value of the PLOS ONE model
6328       and are now offering their own multidisciplinary forums for
6329       publishing all sound science.
6330     </p><p>
6331       Louise outlined some other aspects of the research-journal
6332       business model PLOS is experimenting with, describing each as a
6333       kind of slider that could be adjusted to change current practice.
6334     </p><p>
6335       One slider is time to publication. Time to publication may shorten
6336       as journals get better at providing quicker decisions to authors.
6337       However, there is always a trade-off with scale, as the bigger the
6338       volume of articles, the more time the approval process inevitably
6339       takes.
6340     </p><p>
6341       Peer review is another part of the process that could change. It’s
6342       possible to redefine what peer review actually is, when to review,
6343       and what constitutes the final article for publication. Louise
6344       talked about the potential to shift to an open-review process,
6345       placing the emphasis on transparency rather than double-blind
6346       reviews. Louise thinks we’re moving into a direction where it’s
6347       actually beneficial for an author to know who is reviewing their
6348       paper and for the reviewer to know their review will be public. An
6349       open-review process can also ensure everyone gets credit; right
6350       now, credit is limited to the publisher and author.
6351     </p><p>
6352       Louise says research with negative outcomes is almost as important
6353       as positive results. If journals published more research with
6354       negative outcomes, we’d learn from what didn’t work. It could also
6355       reduce how much the research wheel gets reinvented around the
6356       world.
6357     </p><p>
6358       Another adjustable practice is the sharing of articles at early
6359       preprint stages. Publication of research in a peer-reviewed
6360       journal can take a long time because articles must undergo
6361       extensive peer review. The need to quickly circulate current
6362       results within a scientific community has led to a practice of
6363       distributing pre-print documents that have not yet undergone peer
6364       review. Preprints broaden the peer-review process, allowing
6365       authors to receive early feedback from a wide group of peers,
6366       which can help revise and prepare the article for submission.
6367       Offsetting the advantages of preprints are author concerns over
6368       ensuring their primacy of being first to come up with findings
6369       based on their research. Other researches may see findings the
6370       preprint author has not yet thought of. However, preprints help
6371       researchers get their discoveries out early and establish
6372       precedence. A big challenge is that researchers don’t have a lot
6373       of time to comment on preprints.
6374     </p><p>
6375       What constitutes a journal article could also change. The idea of
6376       a research article as printed, bound, and in a library stack is
6377       outdated. Digital and online open up new possibilities, such as a
6378       living document evolving over time, inclusion of audio and video,
6379       and interactivity, like discussion and recommendations. Even the
6380       size of what gets published could change. With these changes the
6381       current form factor for what constitutes a research article would
6382       undergo transformation.
6383     </p><p>
6384       As journals scale up, and new journals are introduced, more and
6385       more information is being pushed out to readers, making the
6386       experience feel like drinking from a fire hose. To help mitigate
6387       this, PLOS aggregates and curates content from PLOS journals and
6388       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 Metrics,
6389       which helps users assess research most relevant to the field
6390       itself, based on indicators like usage, citations, social
6391       bookmarking and dissemination activity, media and blog coverage,
6392       discussions, and ratings.<a href="#ftn.idm1799" class="footnote" name="idm1799"><sup class="footnote">[142]</sup></a> Louise believes that the journal model could evolve to
6393       provide a more friendly and interactive user experience, including
6394       a way for readers to communicate with authors.
6395     </p><p>
6396       The big picture for PLOS going forward is to combine and adjust
6397       these experimental practices in ways that continue to improve
6398       accessibility and dissemination of research, while ensuring its
6399       integrity and reliability. The ways they interlink are complex.
6400       The process of change and adjustment is not linear. PLOS sees
6401       itself as a very flexible publisher interested in exploring all
6402       the permutations research-publishing can take, with authors and
6403       readers who are open to experimentation.
6404     </p><p>
6405       For PLOS, success is not about revenue. Success is about proving
6406       that scientific research can be communicated rapidly and
6407       economically at scale, for the benefit of researchers and society.
6408       The CC BY license makes it possible for PLOS to publish in a way
6409       that is unfettered, open, and fast, while ensuring that the
6410       authors get credit for their work. More than two million
6411       scientists, scholars, and clinicians visit PLOS every month, with
6412       more than 135,000 quality articles to peruse for free.
6413     </p><p>
6414       Ultimately, for PLOS, its authors, and its readers, success is
6415       about making research discoverable, available, and reproducible
6416       for the advancement of science.
6417     </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>Chapter 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>
6418         The Rijksmuseum is a Dutch national museum dedicated to art and
6419         history. Founded in 1800 in the Netherlands
6420       </p><p>
6421           <a class="ulink" href="http://www.rijksmuseum.nl" target="_top">http://www.rijksmuseum.nl</a>
6422         </p><p><span class="strong"><strong>Revenue model</strong></span>: grants and
6423         government funding, charging for in-person version (museum
6424         admission), selling merchandise
6425       </p><p><span class="strong"><strong>Interview date</strong></span>: December 11,
6426         2015
6427       </p><p><span class="strong"><strong>Interviewee</strong></span>: Lizzy Jongma,
6428         the data manager of the collections information department
6429       </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}
6430     \textit{
6431         Profile written by Paul Stacey
6432       }
6433     \end{flushright}</td></tr></table></div><p>
6434       The Rijksmuseum, a national museum in the Netherlands dedicated to
6435       art and history, has been housed in its current building since
6436       1885. The monumental building enjoyed more than 125 years of
6437       intensive use before needing a thorough overhaul. In 2003, the
6438       museum was closed for renovations. Asbestos was found in the roof,
6439       and although the museum was scheduled to be closed for only three
6440       to four years, renovations ended up taking ten years. During this
6441       time, the collection was moved to a different part of Amsterdam,
6442       which created a physical distance with the curators. Out of
6443       necessity, they started digitally photographing the collection and
6444       creating metadata (information about each object to put into a
6445       database). With the renovations going on for so long, the museum
6446       became largely forgotten by the public. Out of these circumstances
6447       emerged a new and more open model for the museum.
6448     </p><p>
6449       By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data
6450       manager, staff were fed up with the situation the museum was in.
6451       They also realized that even with the new and larger space, it
6452       still wouldn’t be able to show very much of the whole
6453       collection—eight thousand of over one million works representing
6454       just 1 percent. Staff began exploring ways to express themselves,
6455       to have something to show for all of the work they had been doing.
6456       The Rijksmuseum is primarily funded by Dutch taxpayers, so was
6457       there a way for the museum provide benefit to the public while it
6458       was closed? They began thinking about sharing Rijksmuseum’s
6459       collection using information technology. And they put up a
6460       card-catalog like database of the entire collection online.
6461     </p><p>
6462       It was effective but a bit boring. It was just data. A hackathon
6463       they were invited to got them to start talking about events like
6464       that as having potential. They liked the idea of inviting people
6465       to do cool stuff with their collection. What about giving online
6466       access to digital representations of the one hundred most
6467       important pieces in the Rijksmuseum collection? That eventually
6468       led to why not put the whole collection online?
6469     </p><p>
6470       Then, Lizzy says, Europeana came along. Europeana is Europe’s
6471       digital library, museum, and archive for cultural
6472       heritage.<a href="#ftn.idm1822" class="footnote" name="idm1822"><sup class="footnote">[143]</sup></a> As an online portal to museum collections all across
6473       Europe, Europeana had become an important online platform. In
6474       October 2010 Creative Commons released CC0 and its public-domain
6475       mark as tools people could use to identify works as free of known
6476       copyright. Europeana was the first major adopter, using CC0 to
6477       release metadata about their collection and the public domain mark
6478       for millions of digital works in their collection. Lizzy says the
6479       Rijksmuseum initially found this change in business practice a bit
6480       scary, but at the same time it stimulated even more discussion on
6481       whether the Rijksmuseum should follow suit.
6482     </p><p>
6483       They realized that they don’t <span class="quote">“<span class="quote">own</span>”</span> the collection
6484       and couldn’t realistically monitor and enforce compliance with the
6485       restrictive licensing terms they currently had in place. For
6486       example, many copies and versions of Vermeer’s Milkmaid (part of
6487       their collection) were already online, many of them of very poor
6488       quality. They could spend time and money policing its use, but it
6489       would probably be futile and wouldn’t make people stop using their
6490       images online. They ended up thinking it’s an utter waste of time
6491       to hunt down people who use the Rijksmuseum collection. And
6492       anyway, restricting access meant the people they were frustrating
6493       the most were schoolkids.
6494     </p><p>
6495       In 2011 the Rijksmuseum began making their digital photos of works
6496       known to be free of copyright available online, using Creative
6497       Commons CC0 to place works in the public domain. A
6498       medium-resolution image was offered for free, but a
6499       high-resolution version cost forty euros. People started paying,
6500       but Lizzy says getting the money was frequently a nightmare,
6501       especially from overseas customers. The administrative costs often
6502       offset revenue, and income above costs was relatively low. In
6503       addition, having to pay for an image of a work in the public
6504       domain from a collection owned by the Dutch government (i.e., paid
6505       for by the public) was contentious and frustrating for some. Lizzy
6506       says they had lots of fierce debates about what to do.
6507     </p><p>
6508       In 2013 the Rijksmuseum changed its business model. They Creative
6509       Commons licensed their highest-quality images and released them
6510       online for free. Digitization still cost money, however; they
6511       decided to define discrete digitization projects and find sponsors
6512       willing to fund each project. This turned out to be a successful
6513       strategy, generating high interest from sponsors and lower
6514       administrative effort for the Rijksmuseum. They started out making
6515       150,000 high-quality images of their collection available, with
6516       the goal to eventually have the entire collection online.
6517     </p><p>
6518       Releasing these high-quality images for free reduced the number of
6519       poor-quality images that were proliferating. The high-quality
6520       image of Vermeer’s Milkmaid, for example, is downloaded two to
6521       three thousand times a month. On the Internet, images from a
6522       source like the Rijksmuseum are more trusted, and releasing them
6523       with a Creative Commons CC0 means they can easily be found in
6524       other platforms. For example, Rijksmuseum images are now used in
6525       thousands of Wikipedia articles, receiving ten to eleven million
6526       views per month. This extends Rijksmuseum’s reach far beyond the
6527       scope of its website. Sharing these images online creates what
6528       Lizzy calls the <span class="quote">“<span class="quote">Mona Lisa effect,</span>”</span> where a work of
6529       art becomes so famous that people want to see it in real life by
6530       visiting the actual museum.
6531     </p><p>
6532       Every museum tends to be driven by the number of physical
6533       visitors. The Rijksmuseum is primarily publicly funded, receiving
6534       roughly 70 percent of its operating budget from the government.
6535       But like many museums, it must generate the rest of the funding
6536       through other means. The admission fee has long been a way to
6537       generate revenue generation, including for the Rijksmuseum.
6538     </p><p>
6539       As museums create a digital presence for themselves and put up
6540       digital representations of their collection online, there’s
6541       frequently a worry that it will lead to a drop in actual physical
6542       visits. For the Rijksmuseum, this has not turned out to be the
6543       case. Lizzy told us the Rijksmuseum used to get about one million
6544       visitors a year before closing and now gets more than two million
6545       a year. Making the collection available online has generated
6546       publicity and acts as a form of marketing. The Creative Commons
6547       mark encourages reuse as well. When the image is found on protest
6548       leaflets, milk cartons, and children’s toys, people also see what
6549       museum the image comes from and this increases the museum’s
6550       visibility.
6551     </p><p>
6552       In 2011 the Rijksmuseum received €1 million from the Dutch lottery
6553       to create a new web presence that would be different from any
6554       other museum’s. In addition to redesigning their main website to
6555       be mobile friendly and responsive to devices like the iPad, the
6556       Rijksmuseum also created the Rijksstudio, where users and artists
6557       could use and do various things with the Rijksmuseum
6558       collection.<a href="#ftn.idm1834" class="footnote" name="idm1834"><sup class="footnote">[144]</sup></a>
6559     </p><p>
6560       The Rijksstudio gives users access to over two hundred thousand
6561       high-quality digital representations of masterworks from the
6562       collection. Users can zoom in to any work and even clip small
6563       parts of images they like. Rijksstudio is a bit like Pinterest.
6564       You can <span class="quote">“<span class="quote">like</span>”</span> works and compile your personal
6565       favorites, and you can share them with friends or download them
6566       free of charge. All the images in the Rijksstudio are copyright
6567       and royalty free, and users are encouraged to use them as they
6568       like, for private or even commercial purposes.
6569     </p><p>
6570       Users have created over 276,000 Rijksstudios, generating their own
6571       themed virtual exhibitions on a wide variety of topics ranging
6572       from tapestries to ugly babies and birds. Sets of images have also
6573       been created for educational purposes including use for school
6574       exams.
6575     </p><p>
6576       Some contemporary artists who have works in the Rijksmuseum
6577       collection contacted them to ask why their works were not included
6578       in the Rijksstudio. The answer was that contemporary artists’
6579       works are still bound by copyright. The Rijksmuseum does encourage
6580       contemporary artists to use a Creative Commons license for their
6581       works, usually a CC BY-SA license (Attribution-ShareAlike), or a
6582       CC BY-NC (Attribution-NonCommercial) if they want to preclude
6583       commercial use. That way, their works can be made available to the
6584       public, but within limits the artists have specified.
6585     </p><p>
6586       The Rijksmuseum believes that art stimulates entrepreneurial
6587       activity. The line between creative and commercial can be blurry.
6588       As Lizzy says, even Rembrandt was commercial, making his
6589       livelihood from selling his paintings. The Rijksmuseum encourages
6590       entrepreneurial commercial use of the images in Rijksstudio.
6591       They’ve even partnered with the DIY marketplace Etsy to inspire
6592       people to sell their creations. One great example you can find on
6593       Etsy is a kimono designed by Angie Johnson, who used an image of
6594       an elaborate cabinet along with an oil painting by Jan Asselijn
6595       called The Threatened Swan.<a href="#ftn.idm1842" class="footnote" name="idm1842"><sup class="footnote">[145]</sup></a>
6596     </p><p>
6597       In 2013 the Rijksmuseum organized their first high-profile design
6598       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
6599       competition invites the public to use Rijksstudio images to make
6600       new creative designs. A jury of renowned designers and curators
6601       selects ten finalists and three winners. The final award comes
6602       with a prize of €10,000. The second edition in 2015 attracted a
6603       staggering 892 top-class entries. Some award winners end up with
6604       their work sold through the Rijksmuseum store, such as the 2014
6605       entry featuring makeup based on a specific color scheme of a work
6606       of art.<a href="#ftn.idm1851" class="footnote" name="idm1851"><sup class="footnote">[147]</sup></a> The Rijksmuseum has been thrilled with the results.
6607       Entries range from the fun to the weird to the inspirational. The
6608       third international edition of the Rijksstudio Award started in
6609       September 2016.
6610     </p><p>
6611       For the next iteration of the Rijksstudio, the Rijksmuseum is
6612       considering an upload tool, for people to upload their own works
6613       of art, and enhanced social elements so users can interact with
6614       each other more.
6615     </p><p>
6616       Going with a more open business model generated lots of publicity
6617       for the Rijksmuseum. They were one of the first museums to open up
6618       their collection (that is, give free access) with high-quality
6619       images. This strategy, along with the many improvements to the
6620       Rijksmuseum’s website, dramatically increased visits to their
6621       website from thirty-five thousand visits per month to three
6622       hundred thousand.
6623     </p><p>
6624       The Rijksmuseum has been experimenting with other ways to invite
6625       the public to look at and interact with their collection. On an
6626       international day celebrating animals, they ran a successful
6627       bird-themed event. The museum put together a showing of two
6628       thousand works that featured birds and invited bird-watchers to
6629       identify the birds depicted. Lizzy notes that while museum
6630       curators know a lot about the works in their collections, they may
6631       not know about certain details in the paintings such as bird
6632       species. Over eight hundred different birds were identified,
6633       including a specific species of crane bird that was unknown to the
6634       scientific community at the time of the painting.
6635     </p><p>
6636       For the Rijksmuseum, adopting an open business model was scary.
6637       They came up with many worst-case scenarios, imagining all kinds
6638       of awful things people might do with the museum’s works. But Lizzy
6639       says those fears did not come true because <span class="quote">“<span class="quote">ninety-nine
6640       percent of people have respect for great art.</span>”</span> Many museums
6641       think they can make a lot of money by selling things related to
6642       their collection. But in Lizzy’s experience, museums are usually
6643       bad at selling things, and sometimes efforts to generate a small
6644       amount of money block something much bigger—the real value that
6645       the collection has. For Lizzy, clinging to small amounts of
6646       revenue is being penny-wise but pound-foolish. For the
6647       Rijksmuseum, a key lesson has been to never lose sight of its
6648       vision for the collection. Allowing access to and use of their
6649       collection has generated great promotional value—far more than the
6650       previous practice of charging fees for access and use. Lizzy sums
6651       up their experience: <span class="quote">“<span class="quote">Give away; get something in return.
6652       Generosity makes people happy to join you and help out.</span>”</span>
6653     </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>;
6654           the 2014 award:
6655           <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2014" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2014</a>;
6656           the 2015 award:
6657           <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>Chapter 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>
6658         Shareable is an online magazine about sharing. Founded in 2009
6659         in the U.S.
6660       </p><p>
6661           <a class="ulink" href="http://www.shareable.net" target="_top">http://www.shareable.net</a>
6662         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding,
6663         crowdfunding (project-based), donations, sponsorships
6664       </p><p><span class="strong"><strong>Interview date</strong></span>: February 24,
6665         2016
6666       </p><p><span class="strong"><strong>Interviewee</strong></span>: Neal Gorenflo,
6667         cofounder and executive editor
6668       </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}
6669     \textit{
6670         Profile written by Sarah Hinchliff Pearson
6671       }
6672     \end{flushright}</td></tr></table></div><p>
6673       In 2013, Shareable faced an impasse. The nonprofit online
6674       publication had helped start a sharing movement four years prior,
6675       but over time, they watched one part of the movement stray from
6676       its ideals. As giants like Uber and Airbnb gained ground,
6677       attention began to center on the <span class="quote">“<span class="quote">sharing economy</span>”</span> we
6678       know now—profit-driven, transactional, and loaded with
6679       venture-capital money. Leaders of corporate start-ups in this
6680       domain invited Shareable to advocate for them. The magazine faced
6681       a choice: ride the wave or stand on principle.
6682     </p><p>
6683       As an organization, Shareable decided to draw a line in the sand.
6684       In 2013, the cofounder and executive editor Neal Gorenflo wrote an
6685       opinion piece in the PandoDaily that charted Shareable’s new
6686       critical stance on the Silicon Valley version of the sharing
6687       economy, while contrasting it with aspects of the real sharing
6688       economy like open-source software, participatory budgeting (where
6689       citizens decide how a public budget is spent), cooperatives, and
6690       more. He wrote, <span class="quote">“<span class="quote">It’s not so much that collaborative
6691       consumption is dead, it’s more that it risks dying as it gets
6692       absorbed by the <span class="quote">‘<span class="quote">Borg.</span>’</span></span>”</span>
6693     </p><p>
6694       Neal said their public critique of the corporate sharing economy
6695       defined what Shareable was and is. He does not think the magazine
6696       would still be around had they chosen differently. <span class="quote">“<span class="quote">We would
6697       have gotten another type of audience, but it would have spelled
6698       the end of us,</span>”</span> he said. <span class="quote">“<span class="quote">We are a small,
6699       mission-driven organization. We would never have been able to
6700       weather the criticism that Airbnb and Uber are getting
6701       now.</span>”</span>
6702     </p><p>
6703       Interestingly, impassioned supporters are only a small sliver of
6704       Shareable’s total audience. Most are casual readers who come
6705       across a Shareable story because it happens to align with a
6706       project or interest they have. But choosing principles over the
6707       possibility of riding the coattails of the major corporate players
6708       in the sharing space saved Shareable’s credibility. Although they
6709       became detached from the corporate sharing economy, the online
6710       magazine became the voice of the <span class="quote">“<span class="quote">real sharing
6711       economy</span>”</span> and continued to grow their audience.
6712     </p><p>
6713       Shareable is a magazine, but the content they publish is a means
6714       to furthering their role as a leader and catalyst of a movement.
6715       Shareable became a leader in the movement in 2009. <span class="quote">“<span class="quote">At that
6716       time, there was a sharing movement bubbling beneath the surface,
6717       but no one was connecting the dots,</span>”</span> Neal said. <span class="quote">“<span class="quote">We
6718       decided to step into that space and take on that role.</span>”</span> The
6719       small team behind the nonprofit publication truly believed sharing
6720       could be central to solving some of the major problems human
6721       beings face—resource inequality, social isolation, and global
6722       warming.
6723     </p><p>
6724       They have worked hard to find ways to tell stories that show
6725       different metrics for success. <span class="quote">“<span class="quote">We wanted to change the
6726       notion of what constitutes the good life,</span>”</span> Neal said. While
6727       they started out with a very broad focus on sharing generally,
6728       today they emphasize stories about the physical commons like
6729       <span class="quote">“<span class="quote">sharing cities</span>”</span> (i.e., urban areas managed in a
6730       sustainable, cooperative way), as well as digital platforms that
6731       are run democratically. They particularly focus on how-to content
6732       that help their readers make changes in their own lives and
6733       communities.
6734     </p><p>
6735       More than half of Shareable’s stories are written by paid
6736       journalists that are contracted by the magazine.
6737       <span class="quote">“<span class="quote">Particularly in content areas that are a priority for us,
6738       we really want to go deep and control the quality,</span>”</span> Neal
6739       said. The rest of the content is either contributed by guest
6740       writers, often for free, or written by other publications from
6741       their network of content publishers. Shareable is a member of the
6742       Post Growth Alliance, which facilitates the sharing of content and
6743       audiences among a large and growing group of mostly nonprofits.
6744       Each organization gets a chance to present stories to the group,
6745       and the organizations can use and promote each other’s stories.
6746       Much of the content created by the network is licensed with
6747       Creative Commons.
6748     </p><p>
6749       All of Shareable’s original content is published under the
6750       Attribution license (CC BY), meaning it can be used for any
6751       purpose as long as credit is given to Shareable. Creative Commons
6752       licensing is aligned with Shareable’s vision, mission, and
6753       identity. That alone explains the organization’s embrace of the
6754       licenses for their content, but Neal also believes CC licensing
6755       helps them increase their reach. <span class="quote">“<span class="quote">By using CC
6756       licensing,</span>”</span> he said, <span class="quote">“<span class="quote">we realized we could reach far
6757       more people through a formal and informal network of republishers
6758       or affiliates. That has definitely been the case. It’s hard for us
6759       to measure the reach of other media properties, but most of the
6760       outlets who republish our work have much bigger audiences than we
6761       do.</span>”</span>
6762     </p><p>
6763       In addition to their regular news and commentary online, Shareable
6764       has also experimented with book publishing. In 2012, they worked
6765       with a traditional publisher to release Share or Die: Voices of
6766       the Get Lost Generation in an Age of Crisis. The CC-licensed book
6767       was available in print form for purchase or online for free. To
6768       this day, the book—along with their CC-licensed guide Policies for
6769       Shareable Cities—are two of the biggest generators of traffic on
6770       their website.
6771     </p><p>
6772       In 2016, Shareable self-published a book of curated Shareable
6773       stories called How to: Share, Save Money and Have Fun. The book
6774       was available for sale, but a PDF version of the book was
6775       available for free. Shareable plans to offer the book in upcoming
6776       fund-raising campaigns.
6777     </p><p>
6778       This recent book is one of many fund-raising experiments Shareable
6779       has conducted in recent years. Currently, Shareable is primarily
6780       funded by grants from foundations, but they are actively moving
6781       toward a more diversified model. They have organizational sponsors
6782       and are working to expand their base of individual donors.
6783       Ideally, they will eventually be a hundred percent funded by their
6784       audience. Neal believes being fully community-supported will
6785       better represent their vision of the world.
6786     </p><p>
6787       For Shareable, success is very much about their impact on the
6788       world. This is true for Neal, but also for everyone who works for
6789       Shareable. <span class="quote">“<span class="quote">We attract passionate people,</span>”</span> Neal said.
6790       At times, that means employees work so hard they burn out. Neal
6791       tries to stress to the Shareable team that another part of success
6792       is having fun and taking care of yourself while you do something
6793       you love. <span class="quote">“<span class="quote">A central part of human beings is that we long to
6794       be on a great adventure with people we love,</span>”</span> he said.
6795       <span class="quote">“<span class="quote">We are a species who look over the horizon and imagine and
6796       create new worlds, but we also seek the comfort of hearth and
6797       home.</span>”</span>
6798     </p><p>
6799       In 2013, Shareable ran its first crowdfunding campaign to launch
6800       their Sharing Cities Network. Neal said at first they were on pace
6801       to fail spectacularly. They called in their advisers in a panic
6802       and asked for help. The advice they received was simple—<span class="quote">“<span class="quote">Sit
6803       your ass in a chair and start making calls.</span>”</span> That’s exactly
6804       what they did, and they ended up reaching their $50,000 goal. Neal
6805       said the campaign helped them reach new people, but the vast
6806       majority of backers were people in their existing base.
6807     </p><p>
6808       For Neal, this symbolized how so much of success comes down to
6809       relationships. Over time, Shareable has invested time and energy
6810       into the relationships they have forged with their readers and
6811       supporters. They have also invested resources into building
6812       relationships between their readers and supporters.
6813     </p><p>
6814       Shareable began hosting events in 2010. These events were designed
6815       to bring the sharing community together. But over time they
6816       realized they could reach far more people if they helped their
6817       readers to host their own events. <span class="quote">“<span class="quote">If we wanted to go big on
6818       a conference, there was a huge risk and huge staffing needs, plus
6819       only a fraction of our community could travel to the
6820       event,</span>”</span> Neal said. Enabling others to create their own
6821       events around the globe allowed them to scale up their work more
6822       effectively and reach far more people. Shareable has catalyzed
6823       three hundred different events reaching over twenty thousand
6824       people since implementing this strategy three years ago. Going
6825       forward, Shareable is focusing the network on creating and
6826       distributing content meant to spur local action. For instance,
6827       Shareable will publish a new CC-licensed book in 2017 filled with
6828       ideas for their network to implement.
6829     </p><p>
6830       Neal says Shareable stumbled upon this strategy, but it seems to
6831       perfectly encapsulate just how the commons is supposed to work.
6832       Rather than a one-size-fits-all approach, Shareable puts the tools
6833       out there for people take the ideas and adapt them to their own
6834       communities.
6835     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Chapter 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>
6836         Siyavula is a for-profit educational-technology company that
6837         creates textbooks and integrated learning experiences. Founded
6838         in 2012 in South Africa.
6839       </p><p>
6840           <a class="ulink" href="http://www.siyavula.com" target="_top">http://www.siyavula.com</a>
6841         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for
6842         custom services, sponsorships
6843       </p><p><span class="strong"><strong>Interview date</strong></span>: April 5, 2016
6844       </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Horner, CEO
6845       </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}
6846     \textit{
6847         Profile written by Paul Stacey
6848       }
6849     \end{flushright}</td></tr></table></div><p>
6850       Openness is a key principle for Siyavula. They believe that every
6851       learner and teacher should have access to high-quality educational
6852       resources, as this forms the basis for long-term growth and
6853       development. Siyavula has been a pioneer in creating high-quality
6854       open textbooks on mathematics and science subjects for grades 4 to
6855       12 in South Africa.
6856     </p><p>
6857       In terms of creating an open business model that involves Creative
6858       Commons, Siyavula—and its founder, Mark Horner—have been around
6859       the block a few times. Siyavula has significantly shifted
6860       directions and strategies to survive and prosper. Mark says it’s
6861       been very organic.
6862     </p><p>
6863       It all started in 2002, when Mark and several other colleagues at
6864       the University of Cape Town in South Africa founded the Free High
6865       School Science Texts project. Most students in South Africa high
6866       schools didn’t have access to high-quality, comprehensive science
6867       and math textbooks, so Mark and his colleagues set out to write
6868       them and make them freely available.
6869     </p><p>
6870       As physicists, Mark and his colleagues were advocates of
6871       open-source software. To make the books open and free, they
6872       adopted the Free Software Foundation’s GNU Free Documentation
6873       License.<a href="#ftn.idm1924" class="footnote" name="idm1924"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to
6874       publish scientific documents, to author the books. Over a period
6875       of five years, the Free High School Science Texts project produced
6876       math and physical-science textbooks for grades 10 to 12.
6877     </p><p>
6878       In 2007, the Shuttleworth Foundation offered funding support to
6879       make the textbooks available for trial use at more schools.
6880       Surveys before and after the textbooks were adopted showed there
6881       were no substantial criticisms of the textbooks’ pedagogical
6882       content. This pleased both the authors and Shuttleworth; Mark
6883       remains incredibly proud of this accomplishment.
6884     </p><p>
6885       But the development of new textbooks froze at this stage. Mark
6886       shifted his focus to rural schools, which didn’t have textbooks at
6887       all, and looked into the printing and distribution options. A few
6888       sponsors came on board but not enough to meet the need.
6889     </p><p>
6890       In 2007, Shuttleworth and the Open Society Institute convened a
6891       group of open-education activists for a small but lively meeting
6892       in Cape Town. One result was the Cape Town Open Education
6893       Declaration, a statement of principles, strategies, and commitment
6894       to help the open-education movement grow.<a href="#ftn.idm1930" class="footnote" name="idm1930"><sup class="footnote">[149]</sup></a> Shuttleworth also invited Mark to run a project
6895       writing open content for all subjects for K–12 in English. That
6896       project became Siyavula.
6897     </p><p>
6898       They wrote six original textbooks. A small publishing company
6899       offered Shuttleworth the option to buy out the publisher’s
6900       existing K–9 content for every subject in South African schools in
6901       both English and Afrikaans. A deal was struck, and all the
6902       acquired content was licensed with Creative Commons, significantly
6903       expanding the collection beyond the six original books.
6904     </p><p>
6905       Mark wanted to build out the remaining curricula collaboratively
6906       through communities of practice—that is, with fellow educators and
6907       writers. Although sharing is fundamental to teaching, there can be
6908       a few challenges when you create educational resources
6909       collectively. One concern is legal. It is standard practice in
6910       education to copy diagrams and snippets of text, but of course
6911       this doesn’t always comply with copyright law. Another concern is
6912       transparency. Sharing what you’ve authored means everyone can see
6913       it and opens you up to criticism. To alleviate these concerns,
6914       Mark adopted a team-based approach to authoring and insisted the
6915       curricula be based entirely on resources with Creative Commons
6916       licenses, thereby ensuring they were safe to share and free from
6917       legal repercussions.
6918     </p><p>
6919       Not only did Mark want the resources to be shareable, he wanted
6920       all teachers to be able to remix and edit the content. Mark and
6921       his team had to come up with an open editable format and provide
6922       tools for editing. They ended up putting all the books they’d
6923       acquired and authored on a platform called Connexions.<a href="#ftn.idm1936" class="footnote" name="idm1936"><sup class="footnote">[150]</sup></a> Siyavula trained many teachers to use Connexions, but
6924       it proved to be too complex and the textbooks were rarely edited.
6925     </p><p>
6926       Then the Shuttleworth Foundation decided to completely restructure
6927       its work as a foundation into a fellowship model (for reasons
6928       completely unrelated to Siyavula). As part of that transition in
6929       2009–10, Mark inherited Siyavula as an independent entity and took
6930       ownership over it as a Shuttleworth fellow.
6931     </p><p>
6932       Mark and his team experimented with several different strategies.
6933       They tried creating an authoring and hosting platform called Full
6934       Marks so that teachers could share assessment items. They tried
6935       creating a service called Open Press, where teachers could ask for
6936       open educational resources to be aggregated into a package and
6937       printed for them. These services never really panned out.
6938     </p><p>
6939       Then the South African government approached Siyavula with an
6940       interest in printing out the original six Free High School Science
6941       Texts (math and physical-science textbooks for grades 10 to 12)
6942       for all high school students in South Africa. Although at this
6943       point Siyavula was a bit discouraged by open educational
6944       resources, they saw this as a big opportunity.
6945     </p><p>
6946       They began to conceive of the six books as having massive
6947       marketing potential for Siyavula. Printing Siyavula books for
6948       every kid in South Africa would give their brand huge exposure and
6949       could drive vast amounts of traffic to their website. In addition
6950       to print books, Siyavula could also make the books available on
6951       their website, making it possible for learners to access them
6952       using any device—computer, tablet, or mobile phone.
6953     </p><p>
6954       Mark and his team began imagining what they could develop beyond
6955       what was in the textbooks as a service they charge for. One key
6956       thing you can’t do well in a printed textbook is demonstrate
6957       solutions. Typically, a one-line answer is given at the end of the
6958       book but nothing on the process for arriving at that solution.
6959       Mark and his team developed practice items and detailed solutions,
6960       giving learners plenty of opportunity to test out what they’ve
6961       learned. Furthermore, an algorithm could adapt these practice
6962       items to the individual needs of each learner. They called this
6963       service Intelligent Practice and embedded links to it in the open
6964       textbooks.
6965     </p><p>
6966       The costs for using Intelligent Practice were set very low, making
6967       it accessible even to those with limited financial means. Siyavula
6968       was going for large volumes and wide-scale use rather than an
6969       expensive product targeting only the high end of the market.
6970     </p><p>
6971       The government distributed the books to 1.5 million students, but
6972       there was an unexpected wrinkle: the books were delivered late.
6973       Rather than wait, schools who could afford it provided students
6974       with a different textbook. The Siyavula books were eventually
6975       distributed, but with well-off schools mainly using a different
6976       book, the primary market for Siyavula’s Intelligent Practice
6977       service inadvertently became low-income learners.
6978     </p><p>
6979       Siyavula’s site did see a dramatic increase in traffic. They got
6980       five hundred thousand visitors per month to their math site and
6981       the same number to their science site. Two-fifths of the traffic
6982       was reading on a <span class="quote">“<span class="quote">feature phone</span>”</span> (a nonsmartphone
6983       with no apps). People on basic phones were reading math and
6984       science on a two-inch screen at all hours of the day. To Mark, it
6985       was quite amazing and spoke to a need they were servicing.
6986     </p><p>
6987       At first, the Intelligent Practice services could only be paid
6988       using a credit card. This proved problematic, especially for those
6989       in the low-income demographic, as credit cards were not prevalent.
6990       Mark says Siyavula got a harsh business-model lesson early on. As
6991       he describes it, it’s not just about product, but how you sell it,
6992       who the market is, what the price is, and what the barriers to
6993       entry are.
6994     </p><p>
6995       Mark describes this as the first version of Siyavula’s business
6996       model: open textbooks serving as marketing material and driving
6997       traffic to your site, where you can offer a related service and
6998       convert some people into a paid customer.
6999     </p><p>
7000       For Mark a key decision for Siyavula’s business was to focus on
7001       how they can add value on top of their basic service. They’ll
7002       charge only if they are adding unique value. The actual content of
7003       the textbook isn’t unique at all, so Siyavula sees no value in
7004       locking it down and charging for it. Mark contrasts this with
7005       traditional publishers who charge over and over again for the same
7006       content without adding value.
7007     </p><p>
7008       Version two of Siyavula’s business model was a big, ambitious
7009       idea—scale up. They also decided to sell the Intelligent Practice
7010       service to schools directly. Schools can subscribe on a
7011       per-student, per-subject basis. A single subscription gives a
7012       learner access to a single subject, including practice content
7013       from every grade available for that subject. Lower subscription
7014       rates are provided when there are over two hundred students, and
7015       big schools have a price cap. A 40 percent discount is offered to
7016       schools where both the science and math departments subscribe.
7017     </p><p>
7018       Teachers get a dashboard that allows them to monitor the progress
7019       of an entire class or view an individual learner’s results. They
7020       can see the questions that learners are working on, identify areas
7021       of difficulty, and be more strategic in their teaching. Students
7022       also have their own personalized dashboard, where they can view
7023       the sections they’ve practiced, how many points they’ve earned,
7024       and how their performance is improving.
7025     </p><p>
7026       Based on the success of this effort, Siyavula decided to
7027       substantially increase the production of open educational
7028       resources so they could provide the Intelligent Practice service
7029       for a wider range of books. Grades 10 to 12 math and science books
7030       were reworked each year, and new books created for grades 4 to 6
7031       and later grades 7 to 9.
7032     </p><p>
7033       In partnership with, and sponsored by, the Sasol Inzalo
7034       Foundation, Siyavula produced a series of natural sciences and
7035       technology workbooks for grades 4 to 6 called Thunderbolt Kids
7036       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
7037       teacher’s guides and other resources.
7038     </p><p>
7039       Through this experience, Siyavula learned they could get sponsors
7040       to help fund openly licensed textbooks. It helped that Siyavula
7041       had by this time nailed the production model. It cost roughly
7042       $150,000 to produce a book in two languages. Sponsors liked the
7043       social-benefit aspect of textbooks unlocked via a Creative Commons
7044       license. They also liked the exposure their brand got. For roughly
7045       $150,000, their logo would be visible on books distributed to over
7046       one million students.
7047     </p><p>
7048       The Siyavula books that are reviewed, approved, and branded by the
7049       government are freely and openly available on Siyavula’s website
7050       under an Attribution-NoDerivs license (CC BY-ND) —NoDerivs means
7051       that these books cannot be modified. Non-government-branded books
7052       are available under an Attribution license (CC BY), allowing
7053       others to modify and redistribute the books.
7054     </p><p>
7055       Although the South African government paid to print and distribute
7056       hard copies of the books to schoolkids, Siyavula itself received
7057       no funding from the government. Siyavula initially tried to
7058       convince the government to provide them with five rand per book
7059       (about US35¢). With those funds, Mark says that Siyavula could
7060       have run its entire operation, built a community-based model for
7061       producing more books, and provide Intelligent Practice for free to
7062       every child in the country. But after a lengthy negotiation, the
7063       government said no.
7064     </p><p>
7065       Using Siyavula books generated huge savings for the government.
7066       Providing students with a traditionally published grade 12 science
7067       or math textbook costs around 250 rand per book (about US$18).
7068       Providing the Siyavula version cost around 36 rand (about $2.60),
7069       a savings of over 200 rand per book. But none of those savings
7070       were passed on to Siyavula. In retrospect, Mark thinks this may
7071       have turned out in their favor as it allowed them to remain
7072       independent from the government.
7073     </p><p>
7074       Just as Siyavula was planning to scale up the production of open
7075       textbooks even more, the South African government changed its
7076       textbook policy. To save costs, the government declared there
7077       would be only one authorized textbook for each grade and each
7078       subject. There was no guarantee that Siyavula’s would be chosen.
7079       This scared away potential sponsors.
7080     </p><p>
7081       Rather than producing more textbooks, Siyavula focused on
7082       improving its Intelligent Practice technology for its existing
7083       books. Mark calls this version three of Siyavula’s business
7084       model—focusing on the technology that provides the
7085       revenue-generating service and generating more users of this
7086       service. Version three got a significant boost in 2014 with an
7087       investment by the Omidyar Network (the philanthropic venture
7088       started by eBay founder Pierre Omidyar and his spouse), and
7089       continues to be the model Siyavula uses today.
7090     </p><p>
7091       Mark says sales are way up, and they are really nailing
7092       Intelligent Practice. Schools continue to use their open
7093       textbooks. The government-announced policy that there would be
7094       only one textbook per subject turned out to be highly contentious
7095       and is in limbo.
7096     </p><p>
7097       Siyavula is exploring a range of enhancements to their business
7098       model. These include charging a small amount for assessment
7099       services provided over the phone, diversifying their market to all
7100       English-speaking countries in Africa, and setting up a consortium
7101       that makes Intelligent Practice free to all kids by selling the
7102       nonpersonal data Intelligent Practice collects.
7103     </p><p>
7104       Siyavula is a for-profit business but one with a social mission.
7105       Their shareholders’ agreement lists lots of requirements around
7106       openness for Siyavula, including stipulations that content always
7107       be put under an open license and that they can’t charge for
7108       something that people volunteered to do for them. They believe
7109       each individual should have access to the resources and support
7110       they need to achieve the education they deserve. Having
7111       educational resources openly licensed with Creative Commons means
7112       they can fulfill their social mission, on top of which they can
7113       build revenue-generating services to sustain the ongoing operation
7114       of Siyavula. In terms of open business models, Mark and Siyavula
7115       may have been around the block a few times, but both he and the
7116       company are stronger for it.
7117     </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>Chapter 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>
7118         SparkFun is an online electronics retailer specializing in open
7119         hardware. Founded in 2003 in the U.S.
7120       </p><p>
7121           <a class="ulink" href="http://www.sparkfun.com" target="_top">http://www.sparkfun.com</a>
7122         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for
7123         physical copies (electronics sales)
7124       </p><p><span class="strong"><strong>Interview date</strong></span>: February 29,
7125         2016
7126       </p><p><span class="strong"><strong>Interviewee</strong></span>: Nathan Seidle,
7127         founder
7128       </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}
7129     \textit{
7130         Profile written by Sarah Hinchliff Pearson
7131       }
7132     \end{flushright}</td></tr></table></div><p>
7133       SparkFun founder and former CEO Nathan Seidle has a picture of
7134       himself holding up a clone of a SparkFun product in an electronics
7135       market in China, with a huge grin on his face. He was traveling in
7136       China when he came across their LilyPad wearable technology being
7137       made by someone else. His reaction was glee.
7138     </p><p><span class="quote">“<span class="quote">Being copied is the greatest earmark of flattery and
7139       success,</span>”</span> Nathan said. <span class="quote">“<span class="quote">I thought it was so cool that
7140       they were selling to a market we were never going to get access to
7141       otherwise. It was evidence of our impact on the world.</span>”</span>
7142     </p><p>
7143       This worldview runs through everything SparkFun does. SparkFun is
7144       an electronics manufacturer. The company sells its products
7145       directly to the public online, and it bundles them with
7146       educational tools to sell to schools and teachers. SparkFun
7147       applies Creative Commons licenses to all of its schematics,
7148       images, tutorial content, and curricula, so anyone can make their
7149       products on their own. Being copied is part of the design.
7150     </p><p>
7151       Nathan believes open licensing is good for the world. <span class="quote">“<span class="quote">It
7152       touches on our natural human instinct to share,</span>”</span> he said.
7153       But he also strongly believes it makes SparkFun better at what
7154       they do. They encourage copying, and their products are copied at
7155       a very fast rate, often within ten to twelve weeks of release.
7156       This forces the company to compete on something other than product
7157       design, or what most commonly consider their intellectual
7158       property.
7159     </p><p><span class="quote">“<span class="quote">We compete on business principles,</span>”</span> Nathan said.
7160       <span class="quote">“<span class="quote">Claiming your territory with intellectual property allows
7161       you to get comfy and rest on your laurels. It gives you a safety
7162       net. We took away that safety net.</span>”</span>
7163     </p><p>
7164       The result is an intense company-wide focus on product development
7165       and improvement. <span class="quote">“<span class="quote">Our products are so much better than they
7166       were five years ago,</span>”</span> Nathan said. <span class="quote">“<span class="quote">We used to just
7167       sell products. Now it’s a product plus a video, a seventeen-page
7168       hookup guide, and example firmware on three different platforms to
7169       get you up and running faster. We have gotten better because we
7170       had to in order to compete. As painful as it is for us, it’s
7171       better for the customers.</span>”</span>
7172     </p><p>
7173       SparkFun parts are available on eBay for lower prices. But people
7174       come directly to SparkFun because SparkFun makes their lives
7175       easier. The example code works; there is a service number to call;
7176       they ship replacement parts the day they get a service call. They
7177       invest heavily in service and support. <span class="quote">“<span class="quote">I don’t believe
7178       businesses should be competing with IP [intellectual property]
7179       barriers,</span>”</span> Nathan said. <span class="quote">“<span class="quote">This is the stuff they
7180       should be competing on.</span>”</span>
7181     </p><p>
7182       SparkFun’s company history began in Nathan’s college dorm room. He
7183       spent a lot of time experimenting with and building electronics,
7184       and he realized there was a void in the market. <span class="quote">“<span class="quote">If you
7185       wanted to place an order for something,</span>”</span> he said,
7186       <span class="quote">“<span class="quote">you first had to search far and wide to find it, and then
7187       you had to call or fax someone.</span>”</span> In 2003, during his third
7188       year of college, he registered
7189       <a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a> and started reselling
7190       products out of his bedroom. After he graduated, he started making
7191       and selling his own products.
7192     </p><p>
7193       Once he started designing his own products, he began putting the
7194       software and schematics online to help with technical support.
7195       After doing some research on licensing options, he chose Creative
7196       Commons licenses because he was drawn to the <span class="quote">“<span class="quote">human-readable
7197       deeds</span>”</span> that explain the licensing terms in simple terms.
7198       SparkFun still uses CC licenses for all of the schematics and
7199       firmware for the products they create.
7200     </p><p>
7201       The company has grown from a solo project to a corporation with
7202       140 employees. In 2015, SparkFun earned $33 million in revenue.
7203       Selling components and widgets to hobbyists, professionals, and
7204       artists remains a major part of SparkFun’s business. They sell
7205       their own products, but they also partner with Arduino (also
7206       profiled in this book) by manufacturing boards for resale using
7207       Arduino’s brand.
7208     </p><p>
7209       SparkFun also has an educational department dedicated to creating
7210       a hands-on curriculum to teach students about electronics using
7211       prototyping parts. Because SparkFun has always been dedicated to
7212       enabling others to re-create and fix their products on their own,
7213       the more recent focus on introducing young people to technology is
7214       a natural extension of their core business.
7215     </p><p><span class="quote">“<span class="quote">We have the burden and opportunity to educate the next
7216       generation of technical citizens,</span>”</span> Nathan said. <span class="quote">“<span class="quote">Our
7217       goal is to affect the lives of three hundred and fifty thousand
7218       high school students by 2020.</span>”</span>
7219     </p><p>
7220       The Creative Commons license underlying all of SparkFun’s products
7221       is central to this mission. The license not only signals a
7222       willingness to share, but it also expresses a desire for others to
7223       get in and tinker with their products, both to learn and to make
7224       their products better. SparkFun uses the Attribution-ShareAlike
7225       license (CC BY-SA), which is a <span class="quote">“<span class="quote">copyleft</span>”</span> license
7226       that allows people to do anything with the content as long as they
7227       provide credit and make any adaptations available under the same
7228       licensing terms.
7229     </p><p>
7230       From the beginning, Nathan has tried to create a work environment
7231       at SparkFun that he himself would want to work in. The result is
7232       what appears to be a pretty fun workplace. The U.S. company is
7233       based in Boulder, Colorado. They have an
7234       eighty-thousand-square-foot facility (approximately
7235       seventy-four-hundred square meters), where they design and
7236       manufacture their products. They offer public tours of the space
7237       several times a week, and they open their doors to the public for
7238       a competition once a year.
7239     </p><p>
7240       The public event, called the Autonomous Vehicle Competition,
7241       brings in a thousand to two thousand customers and other
7242       technology enthusiasts from around the area to race their own
7243       self-created bots against each other, participate in training
7244       workshops, and socialize. From a business perspective, Nathan says
7245       it’s a terrible idea. But they don’t hold the event for business
7246       reasons. <span class="quote">“<span class="quote">The reason we do it is because I get to travel and
7247       have interactions with our customers all the time, but most of our
7248       employees don’t,</span>”</span> he said. <span class="quote">“<span class="quote">This event gives our
7249       employees the opportunity to get face-to-face contact with our
7250       customers.</span>”</span> The event infuses their work with a human
7251       element, which makes it more meaningful.
7252     </p><p>
7253       Nathan has worked hard to imbue a deeper meaning into the work
7254       SparkFun does. The company is, of course, focused on being
7255       fiscally responsible, but they are ultimately driven by something
7256       other than money. <span class="quote">“<span class="quote">Profit is not the goal; it is the outcome
7257       of a well-executed plan,</span>”</span> Nathan said. <span class="quote">“<span class="quote">We focus on
7258       having a bigger impact on the world.</span>”</span> Nathan believes they
7259       get some of the brightest and most amazing employees because they
7260       aren’t singularly focused on the bottom line.
7261     </p><p>
7262       The company is committed to transparency and shares all of its
7263       financials with its employees. They also generally strive to avoid
7264       being another soulless corporation. They actively try to reveal
7265       the humans behind the company, and they work to ensure people
7266       coming to their site don’t find only unchanging content.
7267     </p><p>
7268       SparkFun’s customer base is largely made up of industrious
7269       electronics enthusiasts. They have customers who are regularly
7270       involved in the company’s customer support, independently
7271       responding to questions in forums and product-comment sections.
7272       Customers also bring product ideas to the company. SparkFun
7273       regularly sifts through suggestions from customers and tries to
7274       build on them where they can. <span class="quote">“<span class="quote">From the beginning, we have
7275       been listening to the community,</span>”</span> Nathan said.
7276       <span class="quote">“<span class="quote">Customers would identify a pain point, and we would design
7277       something to address it.</span>”</span>
7278     </p><p>
7279       However, this sort of customer engagement does not always
7280       translate to people actively contributing to SparkFun’s projects.
7281       The company has a public repository of software code for each of
7282       its devices online. On a particularly active project, there will
7283       only be about two dozen people contributing significant
7284       improvements. The vast majority of projects are relatively
7285       untouched by the public. <span class="quote">“<span class="quote">There is a theory that if you
7286       open-source it, they will come,</span>”</span> Nathan said. <span class="quote">“<span class="quote">That’s
7287       not really true.</span>”</span>
7288     </p><p>
7289       Rather than focusing on cocreation with their customers, SparkFun
7290       instead focuses on enabling people to copy, tinker, and improve
7291       products on their own. They heavily invest in tutorials and other
7292       material designed to help people understand how the products work
7293       so they can fix and improve things independently. <span class="quote">“<span class="quote">What
7294       gives me joy is when people take open-source layouts and then
7295       build their own circuit boards from our designs,</span>”</span> Nathan
7296       said.
7297     </p><p>
7298       Obviously, opening up the design of their products is a necessary
7299       step if their goal is to empower the public. Nathan also firmly
7300       believes it makes them more money because it requires them to
7301       focus on how to provide maximum value. Rather than designing a new
7302       product and protecting it in order to extract as much money as
7303       possible from it, they release the keys necessary for others to
7304       build it themselves and then spend company time and resources on
7305       innovation and service. From a short-term perspective, SparkFun
7306       may lose a few dollars when others copy their products. But in the
7307       long run, it makes them a more nimble, innovative business. In
7308       other words, it makes them the kind of company they set out to be.
7309     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Chapter 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>
7310         TeachAIDS is a nonprofit that creates educational materials
7311         designed to teach people around the world about HIV and AIDS.
7312         Founded in 2005 in the U.S.
7313       </p><p>
7314           <a class="ulink" href="http://teachaids.org" target="_top">http://teachaids.org</a>
7315         </p><p><span class="strong"><strong>Revenue model</strong></span>: sponsorships
7316       </p><p><span class="strong"><strong>Interview date</strong></span>: March 24,
7317         2016
7318       </p><p><span class="strong"><strong>Interviewees</strong></span>: Piya Sorcar,
7319         the CEO, and Shuman Ghosemajumder, the chair
7320       </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}
7321     \textit{
7322         Profile written by Sarah Hinchliff Pearson
7323       }
7324     \end{flushright}</td></tr></table></div><p>
7325       TeachAIDS is an unconventional media company with a conventional
7326       revenue model. Like most media companies, they are subsidized by
7327       advertising. Corporations pay to have their logos appear on the
7328       educational materials TeachAIDS distributes.
7329     </p><p>
7330       But unlike most media companies, Teach-AIDS is a nonprofit
7331       organization with a purely social mission. TeachAIDS is dedicated
7332       to educating the global population about HIV and AIDS,
7333       particularly in parts of the world where education efforts have
7334       been historically unsuccessful. Their educational content is
7335       conveyed through interactive software, using methods based on the
7336       latest research about how people learn. TeachAIDS serves content
7337       in more than eighty countries around the world. In each instance,
7338       the content is translated to the local language and adjusted to
7339       conform to local norms and customs. All content is free and made
7340       available under a Creative Commons license.
7341     </p><p>
7342       TeachAIDS is a labor of love for founder and CEO Piya Sorcar, who
7343       earns a salary of one dollar per year from the nonprofit. The
7344       project grew out of research she was doing while pursuing her
7345       doctorate at Stanford University. She was reading reports about
7346       India, noting it would be the next hot zone of people living with
7347       HIV. Despite international and national entities pouring in
7348       hundreds of millions of dollars on HIV-prevention efforts, the
7349       reports showed knowledge levels were still low. People were
7350       unaware of whether the virus could be transmitted through coughing
7351       and sneezing, for instance. Supported by an interdisciplinary team
7352       of experts at Stanford, Piya conducted similar studies, which
7353       corroborated the previous research. They found that the primary
7354       cause of the limited understanding was that HIV, and issues
7355       relating to it, were often considered too taboo to discuss
7356       comprehensively. The other major problem was that most of the
7357       education on this topic was being taught through television
7358       advertising, billboards, and other mass-media campaigns, which
7359       meant people were only receiving bits and pieces of information.
7360     </p><p>
7361       In late 2005, Piya and her team used research-based design to
7362       create new educational materials and worked with local partners in
7363       India to help distribute them. As soon as the animated software
7364       was posted online, Piya’s team started receiving requests from
7365       individuals and governments who were interested in bringing this
7366       model to more countries. <span class="quote">“<span class="quote">We realized fairly quickly that
7367       educating large populations about a topic that was considered
7368       taboo would be challenging. We began by identifying optimal local
7369       partners and worked toward creating an effective, culturally
7370       appropriate education,</span>”</span> Piya said.
7371     </p><p>
7372       Very shortly after the initial release, Piya’s team decided to
7373       spin the endeavor into an independent nonprofit out of Stanford
7374       University. They also decided to use Creative Commons licenses on
7375       the materials.
7376     </p><p>
7377       Given their educational mission, TeachAIDS had an obvious interest
7378       in seeing the materials as widely shared as possible. But they
7379       also needed to preserve the integrity of the medical information
7380       in the content. They chose the Attribution-NonCommercial-NoDerivs
7381       license (CC BY-NC-ND), which essentially gives the public the
7382       right to distribute only verbatim copies of the content, and for
7383       noncommercial purposes. <span class="quote">“<span class="quote">We wanted attribution for
7384       TeachAIDS, and we couldn’t stand by derivatives without vetting
7385       them,</span>”</span> the cofounder and chair Shuman Ghosemajumder said.
7386       <span class="quote">“<span class="quote">It was almost a no-brainer to go with a CC license because
7387       it was a plug-and-play solution to this exact problem. It has
7388       allowed us to scale our materials safely and quickly worldwide
7389       while preserving our content and protecting us at the same
7390       time.</span>”</span>
7391     </p><p>
7392       Choosing a license that does not allow adaptation of the content
7393       was an outgrowth of the careful precision with which TeachAIDS
7394       crafts their content. The organization invests heavily in research
7395       and testing to determine the best method of conveying the
7396       information. <span class="quote">“<span class="quote">Creating high-quality content is what matters
7397       most to us,</span>”</span> Piya said. <span class="quote">“<span class="quote">Research drives everything
7398       we do.</span>”</span>
7399     </p><p>
7400       One important finding was that people accept the message best when
7401       it comes from familiar voices they trust and admire. To achieve
7402       this, TeachAIDS researches cultural icons that would best resonate
7403       with their target audiences and recruits them to donate their
7404       likenesses and voices for use in the animated software. The
7405       celebrities involved vary for each localized version of the
7406       materials.
7407     </p><p>
7408       Localization is probably the single-most important aspect of the
7409       way TeachAIDS creates its content. While each regional version
7410       builds from the same core scientific materials, they pour a lot of
7411       resources into customizing the content for a particular
7412       population. Because they use a CC license that does not allow the
7413       public to adapt the content, TeachAIDS retains careful control
7414       over the localization process. The content is translated into the
7415       local language, but there are also changes in substance and format
7416       to reflect cultural differences. This process results in minor
7417       changes, like choosing different idioms based on the local
7418       language, and significant changes, like creating gendered versions
7419       for places where people are more likely to accept information from
7420       someone of the same gender.
7421     </p><p>
7422       The localization process relies heavily on volunteers. Their
7423       volunteer base is deeply committed to the cause, and the
7424       organization has had better luck controlling the quality of the
7425       materials when they tap volunteers instead of using paid
7426       translators. For quality control, TeachAIDS has three separate
7427       volunteer teams translate the materials from English to the local
7428       language and customize the content based on local customs and
7429       norms. Those three versions are then analyzed and combined into a
7430       single master translation. TeachAIDS has additional teams of
7431       volunteers then translate that version back into English to see
7432       how well it lines up with the original materials. They repeat this
7433       process until they reach a translated version that meets their
7434       standards. For the Tibetan version, they went through this cycle
7435       eleven times.
7436     </p><p>
7437       TeachAIDS employs full-time employees, contractors, and
7438       volunteers, all in different capacities and organizational
7439       configurations. They are careful to use people from diverse
7440       backgrounds to create the materials, including teachers, students,
7441       and doctors, as well as individuals experienced in working in the
7442       NGO space. This diversity and breadth of knowledge help ensure
7443       their materials resonate with people from all walks of life.
7444       Additionally, TeachAIDS works closely with film writers and
7445       directors to help keep the concepts entertaining and easy to
7446       understand. The inclusive, but highly controlled, creative process
7447       is undertaken entirely by people who are specifically brought on
7448       to help with a particular project, rather than ongoing staff. The
7449       final product they create is designed to require zero training for
7450       people to implement in practice. <span class="quote">“<span class="quote">In our research, we found
7451       we can’t depend on people passing on the information correctly,
7452       even if they have the best of intentions,</span>”</span> Piya said.
7453       <span class="quote">“<span class="quote">We need materials where you can push play and they will
7454       work.</span>”</span>
7455     </p><p>
7456       Piya’s team was able to produce all of these versions over several
7457       years with a head count that never exceeded eight full-time
7458       employees. The organization is able to reduce costs by relying
7459       heavily on volunteers and in-kind donations. Nevertheless, the
7460       nonprofit needed a sustainable revenue model to subsidize content
7461       creation and physical distribution of the materials. Charging even
7462       a low price was simply not an option. <span class="quote">“<span class="quote">Educators from
7463       various nonprofits around the world were just creating their own
7464       materials using whatever they could find for free online,</span>”</span>
7465       Shuman said. <span class="quote">“<span class="quote">The only way to persuade them to use our
7466       highly effective model was to make it completely free.</span>”</span>
7467     </p><p>
7468       Like many content creators offering their work for free, they
7469       settled on advertising as a funding model. But they were extremely
7470       careful not to let the advertising compromise their credibility or
7471       undermine the heavy investment they put into creating quality
7472       content. Sponsors of the content have no ability to influence the
7473       substance of the content, and they cannot even create advertising
7474       content. Sponsors only get the right to have their logo appear
7475       before and after the educational content. All of the content
7476       remains branded as TeachAIDS.
7477     </p><p>
7478       TeachAIDS is careful not to seek funding to cover the costs of a
7479       specific project. Instead, sponsorships are structured as
7480       unrestricted donations to the nonprofit. This gives the nonprofit
7481       more stability, but even more importantly, it enables them to
7482       subsidize projects being localized for an area with no sponsors.
7483       <span class="quote">“<span class="quote">If we just created versions based on where we could get
7484       sponsorships, we would only have materials for wealthier
7485       countries,</span>”</span> Shuman said.
7486     </p><p>
7487       As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">“<span class="quote">When we go
7488       into a new country, various companies hear about us and reach out
7489       to us,</span>”</span> Piya said. <span class="quote">“<span class="quote">We don’t have to do much to find
7490       or attract them.</span>”</span> They believe the sponsorships are easy to
7491       sell because they offer so much value to sponsors. TeachAIDS
7492       sponsorships give corporations the chance to reach new eyeballs
7493       with their brand, but at a much lower cost than other advertising
7494       channels. The audience for TeachAIDS content also tends to skew
7495       young, which is often a desirable demographic for brands. Unlike
7496       traditional advertising, the content is not time-sensitive, so an
7497       investment in a sponsorship can benefit a brand for many years to
7498       come.
7499     </p><p>
7500       Importantly, the value to corporate sponsors goes beyond
7501       commercial considerations. As a nonprofit with a clearly
7502       articulated social mission, corporate sponsorships are donations
7503       to a cause. <span class="quote">“<span class="quote">This is something companies can be proud of
7504       internally,</span>”</span> Shuman said. Some companies have even built
7505       publicity campaigns around the fact that they have sponsored these
7506       initiatives.
7507     </p><p>
7508       The core mission of TeachAIDS—ensuring global access to
7509       life-saving education—is at the root of everything the
7510       organization does. It underpins the work; it motivates the
7511       funders. The CC license on the materials they create furthers that
7512       mission, allowing them to safely and quickly scale their materials
7513       worldwide. <span class="quote">“<span class="quote">The Creative Commons license has been a game
7514       changer for TeachAIDS,</span>”</span> Piya said.
7515     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Chapter 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>
7516         Tribe of Noise is a for-profit online music platform serving the
7517         film, TV, video, gaming, and in-store-media industries. Founded
7518         in 2008 in the Netherlands.
7519       </p><p>
7520           <a class="ulink" href="http://www.tribeofnoise.com" target="_top">http://www.tribeofnoise.com</a>
7521         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a
7522         transaction fee
7523       </p><p><span class="strong"><strong>Interview date</strong></span>: January 26,
7524         2016
7525       </p><p><span class="strong"><strong>Interviewee</strong></span>: Hessel van
7526         Oorschot, cofounder
7527       </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}
7528     \textit{
7529         Profile written by Paul Stacey
7530       }
7531     \end{flushright}</td></tr></table></div><p>
7532       In the early 2000s, Hessel van Oorschot was an entrepreneur
7533       running a business where he coached other midsize entrepreneurs
7534       how to create an online business. He also coauthored a number of
7535       workbooks for small- to medium-size enterprises to use to optimize
7536       their business for the Web. Through this early work, Hessel became
7537       familiar with the principles of open licensing, including the use
7538       of open-source software and Creative Commons.
7539     </p><p>
7540       In 2005, Hessel and Sandra Brandenburg launched a niche
7541       video-production initiative. Almost immediately, they ran into
7542       issues around finding and licensing music tracks. All they could
7543       find was standard, cold stock-music. They thought of looking up
7544       websites where you could license music directly from the musician
7545       without going through record labels or agents. But in 2005, the
7546       ability to directly license music from a rights holder was not
7547       readily available.
7548     </p><p>
7549       They hired two lawyers to investigate further, and while they
7550       uncovered five or six examples, Hessel found the business models
7551       lacking. The lawyers expressed interest in being their legal team
7552       should they decide to pursue this as an entrepreneurial
7553       opportunity. Hessel says, <span class="quote">“<span class="quote">When lawyers are interested in a
7554       venture like this, you might have something special.</span>”</span> So
7555       after some more research, in early 2008, Hessel and Sandra decided
7556       to build a platform.
7557     </p><p>
7558       Building a platform posed a real chicken-and-egg problem. The
7559       platform had to build an online community of music-rights holders
7560       and, at the same time, provide the community with information and
7561       ideas about how the new economy works. Community willingness to
7562       try new music business models requires a trust relationship.
7563     </p><p>
7564       In July 2008, Tribe of Noise opened its virtual doors with a
7565       couple hundred musicians willing to use the CC BY-SA license
7566       (Attribution-ShareAlike) for a limited part of their repertoire.
7567       The two entrepreneurs wanted to take the pain away for media
7568       makers who wanted to license music and solve the problems the two
7569       had personally experienced finding this music.
7570     </p><p>
7571       As they were growing the community, Hessel got a phone call from a
7572       company that made in-store music playlists asking if they had
7573       enough music licensed with Creative Commons that they could use.
7574       Stores need quality, good-listening music but not necessarily
7575       hits, a bit like a radio show without the DJ. This opened a new
7576       opportunity for Tribe of Noise. They started their In-store Music
7577       Service, using music (licensed with CC BY-SA) uploaded by the
7578       Tribe of Noise community of musicians.<a href="#ftn.idm2090" class="footnote" name="idm2090"><sup class="footnote">[152]</sup></a>
7579     </p><p>
7580       In most countries, artists, authors, and musicians join a
7581       collecting society that manages the licensing and helps collect
7582       the royalties. Copyright collecting societies in the European
7583       Union usually hold monopolies in their respective national
7584       markets. In addition, they require their members to transfer
7585       exclusive administration rights to them of all of their works.
7586       This complicates the picture for Tribe of Noise, who wants to
7587       represent artists, or at least a portion of their repertoire.
7588       Hessel and his legal team reached out to collecting societies,
7589       starting with those in the Netherlands. What would be the best
7590       legal way forward that would respect the wishes of composers and
7591       musicians who’d be interested in trying out new models like the
7592       In-store Music Service? Collecting societies at first were
7593       hesitant and said no, but Tribe of Noise persisted arguing that
7594       they primarily work with unknown artists and provide them exposure
7595       in parts of the world where they don’t get airtime normally and a
7596       source of revenue—and this convinced them that it was OK. However,
7597       Hessel says, <span class="quote">“<span class="quote">We are still fighting for a good cause every
7598       single day.</span>”</span>
7599     </p><p>
7600       Instead of building a large sales force, Tribe of Noise partnered
7601       with big organizations who have lots of clients and can act as a
7602       kind of Tribe of Noise reseller. The largest telecom network in
7603       the Netherlands, for example, sells Tribe’s In-store Music Service
7604       subscriptions to their business clients, which include fashion
7605       retailers and fitness centers. They have a similar deal with the
7606       leading trade association representing hotels and restaurants in
7607       the country. Hessel hopes to <span class="quote">“<span class="quote">copy and paste</span>”</span> this
7608       service into other countries where collecting societies understand
7609       what you can do with Creative Commons. Outside of the Netherlands,
7610       early adoptions have happened in Scandinavia, Belgium, and the
7611       U.S.
7612     </p><p>
7613       Tribe of Noise doesn’t pay the musicians up front; they get paid
7614       when their music ends up in Tribe of Noise’s in-store music
7615       channels. The musicians’ share is 42.5 percent. It’s not uncommon
7616       in a traditional model for the artist to get only 5 to 10 percent,
7617       so a share of over 40 percent is a significantly better deal.
7618       Here’s how they give an example on their website:
7619     </p><p>
7620       A few of your songs [licensed with CC BY-SA], for example five in
7621       total, are selected for a bespoke in-store music channel
7622       broadcasting at a large retailer with 1,000 stores nationwide. In
7623       this case the overall playlist contains 350 songs so the
7624       musician’s share is 5/350 = 1.43%. The license fee agreed with
7625       this retailer is US$12 per month per play-out. So if 42.5% is
7626       shared with the Tribe musicians in this playlist and your share is
7627       1.43%, you end up with US$12 * 1000 stores * 0.425 * 0.0143 =
7628       US$73 per month.<a href="#ftn.idm2099" class="footnote" name="idm2099"><sup class="footnote">[153]</sup></a>
7629     </p><p>
7630       Tribe of Noise has another model that does not involve Creative
7631       Commons. In a survey with members, most said they liked the
7632       exposure using Creative Commons gets them and the way it lets them
7633       reach out to others to share and remix. However, they had a bit of
7634       a mental struggle with Creative Commons licenses being perpetual.
7635       A lot of musicians have the mind-set that one day one of their
7636       songs may become an overnight hit. If that happened the CC BY-SA
7637       license would preclude them getting rich off the sale of that
7638       song.
7639     </p><p>
7640       Hessel’s legal team took this feedback and created a second model
7641       and separate area of the platform called Tribe of Noise Pro. Songs
7642       uploaded to Tribe of Noise Pro aren’t Creative Commons licensed;
7643       Tribe of Noise has instead created a <span class="quote">“<span class="quote">nonexclusive
7644       exploitation</span>”</span> contract, similar to a Creative Commons
7645       license but allowing musicians to opt out whenever they want. When
7646       you opt out, Tribe of Noise agrees to take your music off the
7647       Tribe of Noise platform within one to two months. This lets the
7648       musician reuse their song for a better deal.
7649     </p><p>
7650       Tribe of Noise Pro is primarily geared toward media makers who are
7651       looking for music. If they buy a license from this catalog, they
7652       don’t have to state the name of the creator; they just license the
7653       song for a specific amount. This is a big plus for media makers.
7654       And musicians can pull their repertoire at any time. Hessel sees
7655       this as a more direct and clean deal.
7656     </p><p>
7657       Lots of Tribe of Noise musicians upload songs to both Tribe of
7658       Noise Pro and the community area of Tribe of Noises. There aren’t
7659       that many artists who upload only to Tribe of Noise Pro, which has
7660       a smaller repertoire of music than the community area.
7661     </p><p>
7662       Hessel sees the two as complementary. Both are needed for the
7663       model to work. With a whole generation of musicians interested in
7664       the sharing economy, the community area of Tribe of Noise is where
7665       they can build trust, create exposure, and generate money. And
7666       after that, musicians may become more interested in exploring
7667       other models like Tribe of Noise Pro.
7668     </p><p>
7669       Every musician who joins Tribe of Noise gets their own home page
7670       and free unlimited Web space to upload as much of their own music
7671       as they like. Tribe of Noise is also a social network; fellow
7672       musicians and professionals can vote for, comment on, and like
7673       your music. Community managers interact with and support members,
7674       and music supervisors pick and choose from the uploaded songs for
7675       in-store play or to promote them to media producers. Members
7676       really like having people working for the platform who truly
7677       engage with them.
7678     </p><p>
7679       Another way Tribe of Noise creates community and interest is with
7680       contests, which are organized in partnership with Tribe of Noise
7681       clients. The client specifies what they want, and any member can
7682       submit a song. Contests usually involve prizes, exposure, and
7683       money. In addition to building member engagement, contests help
7684       members learn how to work with clients: listening to them,
7685       understanding what they want, and creating a song to meet that
7686       need.
7687     </p><p>
7688       Tribe of Noise now has twenty-seven thousand members from 192
7689       countries, and many are exploring do-it-yourself models for
7690       generating revenue. Some came from music labels and publishers,
7691       having gone through the traditional way of music licensing and now
7692       seeing if this new model makes sense for them. Others are young
7693       musicians, who grew up with a DIY mentality and see little reason
7694       to sign with a third party or hand over some of the control. Still
7695       a small but growing group of Tribe members are pursuing a hybrid
7696       model by licensing some of their songs under CC BY-SA and opting
7697       in others with collecting societies like ASCAP or BMI.
7698     </p><p>
7699       It’s not uncommon for performance-rights organizations, record
7700       labels, or music publishers to sign contracts with musicians based
7701       on exclusivity. Such an arrangement prevents those musicians from
7702       uploading their music to Tribe of Noise. In the United States, you
7703       can have a collecting society handle only some of your tracks,
7704       whereas in many countries in Europe, a collecting society prefers
7705       to represent your entire repertoire (although the European
7706       Commission is making some changes). Tribe of Noise deals with this
7707       issue all the time and gives you a warning whenever you upload a
7708       song. If collecting societies are willing to be open and flexible
7709       and do the most they can for their members, then they can consider
7710       organizations like Tribe of Noise as a nice add-on, generating
7711       more exposure and revenue for the musicians they represent. So
7712       far, Tribe of Noise has been able to make all this work without
7713       litigation.
7714     </p><p>
7715       For Hessel the key to Tribe of Noise’s success is trust. The fact
7716       that Creative Commons licenses work the same way all over the
7717       world and have been translated into all languages really helps
7718       build that trust. Tribe of Noise believes in creating a model
7719       where they work together with musicians. They can only do that if
7720       they have a live and kicking community, with people who think that
7721       the Tribe of Noise team has their best interests in mind. Creative
7722       Commons makes it possible to create a new business model for
7723       music, a model that’s based on trust.
7724     </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>Chapter 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>
7725         The Wikimedia Foundation is the nonprofit organization that
7726         hosts Wikipedia and its sister projects. Founded in 2003 in the
7727         U.S.
7728       </p><p>
7729           <a class="ulink" href="http://wikimediafoundation.org" target="_top">http://wikimediafoundation.org</a>
7730         </p><p><span class="strong"><strong>Revenue model</strong></span>: donations
7731       </p><p><span class="strong"><strong>Interview date</strong></span>: December 18,
7732         2015
7733       </p><p><span class="strong"><strong>Interviewees</strong></span>: Luis Villa,
7734         former Chief Officer of Community Engagement, and Stephen
7735         LaPorte, legal counsel
7736       </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}
7737     \textit{
7738         Profile written by Sarah Hinchliff Pearson
7739       }
7740     \end{flushright}</td></tr></table></div><p>
7741       Nearly every person with an online presence knows Wikipedia.
7742     </p><p>
7743       In many ways, it is the preeminent open project: The online
7744       encyclopedia is created entirely by volunteers. Anyone in the
7745       world can edit the articles. All of the content is available for
7746       free to anyone online. All of the content is released under a
7747       Creative Commons license that enables people to reuse and adapt it
7748       for any purpose.
7749     </p><p>
7750       As of December 2016, there were more than forty-two million
7751       articles in the 295 language editions of the online encyclopedia,
7752       according to—what else?—the Wikipedia article about Wikipedia.
7753     </p><p>
7754       The Wikimedia Foundation is a U.S.-based nonprofit organization
7755       that owns the Wikipedia domain name and hosts the site, along with
7756       many other related sites like Wikidata and Wikimedia Commons. The
7757       foundation employs about two hundred and eighty people, who all
7758       work to support the projects it hosts. But the true heart of
7759       Wikipedia and its sister projects is its community. The numbers of
7760       people in the community are variable, but about seventy-five
7761       thousand volunteers edit and improve Wikipedia articles every
7762       month. Volunteers are organized in a variety of ways across the
7763       globe, including formal Wikimedia chapters (mostly national),
7764       groups focused on a particular theme, user groups, and many
7765       thousands who are not connected to a particular organization.
7766     </p><p>
7767       As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">“<span class="quote">There
7768       is a common saying that Wikipedia works in practice but not in
7769       theory.</span>”</span> While it undoubtedly has its challenges and flaws,
7770       Wikipedia and its sister projects are a striking testament to the
7771       power of human collaboration.
7772     </p><p>
7773       Because of its extraordinary breadth and scope, it does feel a bit
7774       like a unicorn. Indeed, there is nothing else like Wikipedia.
7775       Still, much of what makes the projects successful—community,
7776       transparency, a strong mission, trust—are consistent with what it
7777       takes to be successfully Made with Creative Commons more
7778       generally. With Wikipedia, everything just happens at an
7779       unprecedented scale.
7780     </p><p>
7781       The story of Wikipedia has been told many times. For our purposes,
7782       it is enough to know the experiment started in 2001 at a small
7783       scale, inspired by the crazy notion that perhaps a truly open,
7784       collaborative project could create something meaningful. At this
7785       point, Wikipedia is so ubiquitous and ingrained in our digital
7786       lives that the fact of its existence seems less remarkable. But
7787       outside of software, Wikipedia is perhaps the single most stunning
7788       example of successful community cocreation. Every day, seven
7789       thousand new articles are created on Wikipedia, and nearly fifteen
7790       thousand edits are made every hour.
7791     </p><p>
7792       The nature of the content the community creates is ideal for
7793       asynchronous cocreation. <span class="quote">“<span class="quote">An encyclopedia is something where
7794       incremental community improvement really works,</span>”</span> Luis
7795       Villa, former Chief Officer of Community Engagement, told us. The
7796       rules and processes that govern cocreation on Wikipedia and its
7797       sister projects are all community-driven and vary by language
7798       edition. There are entire books written on the intricacies of
7799       their systems, but generally speaking, there are very few
7800       exceptions to the rule that anyone can edit any article, even
7801       without an account on their system. The extensive peer-review
7802       process includes elaborate systems to resolve disputes, methods
7803       for managing particularly controversial subject areas, talk pages
7804       explaining decisions, and much, much more. The Wikimedia
7805       Foundation’s decision to leave governance of the projects to the
7806       community is very deliberate. <span class="quote">“<span class="quote">We look at the things that
7807       the community can do well, and we want to let them do those
7808       things,</span>”</span> Stephen told us. Instead, the foundation focuses
7809       its time and resources on what the community cannot do as
7810       effectively, like the software engineering that supports the
7811       technical infrastructure of the sites. In 2015-16, about half of
7812       the foundation’s budget went to direct support for the Wikimedia
7813       sites.
7814     </p><p>
7815       Some of that is directed at servers and general IT support, but
7816       the foundation also invests a significant amount on architecture
7817       designed to help the site function as effectively as possible.
7818       <span class="quote">“<span class="quote">There is a constantly evolving system to keep the balance
7819       in place to avoid Wikipedia becoming the world’s biggest graffiti
7820       wall,</span>”</span> Luis said. Depending on how you measure it,
7821       somewhere between 90 to 98 percent of edits to Wikipedia are
7822       positive. Some portion of that success is attributable to the
7823       tools Wikimedia has in place to try to incentivize good actors.
7824       <span class="quote">“<span class="quote">The secret to having any healthy community is bringing back
7825       the right people,</span>”</span> Luis said. <span class="quote">“<span class="quote">Vandals tend to get
7826       bored and go away. That is partially our model working, and
7827       partially just human nature.</span>”</span> Most of the time, people want
7828       to do the right thing.
7829     </p><p>
7830       Wikipedia not only relies on good behavior within its community
7831       and on its sites, but also by everyone else once the content
7832       leaves Wikipedia. All of the text of Wikipedia is available under
7833       an Attribution-ShareAlike license (CC BY-SA), which means it can
7834       be used for any purpose and modified so long as credit is given
7835       and anything new is shared back with the public under the same
7836       license. In theory, that means anyone can copy the content and
7837       start a new Wikipedia. But as Stephen explained, <span class="quote">“<span class="quote">Being open
7838       has only made Wikipedia bigger and stronger. The desire to protect
7839       is not always what is best for everyone.</span>”</span>
7840     </p><p>
7841       Of course, the primary reason no one has successfully co-opted
7842       Wikipedia is that copycat efforts do not have the Wikipedia
7843       community to sustain what they do. Wikipedia is not simply a
7844       source of up-to-the-minute content on every given topic—it is also
7845       a global patchwork of humans working together in a million
7846       different ways, in a million different capacities, for a million
7847       different reasons. While many have tried to guess what makes
7848       Wikipedia work as well it does, the fact is there is no single
7849       explanation. <span class="quote">“<span class="quote">In a movement as large as ours, there is an
7850       incredible diversity of motivations,</span>”</span> Stephen said. For
7851       example, there is one editor of the English Wikipedia edition who
7852       has corrected a single grammatical error in articles more than
7853       forty-eight thousand times.<a href="#ftn.idm2145" class="footnote" name="idm2145"><sup class="footnote">[154]</sup></a> Only a fraction of Wikipedia users are also editors.
7854       But editing is not the only way to contribute to Wikipedia.
7855       <span class="quote">“<span class="quote">Some donate text, some donate images, some donate
7856       financially,</span>”</span> Stephen told us. <span class="quote">“<span class="quote">They are all
7857       contributors.</span>”</span>
7858     </p><p>
7859       But the vast majority of us who use Wikipedia are not
7860       contributors; we are passive readers. The Wikimedia Foundation
7861       survives primarily on individual donations, with about $15 as the
7862       average. Because Wikipedia is one of the ten most popular websites
7863       in terms of total page views, donations from a small portion of
7864       that audience can translate into a lot of money. In the 2015-16
7865       fiscal year, they received more than $77 million from more than
7866       five million donors.
7867     </p><p>
7868       The foundation has a fund-raising team that works year-round to
7869       raise money, but the bulk of their revenue comes in during the
7870       December campaign in Australia, Canada, Ireland, New Zealand, the
7871       United Kingdom, and the United States. They engage in extensive
7872       user testing and research to maximize the reach of their
7873       fund-raising campaigns. Their basic fund-raising message is
7874       simple: We provide our readers and the world immense value, so
7875       give back. Every little bit helps. With enough eyeballs, they are
7876       right.
7877     </p><p>
7878       The vision of the Wikimedia Foundation is a world in which every
7879       single human being can freely share in the sum of all knowledge.
7880       They work to realize this vision by empowering people around the
7881       globe to create educational content made freely available under an
7882       open license or in the public domain. Stephen and Luis said the
7883       mission, which is rooted in the same philosophy behind Creative
7884       Commons, drives everything the foundation does.
7885     </p><p>
7886       The philosophy behind the endeavor also enables the foundation to
7887       be financially sustainable. It instills trust in their readership,
7888       which is critical for a revenue strategy that relies on reader
7889       donations. It also instills trust in their community.
7890     </p><p>
7891       Any given edit on Wikipedia could be motivated by nearly an
7892       infinite number of reasons. But the social mission of the project
7893       is what binds the global community together. <span class="quote">“<span class="quote">Wikipedia is
7894       an example of how a mission can motivate an entire
7895       movement,</span>”</span> Stephen told us.
7896     </p><p>
7897       Of course, what results from that movement is one of the
7898       Internet’s great public resources. <span class="quote">“<span class="quote">The Internet has a lot
7899       of businesses and stores, but it is missing the digital equivalent
7900       of parks and open public spaces,</span>”</span> Stephen said.
7901       <span class="quote">“<span class="quote">Wikipedia has found a way to be that open public
7902       space.</span>”</span>
7903     </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>
7904     Alperovitz, Gar. What Then Must We Do? Straight Talk about the Next
7905     American Revolution; Democratizing Wealth and Building a
7906     Community-Sustaining Economy from the Ground Up. White River
7907     Junction, VT: Chelsea Green, 2013.
7908   </p><p>
7909     Anderson, Chris. Free: How Today’s Smartest Businesses Profit by
7910     Giving Something for Nothing, reprint with new preface. New York:
7911     Hyperion, 2010.
7912   </p><p>
7913     ———. Makers: The New Industrial Revolution. New York: Signal, 2012.
7914   </p><p>
7915     Ariely, Dan. Predictably Irrational: The Hidden Forces That Shape
7916     Our Decisions. Rev. ed. New York: Harper Perennial, 2010.
7917   </p><p>
7918     Bacon, Jono. The Art of Community. 2nd ed. Sebastopol, CA: O’Reilly
7919     Media, 2012.
7920   </p><p>
7921     Benkler, Yochai. The Wealth of Networks: How Social Production
7922     Transforms Markets and Freedom. New Haven: Yale University Press,
7923     2006.
7924     <a class="ulink" href="http://www.benkler.org/Benkler_Wealth_Of_Networks.pdf" target="_top">http://www.benkler.org/Benkler_Wealth_Of_Networks.pdf</a>
7925     (licensed under CC BY-NC-SA).
7926   </p><p>
7927     Benyayer, Louis-David, ed. Open Models: Business Models of the Open
7928     Economy. Cachan, France: Without Model, 2016.
7929     <a class="ulink" href="http://www.slideshare.net/WithoutModel/open-models-book-64463892" target="_top">http://www.slideshare.net/WithoutModel/open-models-book-64463892</a>
7930     (licensed under CC BY-SA).
7931   </p><p>
7932     Bollier, David. Commoning as a Transformative Social Paradigm. Paper
7933     commissioned by the Next Systems Project. Washington, DC: Democracy
7934     Collaborative, 2016.
7935     <a class="ulink" href="http://thenextsystem.org/commoning-as-a-transformative-social-paradigm/" target="_top">http://thenextsystem.org/commoning-as-a-transformative-social-paradigm/</a>.
7936   </p><p>
7937     ———. Think Like a Commoner: A Short Introduction to the Life of the
7938     Commons. Gabriola Island, BC: New Society, 2014.
7939   </p><p>
7940     Bollier, David, and Pat Conaty. Democratic Money and Capital for the
7941     Commons: Strategies for Transforming Neoliberal Finance through
7942     Commons-Based Alternatives. A report on a Commons Strategies Group
7943     Workshop in cooperation with the Heinrich Böll Foundation, Berlin,
7944     Germany, 2015.
7945     <a class="ulink" href="http://bollier.org/democratic-money-and-capital-commons-report-pdf" target="_top">http://bollier.org/democratic-money-and-capital-commons-report-pdf</a>.
7946     For more information, see
7947     <a class="ulink" href="http://bollier.org/blog/democratic-money-and-capital-commons" target="_top">http://bollier.org/blog/democratic-money-and-capital-commons</a>.
7948   </p><p>
7949     Bollier, David, and Silke Helfrich, eds. The Wealth of the Commons:
7950     A World Beyond Market and State. Amherst, MA: Levellers Press, 2012.
7951   </p><p>
7952     Botsman, Rachel, and Roo Rogers. What’s Mine Is Yours: The Rise of
7953     Collaborative Consumption. New York: Harper Business, 2010.
7954   </p><p>
7955     Boyle, James. The Public Domain: Enclosing the Commons of the Mind.
7956     New Haven: Yale University Press, 2008.
7957   </p><p><a class="ulink" href="http://www.thepublicdomain.org/download/" target="_top">http://www.thepublicdomain.org/download/</a>
7958     (licensed under CC BY-NC-SA).
7959   </p><p>
7960     Capra, Fritjof, and Ugo Mattei. The Ecology of Law: Toward a Legal
7961     System in Tune with Nature and Community. Oakland, CA:
7962     Berrett-Koehler, 2015.
7963   </p><p>
7964     Chesbrough, Henry. Open Business Models: How to Thrive in the New
7965     Innovation Landscape. Boston: Harvard Business School Press, 2006.
7966   </p><p>
7967     ———. Open Innovation: The New Imperative for Creating and Profiting
7968     from Technology. Boston: Harvard Business Review Press, 2006.
7969   </p><p>
7970     City of Bologna. Regulation on Collaboration between Citizens and
7971     the City for the Care and Regeneration of Urban Commons. Translated
7972     by LabGov (LABoratory for the GOVernance of Commons). Bologna,
7973     Italy: City of Bologna, 2014).
7974     <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>.
7975   </p><p>
7976     Cole, Daniel H. <span class="quote">“<span class="quote">Learning from Lin: Lessons and Cautions from
7977     the Natural Commons for the Knowledge Commons.</span>”</span> Chap. 2 in
7978     Frischmann, Madison, and Strandburg, Governing Knowledge Commons.
7979   </p><p>
7980     Creative Commons. 2015 State of the Commons. Mountain View, CA:
7981     Creative Commons, 2015.
7982     <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
7983   </p><p>
7984     Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the
7985     Internet Age. San Francisco: McSweeney’s, 2014.
7986   </p><p>
7987     Eckhardt, Giana, and Fleura Bardhi. <span class="quote">“<span class="quote">The Sharing Economy Isn’t
7988     about Sharing at All.</span>”</span> Harvard Business Review, January 28,
7989     2015.
7990     <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>.
7991   </p><p>
7992     Elliott, Patricia W., and Daryl H. Hepting, eds. (2015). Free
7993     Knowledge: Confronting the Commodification of Human Discovery.
7994     Regina, SK: University of Regina Press, 2015.
7995     <a class="ulink" href="http://uofrpress.ca/publications/Free-Knowledge" target="_top">http://uofrpress.ca/publications/Free-Knowledge</a>
7996     (licensed under CC BY-NC-ND).
7997   </p><p>
7998     Eyal, Nir. Hooked: How to Build Habit-Forming Products. With Ryan
7999     Hoover. New York: Portfolio, 2014.
8000   </p><p>
8001     Farley, Joshua, and Ida Kubiszewski. <span class="quote">“<span class="quote">The Economics of
8002     Information in a Post-Carbon Economy.</span>”</span> Chap. 11 in Elliott
8003     and Hepting, Free Knowledge.
8004   </p><p>
8005     Foster, William Landes, Peter Kim, and Barbara Christiansen.
8006     <span class="quote">“<span class="quote">Ten Nonprofit Funding Models.</span>”</span> Stanford Social
8007     Innovation Review, Spring 2009.
8008     <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>.
8009   </p><p>
8010     Frischmann, Brett M. Infrastructure: The Social Value of Shared
8011     Resources. New York: Oxford University Press, 2012.
8012   </p><p>
8013     Frischmann, Brett M., Michael J. Madison, and Katherine J.
8014     Strandburg, eds. Governing Knowledge Commons. New York: Oxford
8015     University Press, 2014.
8016   </p><p>
8017     Frischmann, Brett M., Michael J. Madison, and Katherine J.
8018     Strandburg. <span class="quote">“<span class="quote">Governing Knowledge Commons.</span>”</span> Chap. 1 in
8019     Frischmann, Madison, and Strandburg, Governing Knowledge Commons.
8020   </p><p>
8021     Gansky, Lisa. The Mesh: Why the Future of Business Is Sharing.
8022     Reprint with new epilogue. New York: Portfolio, 2012.
8023   </p><p>
8024     Grant, Adam. Give and Take: Why Helping Others Drives Our Success.
8025     New York: Viking, 2013.
8026   </p><p>
8027     Haiven, Max. Crises of Imagination, Crises of Power: Capitalism,
8028     Creativity and the Commons. New York: Zed Books, 2014.
8029   </p><p>
8030     Harris, Malcom, ed. Share or Die: Voices of the Get Lost Generation
8031     in the Age of Crisis. With Neal Gorenflo. Gabriola Island, BC: New
8032     Society, 2012.
8033   </p><p>
8034     Hermida, Alfred. Tell Everyone: Why We Share and Why It Matters.
8035     Toronto: Doubleday Canada, 2014.
8036   </p><p>
8037     Hyde, Lewis. Common as Air: Revolution, Art, and Ownership. New
8038     York: Farrar, Straus and Giroux, 2010.
8039   </p><p>
8040     ———. The Gift: Creativity and the Artist in the Modern World. 2nd
8041     Vintage Books edition. New York: Vintage Books, 2007.
8042   </p><p>
8043     Kelley, Tom, and David Kelley. Creative Confidence: Unleashing the
8044     Potential within Us All. New York: Crown, 2013.
8045   </p><p>
8046     Kelly, Marjorie. Owning Our Future: The Emerging Ownership
8047     Revolution; Journeys to a Generative Economy. San Francisco:
8048     Berrett-Koehler, 2012.
8049   </p><p>
8050     Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and
8051     Get Discovered. New York: Workman, 2014.
8052   </p><p>
8053     ———. Steal Like an Artist: 10 Things Nobody Told You about Being
8054     Creative. New York: Workman, 2012.
8055   </p><p>
8056     Kramer, Bryan. Shareology: How Sharing Is Powering the Human
8057     Economy. New York: Morgan James, 2016.
8058   </p><p>
8059     Lee, David. <span class="quote">“<span class="quote">Inside Medium: An Attempt to Bring Civility to
8060     the Internet.</span>”</span> BBC News, March 3, 2016.
8061     <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>
8062   </p><p>
8063     Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the
8064     Hybrid Economy. New York: Penguin Press, 2008.
8065   </p><p>
8066     Menzies, Heather. Reclaiming the Commons for the Common Good: A
8067     Memoir and Manifesto. Gabriola Island, BC: New Society, 2014.
8068   </p><p>
8069     Mason, Paul. Postcapitalism: A Guide to Our Future. New York:
8070     Farrar, Straus and Giroux, 2015.
8071   </p><p>
8072     New York Times Customer Insight Group. The Psychology of Sharing:
8073     Why Do People Share Online? New York: New York Times Customer
8074     Insight Group, 2011.
8075     <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
8076   </p><p>
8077     Osterwalder, Alex, and Yves Pigneur. Business Model Generation.
8078     Hoboken, NJ: John Wiley and Sons, 2010. A preview of the book is
8079     available at
8080     <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
8081   </p><p>
8082     Osterwalder, Alex, Yves Pigneur, Greg Bernarda, and Adam Smith.
8083     Value Proposition Design. Hoboken, NJ: John Wiley and Sons, 2014. A
8084     preview of the book is available at
8085     <a class="ulink" href="http://strategyzer.com/books/value-proposition-design" target="_top">http://strategyzer.com/books/value-proposition-design</a>.
8086   </p><p>
8087     Palmer, Amanda. The Art of Asking: Or How I Learned to Stop Worrying
8088     and Let People Help. New York: Grand Central, 2014.
8089   </p><p>
8090     Pekel, Joris. Democratising the Rijksmuseum: Why Did the Rijksmuseum
8091     Make Available Their Highest Quality Material without Restrictions,
8092     and What Are the Results? The Hague, Netherlands: Europeana
8093     Foundation, 2014.
8094     <a class="ulink" href="http://pro.europeana.eu/publication/democratising-the-rijksmuseum" target="_top">http://pro.europeana.eu/publication/democratising-the-rijksmuseum</a>
8095     (licensed under CC BY-SA).
8096   </p><p>
8097     Ramos, José Maria, ed. The City as Commons: A Policy Reader.
8098     Melbourne, Australia: Commons Transition Coalition, 2016.
8099     <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>
8100     (licensed under CC BY-NC-ND).
8101   </p><p>
8102     Raymond, Eric S. The Cathedral and the Bazaar: Musings on Linux and
8103     Open Source by an Accidental Revolutionary. Rev. ed. Sebastopol, CA:
8104     O’Reilly Media, 2001. See esp. <span class="quote">“<span class="quote">The Magic Cauldron.</span>”</span>
8105     <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
8106   </p><p>
8107     Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use
8108     Continuous Innovation to Create Radically Successful Businesses. New
8109     York: Crown Business, 2011.
8110   </p><p>
8111     Rifkin, Jeremy. The Zero Marginal Cost Society: The Internet of
8112     Things, the Collaborative Commons, and the Eclipse of Capitalism.
8113     New York: Palgrave Macmillan, 2014.
8114   </p><p>
8115     Rowe, Jonathan. Our Common Wealth. San Francisco: Berrett-Koehler,
8116     2013.
8117   </p><p>
8118     Rushkoff, Douglas. Throwing Rocks at the Google Bus: How Growth
8119     Became the Enemy of Prosperity. New York: Portfolio, 2016.
8120   </p><p>
8121     Sandel, Michael J. What Money Can’t Buy: The Moral Limits of
8122     Markets. New York: Farrar, Straus and Giroux, 2012.
8123   </p><p>
8124     Shirky, Clay. Cognitive Surplus: How Technology Makes Consumers into
8125     Collaborators. London, England: Penguin Books, 2010.
8126   </p><p>
8127     Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New
8128     York: OR Books, 2015.
8129   </p><p>
8130     Stephany, Alex. The Business of Sharing: Making in the New Sharing
8131     Economy. New York: Palgrave Macmillan, 2015.
8132   </p><p>
8133     Stepper, John. Working Out Loud: For a Better Career and Life. New
8134     York: Ikigai Press, 2015.
8135   </p><p>
8136     Sull, Donald, and Kathleen M. Eisenhardt. Simple Rules: How to
8137     Thrive in a Complex World. Boston: Houghton Mifflin Harcourt, 2015.
8138   </p><p>
8139     Sundararajan, Arun. The Sharing Economy: The End of Employment and
8140     the Rise of Crowd-Based Capitalism. Cambridge, MA: MIT Press, 2016.
8141   </p><p>
8142     Surowiecki, James. The Wisdom of Crowds. New York: Anchor Books,
8143     2005.
8144   </p><p>
8145     Tapscott, Don, and Alex Tapscott. Blockchain Revolution: How the
8146     Technology Behind Bitcoin Is Changing Money, Business, and the
8147     World. Toronto: Portfolio, 2016.
8148   </p><p>
8149     Tharp, Twyla. The Creative Habit: Learn It and Use It for Life. With
8150     Mark Reiter. New York: Simon and Schuster, 2006.
8151   </p><p>
8152     Tkacz, Nathaniel. Wikipedia and the Politics of Openness. Chicago:
8153     University of Chicago Press, 2015.
8154   </p><p>
8155     Van Abel, Bass, Lucas Evers, Roel Klaassen, and Peter Troxler, eds.
8156     Open Design Now: Why Design Cannot Remain Exclusive. Amsterdam: BIS
8157     Publishers, with Creative Commons Netherlands; Premsela, the
8158     Netherlands Institute for Design and Fashion; and the Waag Society,
8159     2011. <a class="ulink" href="http://opendesignnow.org" target="_top">http://opendesignnow.org</a> (licensed under
8160     CC BY-NC-SA).
8161   </p><p>
8162     Van den Hoff, Ronald. Mastering the Global Transition on Our Way to
8163     Society 3.0. Utrecht, the Netherlands: Society 3.0 Foundation, 2014.
8164     <a class="ulink" href="http://society30.com/get-the-book/" target="_top">http://society30.com/get-the-book/</a> (licensed
8165     under CC BY-NC-ND).
8166   </p><p>
8167     Von Hippel, Eric. Democratizing Innovation. London: MIT Press, 2005.
8168     <a class="ulink" href="http://web.mit.edu/evhippel/www/democ1.htm" target="_top">http://web.mit.edu/evhippel/www/democ1.htm</a>
8169     (licensed under CC BY-NC-ND).
8170   </p><p>
8171     Whitehurst, Jim. The Open Organization: Igniting Passion and
8172     Performance. Boston: Harvard Business Review Press, 2015.
8173   </p>\chapter*{<title>Acknowledgments</title>}\addcontentsline{toc}{chapter}{<title>Acknowledgments</title>}<p>
8174     We extend special thanks to Creative Commons CEO Ryan Merkley, the
8175     Creative Commons Board, and all of our Creative Commons colleagues
8176     for enthusiastically supporting our work. Special gratitude to the
8177     William and Flora Hewlett Foundation for the initial seed funding
8178     that got us started on this project.
8179   </p><p>
8180     Huge appreciation to all the Made with Creative Commons interviewees
8181     for sharing their stories with us. You make the commons come alive.
8182     Thanks for the inspiration.
8183   </p><p>
8184     We interviewed more than the twenty-four organizations profiled in
8185     this book. We extend special thanks to Gooru, OERu, Sage
8186     Bionetworks, and Medium for sharing their stories with us. While not
8187     featured as case studies in this book, you all are equally
8188     interesting, and we encourage our readers to visit your sites and
8189     explore your work.
8190   </p><p>
8191     This book was made possible by the generous support of 1,687
8192     Kickstarter backers listed below. We especially acknowledge our many
8193     Kickstarter co-editors who read early drafts of our work and
8194     provided invaluable feedback. Heartfelt thanks to all of you.
8195   </p><p>
8196     Co-editor Kickstarter backers (alphabetically by first name):
8197     Abraham Taherivand, Alan Graham, Alfredo Louro, Anatoly Volynets,
8198     Aurora Thornton, Austin Tolentino, Ben Sheridan, Benedikt Foit,
8199     Benjamin Costantini, Bernd Nurnberger, Bernhard Seefeld, Bethanye
8200     Blount, Bradford Benn, Bryan Mock, Carmen Garcia Wiedenhoeft,
8201     Carolyn Hinchliff, Casey Milford, Cat Cooper, Chip McIntosh, Chris
8202     Thorne, Chris Weber, Chutika Udomsinn, Claire Wardle, Claudia
8203     Cristiani, Cody Allard, Colleen Cressman, Craig Thomler, Creative
8204     Commons Uruguay, Curt McNamara, Dan Parson, Daniel Dominguez, Daniel
8205     Morado, Darius Irvin, Dave Taillefer, David Lewis, David Mikula,
8206     David Varnes, David Wiley, Deborah Nas, Diderik van Wingerden, Dirk
8207     Kiefer, Dom Lane, Domi Enders, Douglas Van Houweling, Dylan Field,
8208     Einar Joergensen, Elad Wieder, Elie Calhoun, Erika Reid, Evtim
8209     Papushev, Fauxton Software, Felix Maximiliano Obes, Ferdies Food
8210     Lab, Gatien de Broucker, Gaurav Kapil, Gavin Romig-Koch, George
8211     Baier IV, George De Bruin, Gianpaolo Rando, Glenn Otis Brown,
8212     Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish
8213     MacEwan, Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James
8214     Cloos, Jamie Stevens, Jamil Khatib, Jane Finette, Jason Blasso,
8215     Jason E. Barkeloo, Jay M Williams, Jean-Philippe Turcotte, Jeanette
8216     Frey, Jeff De Cagna, Jérôme Mizeret, Jessica Dickinson Goodman,
8217     Jessy Kate Schingler, Jim O’Flaherty, Jim Pellegrini, Jiří Marek, Jo
8218     Allum, Joachim von Goetz, Johan Adda, John Benfield, John Bevan,
8219     Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos Belair, Justin
8220     Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie
8221     Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova,
8222     Kristoffer Steen, Kyle Simpson, Laurie Racine, Leonardo Bueno
8223     Postacchini, Leticia Britos Cavagnaro, Livia Leskovec, Louis-David
8224     Benyayer, Maik Schmalstich, Mairi Thomson, Marcia Hofmann, Maria
8225     Liberman, Marino Hernandez, Mario R. Hemsley, MD, Mark Cohen, Mark
8226     Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black, Matt Hall, Max
8227     van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
8228     Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha
8229     Batic, Mike Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal
8230     Stimler, Niall McDonagh, Niall Twohig, Nicholas Norfolk, Nick
8231     Coghlan, Nicole Hickman, Nikki Thompson, Norrie Mailer, Omar
8232     Kaminski, OpenBuilds, Papp István Péter, Pat Sticks, Patricia
8233     Brennan, Paul and Iris Brest, Paul Elosegui, Penny Pearson, Peter
8234     Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv Jhangiani,
8235     Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones, Robert
8236     Thompson, Ronald van den Hoff, Rusi Popov, Ryan Merkley, S Searle,
8237     Salomon Riedo, Samuel A. Rebelsky, Samuel Tait, Sarah McGovern,
8238     Scott Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena
8239     Oristaglio, Simon Law, Solomon Simon, Stefano Guidotti, Subhendu
8240     Ghosh, Susan Chun, Suzie Wiley, Sylvain Carle, Theresa Bernardo,
8241     Thomas Hartman, Thomas Kent, Timothée Planté, Timothy Hinchliff,
8242     Traci Long DeForge, Trevor Hogue, Tumuult, Vickie Goode, Vikas Shah,
8243     Virginia Kopelman, Wayne Mackintosh, William Peter Nash, Winie
8244     Evers, Wolfgang Renninger, Xavier Antoviaque, Yancey Strickler
8245   </p><p>
8246     All other Kickstarter backers (alphabetically by first name): A.
8247     Lee, Aaron C. Rathbun, Aaron Stubbs, Aaron Suggs, Abdul Razak Manaf,
8248     Abraham Taherivand, Adam Croom, Adam Finer, Adam Hansen, Adam
8249     Morris, Adam Procter, Adam Quirk, Adam Rory Porter, Adam Simmons,
8250     Adam Tinworth, Adam Zimmerman, Adrian Ho, Adrian Smith, Adriane
8251     Ruzak, Adriano Loconte, Al Sweigart, Alain Imbaud, Alan Graham, Alan
8252     M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert O’Connor, Alec
8253     Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex Blood, Alex
8254     C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown, Alexander
8255     Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar,
8256     Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre
8257     Rafalovitch, Alexey Volkow, Alexi Wheeler, Alexis Sevault, Alfredo
8258     Louro, Ali Sternburg, Alicia Gibb &amp; Lunchbox Electronics, Alison
8259     Link, Alison Pentecost, Alistair Boettiger, Alistair Walder, Alix
8260     Bernier, Allan Callaghan, Allen Riddell, Allison Breland Crotwell,
8261     Allison Jane Smith, Álvaro Justen, Amanda Palmer, Amanda Wetherhold,
8262     Amit Bagree, Amit Tikare, Amos Blanton, Amy Sept, Anatoly Volynets,
8263     Anders Ericsson, Andi Popp, André Bose Do Amaral, Andre Dickson,
8264     André Koot, André Ricardo, Andre van Rooyen, Andre Wallace, Andrea
8265     Bagnacani, Andrea Pepe, Andrea Pigato, Andreas Jagelund, Andres
8266     Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew Hearse,
8267     Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew
8268     Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve,
8269     Andy Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan,
8270     Anne-Marie Scott, Antero Garcia, Antoine Authier, Antoine Michard,
8271     Anton Kurkin, Anton Porsche, Antònia Folguera, António Ornelas,
8272     Antonis Triantafyllakis, aois21 publishing, April Johnson, Aria F.
8273     Chernik, Ariane Allan, Ariel Katz, Arithmomaniac, Arnaud Tessier,
8274     Arnim Sommer, Ashima Bawa, Ashley Elsdon, Athanassios Diacakis,
8275     Aurora Thornton, Aurore Chavet Henry, Austin Hartzheim, Austin
8276     Tolentino, Avner Shanan, Axel Pettersson, Axel Stieglbauer, Ay
8277     Okpokam, Barb Bartkowiak, Barbara Lindsey, Barry Dayton, Bastian
8278     Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben
8279     Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin
8280     Costantini, Benjamin Daemon, Benjamin Keele, Benjamin Pflanz,
8281     Berglind Ósk Bergsdóttir, Bernardo Miguel Antunes, Bernd Nurnberger,
8282     Bernhard Seefeld, Beth Gis, Beth Tillinghast, Bethanye Blount, Bill
8283     Bonwitt, Bill Browne, Bill Keaggy, Bill Maiden, Bill Rafferty, Bill
8284     Scanlon, Bill Shields, Bill Slankard, BJ Becker, Bjorn
8285     Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
8286     Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris
8287     Mindzak, Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden
8288     Hassett, Bradford Benn, Bradley Keyes, Bradley L’Herrou, Brady
8289     Forrest, Brandon McGaha, Branka Tokic, Brant Anderson, Brenda
8290     Sullivan, Brendan O’Brien, Brendan Schlagel, Brett Abbott, Brett
8291     Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian S. Weis,
8292     Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke
8293     Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno
8294     Girin, Bryan Mock, Bryant Durrell, Bryce Barbato, Buzz Technology
8295     Limited, Byung-Geun Jeon, C. Glen Williams, C. L. Couch, Cable
8296     Green, Callum Gare, Cameron Callahan, Cameron Colby Thomson, Cameron
8297     Mulder, Camille Bissuel / Nylnook, Candace Robertson, Carl Morris,
8298     Carl Perry, Carl Rigney, Carles Mateu, Carlos Correa Loyola, Carlos
8299     Solis, Carmen Garcia Wiedenhoeft, Carol Long, Carol marquardsen,
8300     Caroline Calomme, Caroline Mailloux, Carolyn Hinchliff, Carolyn
8301     Rude, Carrie Cousins, Carrie Watkins, Casey Hunt, Casey Milford,
8302     Casey Powell Shorthouse, Cat Cooper, Cecilie Maria, Cedric Howe,
8303     Cefn Hoile, @ShrimpingIt, Celia Muller, Ces Keller, Chad Anderson,
8304     Charles Butler, Charles Carstensen, Charles Chi Thoi Le, Charles
8305     Kobbe, Charles S. Tritt, Charles Stanhope, Charlotte Ong-Wisener,
8306     Chealsye Bowley, Chelle Destefano, Chenpang Chou, Cheryl Corte,
8307     Cheryl Todd, Chip Dickerson, Chip McIntosh, Chris Bannister, Chris
8308     Betcher, Chris Coleman, Chris Conway, Chris Foote (Spike), Chris
8309     Hurst, Chris Mitchell, Chris Muscat Azzopardi, Chris Niewiarowski,
8310     Chris Opperwall, Chris Stieha, Chris Thorne, Chris Weber, Chris
8311     Woolfrey, Chris Zabriskie, Christi Reid, Christian Holzberger,
8312     Christian Schubert, Christian Sheehy, Christian Thibault, Christian
8313     Villum, Christian Wachter, Christina Bennett, Christine Henry,
8314     Christine Rico, Christopher Burrows, Christopher Chan, Christopher
8315     Clay, Christopher Harris, Christopher Opiah, Christopher Swenson,
8316     Christos Keramitsis, Chuck Roslof, Chutika Udomsinn, Claire Wardle,
8317     Clare Forrest, Claudia Cristiani, Claudio Gallo, Claudio Ruiz,
8318     Clayton Dewey, Clement Delort, Cliff Church, Clint Lalonde, Clint
8319     O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin Campbell,
8320     Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
8321     Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa,
8322     Cory Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig
8323     Maloney, Craig Thomler, Creative Commons Uruguay, Crina Kienle,
8324     Cristiano Gozzini, Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn,
8325     D. Schulz, Dacian Herbei, Dagmar M. Meyer, Dan Mcalister, Dan Mohr,
8326     Dan Parson, Dana Freeman, Dana Ospina, Dani Leviss, Daniel
8327     Bustamante, Daniel Demmel, Daniel Dominguez, Daniel Dultz, Daniel
8328     Gallant, Daniel Kossmann, Daniel Kruse, Daniel Morado, Daniel
8329     Morgan, Daniel Pimley, Daniel Sabo, Daniel Sobey, Daniel Stein,
8330     Daniel Wildt, Daniele Prati, Danielle Moss, Danny Mendoza, Dario
8331     Taraborelli, Darius Irvin, Darius Whelan, Darla Anderson, Dasha
8332     Brezinova, Dave Ainscough, Dave Bull, Dave Crosby, Dave Eagle, Dave
8333     Moskovitz, Dave Neeteson, Dave Taillefer, Dave Witzel, David Bailey,
8334     David Cheung, David Eriksson, David Gallagher, David H. Bronke,
8335     David Hartley, David Hellam, David Hood, David Hunter, David
8336     jlaietta, David Lewis, David Mason, David Mcconville, David Mikula,
8337     David Nelson, David Orban, David Parry, David Spira, David T.
8338     Kindler, David Varnes, David Wiley, David Wormley, Deborah Nas,
8339     Denis Jean, dennis straub, Dennis Whittle, Denver Gingerich, Derek
8340     Slater, Devon Cooke, Diana Pasek-Atkinson, Diane Johnston Graves,
8341     Diane K. Kovacs, Diane Trout, Diderik van Wingerden, Diego Cuevas,
8342     Diego De La Cruz, Dimitrie Grigorescu, Dina Marie Rodriguez, Dinah
8343     Fabela, Dirk Haun, Dirk Kiefer, Dirk Loop, DJ Fusion - FuseBox Radio
8344     Broadcast, Dom jurkewitz, Dom Lane, Domi Enders, Domingo Gallardo,
8345     Dominic de Haas, Dominique Karadjian, Dongpo Deng, Donnovan Knight,
8346     Door de Flines, Doug Fitzpatrick, Doug Hoover, Douglas Craver,
8347     Douglas Van Camp, Douglas Van Houweling, Dr. Braddlee, Drew Spencer,
8348     Duncan Sample, Durand D’souza, Dylan Field, E C Humphries, Eamon
8349     Caddigan, Earleen Smith, Eden Sarid, Eden Spodek, Eduardo Belinchon,
8350     Eduardo Castro, Edwin Vandam, Einar Joergensen, Ejnar Brendsdal,
8351     Elad Wieder, Elar Haljas, Elena Valhalla, Eli Doran, Elias Bouchi,
8352     Elie Calhoun, Elizabeth Holloway, Ellen Buecher, Ellen Kaye-
8353     Cheveldayoff, Elli Verhulst, Elroy Fernandes, Emery Hurst Mikel,
8354     Emily Catedral, Enrique Mandujano R., Eric Astor, Eric Axelrod, Eric
8355     Celeste, Eric Finkenbiner, Eric Hellman, Eric Steuer, Erica
8356     Fletcher, Erik Hedman, Erik Lindholm Bundgaard, Erika Reid, Erin
8357     Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan Bousse, Erwin
8358     Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan Tangman,
8359     Evonne Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton
8360     Software, Felix Deierlein, Felix Gebauer, Felix Maximiliano Obes,
8361     Felix Schmidt, Felix Zephyr Hsiao, Ferdies Food Lab, Fernand
8362     Deschambault, Filipe Rodrigues, Filippo Toso, Fiona MacAlister,
8363     fiona.mac.uk, Floor Scheffer, Florent Darrault, Florian Hähnel,
8364     Florian Schneider, Floyd Wilde, Foxtrot Games, Francis Clarke,
8365     Francisco Rivas-Portillo, Francois Dechery, Francois Grey, François
8366     Gros, François Pelletier, Fred Benenson, Frédéric Abella, Frédéric
8367     Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
8368     Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett
8369     Heath, Gary Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil,
8370     Gauthier de Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood,
8371     Geoffrey Lehr, George Baier IV, George De Bruin, George Lawie,
8372     George Strakhov, Gerard Gorman, Geronimo de la Lama, Gianpaolo
8373     Rando, Gil Stendig, Gino Cingolani Trucco, Giovanna Sala, Glen
8374     Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives Project, Gorm
8375     Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Graham
8376     Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg
8377     Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory
8378     Flynn, Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz
8379     de Carvalho Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas,
8380     Haggen So, Håkon T Sønderland, Hamid Larbi, Hamish MacEwan, Hannes
8381     Leo, Hans Bickhofe, Hans de Raad, Hans Vd Horst, Harold van Ingen,
8382     Harold Watson, Harry Chapman, Harry Kaczka, Harry Torque, Hayden
8383     Glass, Hayley Rosenblum, Heather Leson, Helen Crisp, Helen Michaud,
8384     Helen Qubain, Helle Rekdal Schønemann, Henrique Flach Latorre
8385     Moreno, Henry Finn, Henry Kaiser, Henry Lahore, Henry Steingieser,
8386     Hermann Paar, Hillary Miller, Hironori Kuriaki, Holly Dykes, Holly
8387     Lyne, Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain
8388     Davidson, Ian Capstick, Ian Johnson, Ian Upton, Icaro Ferracini,
8389     Igor Lesko, Imran Haider, Inma de la Torre, Iris Brest, Irwin
8390     Madriaga, Isaac Sandaljian, Isaiah Tanenbaum, Ivan F. Villanueva B.,
8391     J P Cleverdon, Jaakko Tammela Jr, Jacek Darken Gołębiowski, Jack
8392     Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla, Jaime Woo, Jake
8393     Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach, James
8394     Chesky, James Cloos, James Docherty, James Ellars, James K Wood,
8395     James Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E
8396     Ellison, Jan Gondol, Jan Sepp, Jan Zuppinger, Jane Finette, jane
8397     Lofton, Jane Mason, Jane Park, Janos Kovacs, Jasmina Bricic, Jason
8398     Blasso, Jason Chu, Jason Cole, Jason E. Barkeloo, Jason Hibbets,
8399     Jason Owen, Jason Sigal, Jay M Williams, Jazzy Bear Brown, JC Lara,
8400     Jean-Baptiste Carré, Jean-Philippe Dufraigne, Jean-Philippe
8401     Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff De
8402     Cagna, Jeff Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff
8403     Rasalla, Jeff Ski Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey
8404     Meyer, Jen Garcia, Jens Erat, Jeppe Bager Skjerning, Jeremy Dudet,
8405     Jeremy Russell, Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome
8406     Glacken, Jérôme Mizeret, Jessica Dickinson Goodman, Jessica Litman,
8407     Jessica Mackay, Jessy Kate Schingler, Jesús Longás Gamarra, Jesus
8408     Marin, Jim Matt, Jim Meloy, Jim O’Flaherty, Jim Pellegrini, Jim
8409     Tittsler, Jimmy Alenius, Jiří Marek, Jo Allum, Joachim Brandon
8410     LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim Bang Larsen,
8411     Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi Sandfort,
8412     Joe Cardillo, Joe Carpita, Joe Moross, Joerg Fricke, Johan Adda,
8413     Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield,
8414     John Bevan, John C Patterson, John Crumrine, John Dimatos, John
8415     Feyler, John Huntsman, John Manoogian III, John Muller, John Ober,
8416     John Paul Blodgett, John Pearce, John Shale, John Sharp, John
8417     Simpson, John Sumser, John Weeks, John Wilbanks, John Worland,
8418     Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon Andersen, Jon Cohrs,
8419     Jon Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith, Jonas Öberg,
8420     Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan Holst,
8421     Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
8422     Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll,
8423     Joseph Sullivan, Joseph Tucker, Josh Bernhard, Josh Tong, Joshua
8424     Tobkin, JP Rangaswami, Juan Carlos Belair, Juan Irming, Juan Pablo
8425     Carbajal, Juan Pablo Marin Diaz, Judith Newman, Judy Tuan, Jukka
8426     Hellén, Julia Benson-Slaughter, Julia Devonshire, Julian Fietkau,
8427     Julie Harboe, Julien Brossoit, Julien Leroy, Juliet Chen, Julio
8428     Terra, Julius Mikkelä, Justin Christian, Justin Grimes, Justin
8429     Jones, Justin Szlasa, Justin Walsh, JustinChung.com, K. J.
8430     Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara
8431     Malenfant, Kara Monroe, Karen Pe, Karl Jahn, Karl Jonsson, Karl
8432     Nelson, Kasia Zygmuntowicz, Kat Lim, Kate Chapman, Kate Stewart,
8433     Kathleen Beck, Kathleen Hanrahan, Kathryn Abuzzahab, Kathryn Deiss,
8434     Kathryn Rose, Kathy Payne, Katie Lynn Daniels, Katie Meek, Katie
8435     Teague, Katrina Hennessy, Katriona Main, Kavan Antani, Keith Adams,
8436     Keith Berndtson, MD, Keith Luebke, Kellie Higginbottom, Ken Friis
8437     Larsen, Ken Haase, Ken Torbeck, Kendel Ratley, Kendra Byrne, Kerry
8438     Hicks, Kevin Brown, Kevin Coates, Kevin Flynn, Kevin Rumon, Kevin
8439     Shannon, Kevin Taylor, Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane
8440     l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus,
8441     Konrad Rennert, Kris Kasianovitz, Kristian Lundquist, Kristin
8442     Buxton, Kristina Popova, Kristofer Bratt, Kristoffer Steen, Kumar
8443     McMillan, Kurt Whittemore, Kyle Pinches, Kyle Simpson, L Eaton, Lalo
8444     Martins, Lane Rasberry, Larry Garfield, Larry Singer, Lars
8445     Josephsen, Lars Klaeboe, Laura Anne Brown, Laura Billings, Laura
8446     Ferejohn, Lauren Pedersen, Laurence Gonsalves, Laurent Muchacho,
8447     Laurie Racine, Laurie Reynolds, Lawrence M. Schoen, Leandro
8448     Pangilinan, Leigh Verlandson, Lenka Gondolova, Leonardo Bueno
8449     Postacchini, leonardo menegola, Lesley Mitchell, Leslie Krumholz,
8450     Leticia Britos Cavagnaro, Levi Bostian, Leyla Acaroglu, Liisa
8451     Ummelas, Lilly Kashmir Marques, Lior Mazliah, Lisa Bjerke, Lisa
8452     Brewster, Lisa Canning, Lisa Cronin, Lisa Di Valentino, Lisandro
8453     Gaertner, Livia Leskovec, Liynn Worldlaw, Liz Berg, Liz White, Logan
8454     Cox, Loki Carbis, Lora Lynn, Lorna Prescott, Lou Yufan, Louie
8455     Amphlett, Louis-David Benyayer, Louise Denman, Luca Corsato, Luca
8456     Lesinigo, Luca Palli, Luca Pianigiani, Luca S.G. de Marinis, Lucas
8457     Lopez, Lukas Mathis, Luke Chamberlin, Luke Chesser, Luke Woodbury,
8458     Lulu Tang, Lydia Pintscher, M Alexander Jurkat, Maarten Sander,
8459     Macie J Klosowski, Magnus Adamsson, Magnus Killingberg, Mahmoud
8460     Abu-Wardeh, Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi
8461     Thomson, Mandy Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich,
8462     Marc Harpster, Marc Martí, Marc Olivier Bastien, Marc Stober,
8463     Marc-André Martin, Marcel de Leeuwe, Marcel Hill, Marcia Hofmann,
8464     Marcin Olender, Marco Massarotto, Marco Montanari, Marco Morales,
8465     Marcos Medionegro, Marcus Bitzl, Marcus Norrgren, Margaret Gary,
8466     Mari Moreshead, Maria Liberman, Marielle Hsu, Marino Hernandez,
8467     Mario Lurig, Mario R. Hemsley, MD, Marissa Demers, Mark Chandler,
8468     Mark Cohen, Mark De Solla Price, Mark Gabby, Mark Gray, Mark
8469     Koudritsky, Mark Kupfer, Mark Lednor, Mark McGuire, Mark Moleda,
8470     Mark Mullen, Mark Murphy, Mark Perot, Mark Reeder, Mark Spickett,
8471     Mark Vincent Adams, Mark Waks, Mark Zuccarell II, Markus Deimann,
8472     Markus Jaritz, Markus Luethi, Marshal Miller, Marshall Warner,
8473     Martijn Arets, Martin Beaudoin, Martin Decky, Martin DeMello, Martin
8474     Humpolec, Martin Mayr, Martin Peck, Martin Sanchez, Martino Loco,
8475     Martti Remmelgas, Martyn Eggleton, Martyn Lewis, Mary Ellen Davis,
8476     Mary Heacock, Mary Hess, Mary Mi, Masahiro Takagi, Mason Du, Massimo
8477     V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
8478     Kruk, Matija Nalis, Matt Alcock, Matt Black, Matt Broach, Matt Hall,
8479     Matt Haughey, Matt Lee, Matt Plec, Matt Skoss, Matt Thompson, Matt
8480     Vance, Matt Wagstaff, Matteo Cocco, Matthew Bendert, Matthew
8481     Bergholt, Matthew Darlison, Matthew Epler, Matthew Hawken, Matthew
8482     Heimbecker, Matthew Orstad, Matthew Peterworth, Matthew Sheehy,
8483     Matthew Tucker, Adaptive Handy Apps, LLC, Mattias Axell, Max Green,
8484     Max Kossatz, Max lupo, Max Temkin, Max van Balgooy, Médéric
8485     Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan Finlayson, Melissa
8486     Aho, Melissa Sterry, Melle Funambuline, Menachem Goldstein, Micah
8487     Bridges, Michael Ailberto, Michael Anderson, Michael Andersson
8488     Skane, Michael C. Stewart, Michael Carroll, Michael Cavette, Michael
8489     Crees, Michael David Johas Teener, Michael Dennis Moore, Michael
8490     Freundt Karlsen, Michael Harries, Michael Hawel, Michael Lewis,
8491     Michael May, Michael Murphy, Michael Murvine, Michael Perkins,
8492     Michael Sauers, Michael St.Onge, Michael Stanford, Michael Stanley,
8493     Michael Underwood, Michael Weiss, Michael Wright, Michael-Andreas
8494     Kuttner, Michaela Voigt, Michal Rosenn, Michał Szymański, Michel
8495     Gallez, Michell Zappa, Michelle Heeyeon You, Miha Batic, Mik
8496     Ishmael, Mikael Andersson, Mike Chelen, Mike Habicher, Mike Maloney,
8497     Mike Masnick, Mike McDaniel, Mike Pouraryan, Mike Sheldon, Mike Stop
8498     Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
8499     Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko
8500     <span class="quote">“<span class="quote">Macro</span>”</span> Fichtner, Mitch Featherston, Mitchell Adams,
8501     Molika Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis,
8502     Moritz Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik,
8503     MD, Myk Pilgrim, Myra Harmer, Nadine Forget-Dubois, Nagle
8504     Industries, LLC, Nah Wee Yang, Natalie Brown, Natalie Freed, Nathan
8505     D Howell, Nathan Massey, Nathan Miller, Neal Gorenflo, Neal
8506     McBurnett, Neal Stimler, Neil Wilson, Nele Wollert, Neuchee Chang,
8507     Niall McDonagh, Niall Twohig, Nic McPhee, Nicholas Bentley, Nicholas
8508     Koran, Nicholas Norfolk, Nicholas Potter, Nick Bell, Nick Coghlan,
8509     Nick Isaacs, Nick M. Daly, Nick Vance, Nickolay Vedernikov, Nicky
8510     Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole Hickman, Niek
8511     Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola
8512     Chernev, Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah
8513     Kardos-Fein, Noah Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer,
8514     O.P. Gobée, Ohad Mayblum, Olivia Wilson, Olivier De Doncker, Olivier
8515     Schulbaum, Olle Ahnve, Omar Kaminski, Omar Willey, OpenBuilds, Ove
8516     Ødegård, Øystein Kjærnet, Pablo López Soriano, Pablo Vasquez,
8517     Pacific Design, Paige Mackay, Papp István Péter, Paris Marx, Parker
8518     Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat Ludwig, Pat
8519     Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf, Patrick
8520     Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, Patrick
8521     McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff,
8522     Patrik Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest,
8523     Paul Bailey, Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts,
8524     Paul Jacobson, Paul Keller, Paul Rowe, Paul Timpson, Paul Walker,
8525     Pavel Dostál, Peeter Sällström Randsalu, Peggy Frith, Pen-Yuan
8526     Hsing, Penny Pearson, Per Åström, Perry Jetter, Péter Fankhauser,
8527     Peter Hirtle, Peter Humphries, Peter Jenkins, Peter Langmar, Peter
8528     le Roux, Peter Marinari, Peter Mengelers, Peter O’Brien, Peter
8529     Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr Viktorin,
8530     Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip Pangrac,
8531     Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer, Philippe
8532     Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels,
8533     Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy
8534     Kirill, Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race
8535     DiLoreto, Rachel Mercer, Rafael Scapin, Rafaela Kunz, Rain Doggerel,
8536     Raine Lourie, Rajiv Jhangiani, Ralph Chapoteau, Randall Kirby, Randy
8537     Brians, Raphaël Alexandre, Raphaël Schröder, Rasmus Jensen, Rayn
8538     Drahps, Rayna Stamboliyska, Rebecca Godar, Rebecca Lendl, Rebecca
8539     Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich McCue, Richard
8540     <span class="quote">“<span class="quote">TalkToMeGuy</span>”</span> Olson, Richard Best, Richard Blumberg,
8541     Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly,
8542     Richard Littauer, Richard Sobey, Richard White, Richard Winchell,
8543     Rik ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder,
8544     Rob Berkley, Rob Bertholf, Rob Emanuele, Rob McAuliffe, Rob
8545     McKaughan, Rob Tillie, Rob Utter, Rob Vincent, Robert Gaffney,
8546     Robert Jones, Robert Kelly, Robert Lawlis, Robert McDonald, Robert
8547     Orzanna, Robert Paterson Hunter, Robert R. Daniel Jr., Robert
8548     Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto Selvaggio,
8549     Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon,
8550     Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao,
8551     Rolf and Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron
8552     Zuijlen, Ronald Bissell, Ronald van den Hoff, Ronda Snow, Rory
8553     Landon Aronson, Ross Findlay, Ross Pruden, Ross Williams, Rowan
8554     Skewes, Roy Ivy III, Ruben Flores, Rupert Hitzenberger, Rusi Popov,
8555     Russ Antonucci, Russ Spollin, Russell Brand, Rute Correia, Ruth Ann
8556     Carpenter, Ruth White, Ryan Mentock, Ryan Merkley, Ryan Price, Ryan
8557     Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin
8558     Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin,
8559     Samantha-Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel
8560     A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel
8561     Oliveira Cersosimo, Samuel Tait, Sandra Fauconnier, Sandra Markus,
8562     Sandy Bjar, Sandy ONeil, Sang-Phil Ju, Sanjay Basu, Santiago Garcia,
8563     Sara Armstrong, Sara Lucca, Sara Rodriguez Marin, Sarah Brand, Sarah
8564     Cove, Sarah Curran, Sarah Gold, Sarah McGovern, Sarah Smith, Sarinee
8565     Achavanuntakul, Sasha Moss, Sasha VanHoven, Saul Gasca, Scott
8566     Abbott, Scott Akerman, Scott Beattie, Scott Bruinooge, Scott Conroy,
8567     Scott Gillespie, Scott Williams, Sean Anderson, Sean Johnson, Sean
8568     Lim, Sean Wickett, Seb Schmoller, Sebastiaan Bekker, Sebastiaan ter
8569     Burg, Sebastian Makowiecki, Sebastian Meyer, Sebastian Schweizer,
8570     Sebastian Sigloch, Sebastien Huchet, Seokwon Yang, Sergey
8571     Chernyshev, Sergey Storchay, Sergio Cardoso, Seth Drebitko, Seth
8572     Gover, Seth Lepore, Shannon Turner, Sharon Clapp, Shauna Redmond,
8573     Shawn Gaston, Shawn Martin, Shay Knohl, Shelby Hatfield, Sheldon
8574     (Vila) Widuch, Sheona Thomson, Si Jie, Sicco van Sas, Siena
8575     Oristaglio, Simon Glover, Simon John King, Simon Klose, Simon Law,
8576     Simon Linder, Simon Moffitt, Solomon Kahn, Solomon Simon, Soujanna
8577     Sarkar, Stanislav Trifonov, Stefan Dumont, Stefan Jansson, Stefan
8578     Langer, Stefan Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan
8579     Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen
8580     Murphey, Stephen Pearce, Stephen Rose, Stephen Suen, Stephen Walli,
8581     Stevan Matheson, Steve Battle, Steve Fisches, Steve Fitzhugh, Steve
8582     Guen-gerich, Steve Ingram, Steve Kroy, Steve Midgley, Steve Rhine,
8583     Steven Kasprzyk, Steven Knudsen, Steven Melvin, Stig-Jørund B. Ö.
8584     Arnesen, Stuart Drewer, Stuart Maxwell, Stuart Reich, Subhendu
8585     Ghosh, Sujal Shah, Sune Bøegh, Susan Chun, Susan R Grossman, Suzie
8586     Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle, Sylvain Chery,
8587     Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz, T. L. Mason,
8588     Tanbir Baeg, Tanya Hart, Tara Tiger Brown, Tara Westover, Tarmo
8589     Toikkanen, Tasha Turner Lennhoff, Tathagat Varma, Ted Timmons, Tej
8590     Dhawan, Teresa Gonczy, Terry Hook, Theis Madsen, Theo M. Scholl,
8591     Theresa Bernardo, Thibault Badenas, Thomas Bacig, Thomas Boehnlein,
8592     Thomas Bøvith, Thomas Chang, Thomas Hartman, Thomas Kent, Thomas
8593     Morgan, Thomas Philipp-Edmonds, Thomas Thrush, Thomas Werkmeister,
8594     Tieg Zaharia, Tieu Thuy Nguyen, Tim Chambers, Tim Cook, Tim Evers,
8595     Tim Nichols, Tim Stahmer, Timothée Planté, Timothy Arfsten, Timothy
8596     Hinchliff, Timothy Vollmer, Tina Coffman, Tisza Gergő, Tobias
8597     Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom Bamford,
8598     Tom Caswell, Tom Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom
8599     Merkli, Tom Merritt, Tom Myers, Tom Olijhoek, Tom Rubin, Tommaso De
8600     Benetti, Tommy Dahlen, Tony Ciak, Tony Nwachukwu, Torsten Skomp,
8601     Tracey Depellegrin, Tracey Henton, Tracey James, Traci Long DeForge,
8602     Trent Yarwood, Trevor Hogue, Trey Blalock, Trey Hunner, Tryggvi
8603     Björgvinsson, Tumuult, Tushar Roy, Tyler Occhiogrosso, Udo
8604     Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum, Vaughan jenkins,
8605     Veethika Mishra, Vic King, Vickie Goode, Victor DePina, Victor
8606     Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture,
8607     Vikas Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet,
8608     Virginia Gentilini, Virginia Kopelman, Vitor Menezes, Vivian
8609     Marthell, Wayne Mackintosh, Wendy Keenan, Werner Wiethege, Wesley
8610     Derbyshire, Widar Hellwig, Willa Köerner, William Bettridge-Radford,
8611     William Jefferson, William Marshall, William Peter Nash, William
8612     Ray, William Robins, Willow Rosenberg, Winie Evers, Wolfgang
8613     Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier Moisant, Xueqi
8614     Li, Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian Sun,
8615     Yves Deruisseau, Zach Chandler, Zak Zebrowski, Zane Amiralis and
8616     Joshua de Haan, ZeMarmot Open Movie
8617   </p></div></body></html>