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   1 <html><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8"><title>Gjord med 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="sv" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Gjord med 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     Den här boken publiceras under en CC BY-SA-licens, vilket innebär att du kan
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   8   </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>Jag vet inte mycket om facklitteraturjournalistik. . . Sättet jag tänker på
   9 dessa saker och vad jag kan göra är. . . essäer som dessa är tillfällen att
  10 titta på några som är ganska begåvade men också rimligt genomsnittliga ägnar
  11 mycket närmare uppmärksamhet och tänker långt mer långsiktigt om alla
  12 möjliga olika saker än de flesta av oss har en chans att göra i våra dagliga
  13 liv.</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}
  14     \textit{  David Foster Wallace }
  15     \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Innehållsförteckning</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Förord</a></span></dt><dt><span class="preface"><a href="#introduction">Introduktion</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>Figurförteckning</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and market.</a></dt><dt>1.2. <a href="#fig-2">Four aspects of resource management</a></dt><dt>1.3. <a href="#fig-3">How the market, commons and state concieve of resources.</a></dt><dt>1.4. <a href="#fig-4">In preindustrialized society.</a></dt><dt>1.5. <a href="#fig-5">The commons is gradually superseded by the state.</a></dt><dt>1.6. <a href="#fig-6">How the market, the state and the commons look today.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Förord</h1></div></div></div><p>
  16     Three years ago, just after I was hired as CEO of Creative Commons, I met
  17 with Cory Doctorow in the hotel bar of Toronto’s Gladstone Hotel. As one of
  18 CC’s most well-known proponents—one who has also had a successful career as
  19 a writer who shares his work using CC—I told him I thought CC had a role in
  20 defining and advancing open business models. He kindly disagreed, and called
  21 the pursuit of viable business models through CC <span class="quote">”<span class="quote">a red
  22 herring.</span>”</span>
  23   </p><p>
  24     He was, in a way, completely correct—those who make things with Creative
  25 Commons have ulterior motives, as Paul Stacey explains in this book:
  26 <span class="quote">”<span class="quote">Regardless of legal status, they all have a social mission. Their
  27 primary reason for being is to make the world a better place, not to
  28 profit. Money is a means to a social end, not the end itself.</span>”</span>
  29   </p><p>
  30     In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites Cory’s
  31 words from his book Information Doesn’t Want to Be Free: <span class="quote">”<span class="quote">Entering the
  32 arts because you want to get rich is like buying lottery tickets because you
  33 want to get rich. It might work, but it almost certainly won’t. Though, of
  34 course, someone always wins the lottery.</span>”</span>
  35   </p><p>
  36     Today, copyright is like a lottery ticket—everyone has one, and almost
  37 nobody wins. What they don’t tell you is that if you choose to share your
  38 work, the returns can be significant and long-lasting.  This book is filled
  39 with stories of those who take much greater risks than the two dollars we
  40 pay for a lottery ticket, and instead reap the rewards that come from
  41 pursuing their passions and living their values.
  42   </p><p>
  43     So it’s not about the money. Also: it is. Finding the means to continue to
  44 create and share often requires some amount of income.  Max Temkin of Cards
  45 Against Humanity says it best in their case study: <span class="quote">”<span class="quote">We don’t make
  46 jokes and games to make money—we make money so we can make more jokes and
  47 games.</span>”</span>
  48   </p><p>
  49     Creative Commons’ focus is on building a vibrant, usable commons, powered by
  50 collaboration and gratitude. Enabling communities of collaboration is at the
  51 heart of our strategy. With that in mind, Creative Commons began this book
  52 project. Led by Paul and Sarah, the project set out to define and advance
  53 the best open business models.  Paul and Sarah were the ideal authors to
  54 write Made with Creative Commons.
  55   </p><p>
  56     Paul dreams of a future where new models of creativity and innovation
  57 overpower the inequality and scarcity that today define the worst parts of
  58 capitalism. He is driven by the power of human connections between
  59 communities of creators. He takes a longer view than most, and it’s made him
  60 a better educator, an insightful researcher, and also a skilled gardener. He
  61 has a calm, cool voice that conveys a passion that inspires his colleagues
  62 and community.
  63   </p><p>
  64     Sarah is the best kind of lawyer—a true advocate who believes in the good of
  65 people, and the power of collective acts to change the world. Over the past
  66 year I’ve seen Sarah struggle with the heartbreak that comes from investing
  67 so much into a political campaign that didn’t end as she’d hoped. Today,
  68 she’s more determined than ever to live with her values right out on her
  69 sleeve. I can always count on Sarah to push Creative Commons to focus on our
  70 impact—to make the main thing the main thing. She’s practical,
  71 detail-oriented, and clever. There’s no one on my team that I enjoy debating
  72 more.
  73   </p><p>
  74     As coauthors, Paul and Sarah complement each other perfectly. They
  75 researched, analyzed, argued, and worked as a team, sometimes together and
  76 sometimes independently. They dove into the research and writing with
  77 passion and curiosity, and a deep respect for what goes into building the
  78 commons and sharing with the world. They remained open to new ideas,
  79 including the possibility that their initial theories would need refinement
  80 or might be completely wrong.  That’s courageous, and it has made for a
  81 better book that is insightful, honest, and useful.
  82   </p><p>
  83     From the beginning, CC wanted to develop this project with the principles
  84 and values of open collaboration. The book was funded, developed,
  85 researched, and written in the open. It is being shared openly under a CC
  86 BY-SA license for anyone to use, remix, or adapt with attribution. It is, in
  87 itself, an example of an open business model.
  88   </p><p>
  89     For 31 days in August of 2015, Sarah took point to organize and execute a
  90 Kickstarter campaign to generate the core funding for the book. The
  91 remainder was provided by CC’s generous donors and supporters. In the end,
  92 it became one of the most successful book projects on Kickstarter, smashing
  93 through two stretch goals and engaging over 1,600 donors—the majority of
  94 them new supporters of Creative Commons.
  95   </p><p>
  96     Paul and Sarah worked openly throughout the project, publishing the plans,
  97 drafts, case studies, and analysis, early and often, and they engaged
  98 communities all over the world to help write this book. As their opinions
  99 diverged and their interests came into focus, they divided their voices and
 100 decided to keep them separate in the final product. Working in this way
 101 requires both humility and self-confidence, and without question it has made
 102 Made with Creative Commons a better project.
 103   </p><p>
 104     Those who work and share in the commons are not typical creators.  They are
 105 part of something greater than themselves, and what they offer us all is a
 106 profound gift. What they receive in return is gratitude and a community.
 107   </p><p>
 108     Jonathan Mann, who is profiled in this book, writes a song a day.  When I
 109 reached out to ask him to write a song for our Kickstarter (and to offer
 110 himself up as a Kickstarter benefit), he agreed immediately. Why would he
 111 agree to do that? Because the commons has collaboration at its core, and
 112 community as a key value, and because the CC licenses have helped so many to
 113 share in the ways that they choose with a global audience.
 114   </p><p>
 115     Sarah writes, <span class="quote">”<span class="quote">Endeavors that are Made with Creative Commons thrive
 116 when community is built around what they do. This may mean a community
 117 collaborating together to create something new, or it may simply be a
 118 collection of like-minded people who get to know each other and rally around
 119 common interests or beliefs. To a certain extent, simply being Made with
 120 Creative Commons automatically brings with it some element of community, by
 121 helping connect you to like-minded others who recognize and are drawn to the
 122 values symbolized by using CC.</span>”</span> Amanda Palmer, the other musician
 123 profiled in the book, would surely add this from her case study:
 124 <span class="quote">”<span class="quote">There is no more satisfying end goal than having someone tell you
 125 that what you do is genuinely of value to them.</span>”</span>
 126   </p><p>
 127     This is not a typical business book. For those looking for a recipe or a
 128 roadmap, you might be disappointed. But for those looking to pursue a social
 129 end, to build something great through collaboration, or to join a powerful
 130 and growing global community, they’re sure to be satisfied. Made with
 131 Creative Commons offers a world-changing set of clearly articulated values
 132 and principles, some essential tools for exploring your own business
 133 opportunities, and two dozen doses of pure inspiration.
 134   </p><p>
 135     In a 1996 Stanford Law Review article <span class="quote">”<span class="quote">The Zones of
 136 Cyberspace</span>”</span>, CC founder Lawrence Lessig wrote, <span class="quote">”<span class="quote">Cyberspace is a
 137 place. People live there. They experience all the sorts of things that they
 138 experience in real space, there. For some, they experience more. They
 139 experience this not as isolated individuals, playing some high tech computer
 140 game; they experience it in groups, in communities, among strangers, among
 141 people they come to know, and sometimes like.</span>”</span>
 142   </p><p>
 143     I’m incredibly proud that Creative Commons is able to publish this book for
 144 the many communities that we have come to know and like.  I’m grateful to
 145 Paul and Sarah for their creativity and insights, and to the global
 146 communities that have helped us bring it to you.  As CC board member
 147 Johnathan Nightingale often says, <span class="quote">”<span class="quote">It’s all made of people.</span>”</span>
 148   </p><p>
 149     That’s the true value of things that are Made with Creative Commons.
 150   </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}
 151     \textit{ Ryan Merkley, VD, Creative Commons}
 152     \end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="introduction"></a>Introduktion</h1></div></div></div><p>
 153     Den här boken visar världen hur delande kan vara bra för affärerna—men med
 154 en twist.
 155   </p><p>
 156     We began the project intending to explore how creators, organizations, and
 157 businesses make money to sustain what they do when they share their work
 158 using Creative Commons licenses. Our goal was not to identify a formula for
 159 business models that use Creative Commons but instead gather fresh ideas and
 160 dynamic examples that spark new, innovative models and help others follow
 161 suit by building on what already works. At the onset, we framed our
 162 investigation in familiar business terms. We created a blank <span class="quote">”<span class="quote">open
 163 business model canvas,</span>”</span> an interactive online tool that would help
 164 people design and analyze their business model.
 165   </p><p>
 166     Through the generous funding of Kickstarter backers, we set about this
 167 project first by identifying and selecting a diverse group of creators,
 168 organizations, and businesses who use Creative Commons in an integral
 169 way—what we call being Made with Creative Commons. We interviewed them and
 170 wrote up their stories. We analyzed what we heard and dug deep into the
 171 literature.
 172   </p><p>
 173     But as we did our research, something interesting happened. Our initial way
 174 of framing the work did not match the stories we were hearing.
 175   </p><p>
 176     Those we interviewed were not typical businesses selling to consumers and
 177 seeking to maximize profits and the bottom line.  Instead, they were sharing
 178 to make the world a better place, creating relationships and community
 179 around the works being shared, and generating revenue not for unlimited
 180 growth but to sustain the operation.
 181   </p><p>
 182     They often didn’t like hearing what they do described as an open business
 183 model. Their endeavor was something more than that.  Something
 184 different. Something that generates not just economic value but social and
 185 cultural value. Something that involves human connection. Being Made with
 186 Creative Commons is not <span class="quote">”<span class="quote">business as usual.</span>”</span>
 187   </p><p>
 188     We had to rethink the way we conceived of this project. And it didn’t happen
 189 overnight. From the fall of 2015 through 2016, we documented our thoughts in
 190 blog posts on Medium and with regular updates to our Kickstarter backers. We
 191 shared drafts of case studies and analysis with our Kickstarter cocreators,
 192 who provided invaluable edits, feedback, and advice. Our thinking changed
 193 dramatically over the course of a year and a half.
 194   </p><p>
 195     Throughout the process, the two of us have often had very different ways of
 196 understanding and describing what we were learning. Learning from each other
 197 has been one of the great joys of this work, and, we hope, something that
 198 has made the final product much richer than it ever could have been if
 199 either of us undertook this project alone.  We have preserved our voices
 200 throughout, and you’ll be able to sense our different but complementary
 201 approaches as you read through our different sections.
 202   </p><p>
 203     While we recommend that you read the book from start to finish, each section
 204 reads more or less independently. The book is structured into two main
 205 parts.
 206   </p><p>
 207     Part one, the overview, begins with a big-picture framework written by
 208 Paul. He provides some historical context for the digital commons,
 209 describing the three ways society has managed resources and shared
 210 wealth—the commons, the market, and the state. He advocates for thinking
 211 beyond business and market terms and eloquently makes the case for sharing
 212 and enlarging the digital commons.
 213   </p><p>
 214     The overview continues with Sarah’s chapter, as she considers what it means
 215 to be successfully Made with Creative Commons. While making money is one
 216 piece of the pie, there is also a set of public-minded values and the kind
 217 of human connections that make sharing truly meaningful. This section
 218 outlines the ways the creators, organizations, and businesses we interviewed
 219 bring in revenue, how they further the public interest and live out their
 220 values, and how they foster connections with the people with whom they
 221 share.
 222   </p><p>
 223     And to end part one, we have a short section that explains the different
 224 Creative Commons licenses. We talk about the misconception that the more
 225 restrictive licenses—the ones that are closest to the all-rights-reserved
 226 model of traditional copyright—are the only ways to make money.
 227   </p><p>
 228     Part two of the book is made up of the twenty-four stories of the creators,
 229 businesses, and organizations we interviewed. While both of us participated
 230 in the interviews, we divided up the writing of these profiles.
 231   </p><p>
 232     Of course, we are pleased to make the book available using a Creative
 233 Commons Attribution-ShareAlike license. Please copy, distribute, translate,
 234 localize, and build upon this work.
 235   </p><p>
 236     Writing this book has transformed and inspired us. The way we now look at
 237 and think about what it means to be Made with Creative Commons has
 238 irrevocably changed. We hope this book inspires you and your enterprise to
 239 use Creative Commons and in so doing contribute to the transformation of our
 240 economy and world for the better.
 241   </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}
 242     \textit{ Paul and Sarah }
 243     \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Del I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Innehållsförteckning</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>Kapitel 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Innehållsförteckning</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}
 244     \textit{ Paul Stacey}
 245     \end{flushright}</td></tr></table></div><p>
 246       Jonathan Rowe eloquently describes the commons as <span class="quote">”<span class="quote">the air and oceans,
 247 the web of species, wilderness and flowing water—all are parts of the
 248 commons. So are language and knowledge, sidewalks and public squares, the
 249 stories of childhood and the processes of democracy. Some parts of the
 250 commons are gifts of nature, others the product of human endeavor. Some are
 251 new, such as the Internet; others are as ancient as soil and
 252 calligraphy.</span>”</span><a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
 253     </p><p>
 254       In Made with Creative Commons, we focus on our current era of digital
 255 commons, a commons of human-produced works. This commons cuts across a broad
 256 range of areas including cultural heritage, education, research, technology,
 257 art, design, literature, entertainment, business, and data. Human-produced
 258 works in all these areas are increasingly digital. The Internet is a kind of
 259 global, digital commons. The individuals, organizations, and businesses we
 260 profile in our case studies use Creative Commons to share their resources
 261 online over the Internet.
 262     </p><p>
 263       The commons is not just about shared resources, however. It’s also about the
 264 social practices and values that manage them. A resource is a noun, but to
 265 common—to put the resource into the commons—is a verb.<a href="#ftn.idm115" class="footnote" name="idm115"><sup class="footnote">[2]</sup></a> The creators, organizations, and businesses we
 266 profile are all engaged with commoning. Their use of Creative Commons
 267 involves them in the social practice of commoning, managing resources in a
 268 collective manner with a community of users.<a href="#ftn.idm117" class="footnote" name="idm117"><sup class="footnote">[3]</sup></a> Commoning is guided by a set of values and norms that balance the
 269 costs and benefits of the enterprise with those of the community. Special
 270 regard is given to equitable access, use, and sustainability.
 271     </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>
 272         Historically, there have been three ways to manage resources and share
 273 wealth: the commons (managed collectively), the state (i.e., the
 274 government), and the market—with the last two being the dominant forms
 275 today.<a href="#ftn.idm122" class="footnote" name="idm122"><sup class="footnote">[4]</sup></a>
 276       </p><p>
 277         The organizations and businesses in our case studies are unique in the way
 278 they participate in the commons while still engaging with the market and/or
 279 state. The extent of engagement with market or state varies. Some operate
 280 primarily as a commons with minimal or no reliance on the market or
 281 state.<a href="#ftn.idm125" class="footnote" name="idm125"><sup class="footnote">[5]</sup></a> Others are very much a part of
 282 the market or state, depending on them for financial sustainability. All
 283 operate as hybrids, blending the norms of the commons with those of the
 284 market or state.
 285       </p><p>
 286         Fig. <a class="xref" href="#fig-1" title="Figur 1.1. Enterprise engagement with commons, state and market.">1.1</a> is a depiction of how
 287 an enterprise can have varying levels of engagement with commons, state, and
 288 market.
 289       </p><p>
 290         Some of our case studies are simply commons and market enterprises with
 291 little or no engagement with the state. A depiction of those case studies
 292 would show the state sphere as tiny or even absent. Other case studies are
 293 primarily market-based with only a small engagement with the commons. A
 294 depiction of those case studies would show the market sphere as large and
 295 the commons sphere as small. The extent to which an enterprise sees itself
 296 as being primarily of one type or another affects the balance of norms by
 297 which they operate.
 298       </p><p>
 299         All our case studies generate money as a means of livelihood and
 300 sustainability. Money is primarily of the market. Finding ways to generate
 301 revenue while holding true to the core values of the commons (usually
 302 expressed in mission statements) is challenging. To manage interaction and
 303 engagement between the commons and the market requires a deft touch, a
 304 strong sense of values, and the ability to blend the best of both.
 305       </p><p>
 306         The state has an important role to play in fostering the use and adoption of
 307 the commons. State programs and funding can deliberately contribute to and
 308 build the commons. Beyond money, laws and regulations regarding property,
 309 copyright, business, and finance can all be designed to foster the commons.
 310       </p><div class="figure"><a name="fig-1"></a><p class="title"><b>Figur 1.1. Enterprise engagement with commons, state and market.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000008000000045C30360249076453E6.png" width="100%" alt="Enterprise engagement with commons, state and market."></td></tr></table></div></div></div><br class="figure-break"><p>
 311         It’s helpful to understand how the commons, market, and state manage
 312 resources differently, and not just for those who consider themselves
 313 primarily as a commons. For businesses or governmental organizations who
 314 want to engage in and use the commons, knowing how the commons operates will
 315 help them understand how best to do so. Participating in and using the
 316 commons the same way you do the market or state is not a strategy for
 317 success.
 318       </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>
 319         As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
 320 for analyzing how natural resources are managed in a commons.<a href="#ftn.idm143" class="footnote" name="idm143"><sup class="footnote">[6]</sup></a> Her framework considered things like the
 321 biophysical characteristics of common resources, the community’s actors and
 322 the interactions that take place between them, rules-in-use, and
 323 outcomes. That framework has been simplified and generalized to apply to the
 324 commons, the market, and the state for this chapter.
 325       </p><p>
 326         To compare and contrast the ways in which the commons, market, and state
 327 work, let’s consider four aspects of resource management: resource
 328 characteristics, the people involved and the process they use, the norms and
 329 rules they develop to govern use, and finally actual resource use along with
 330 outcomes of that use (see Fig. <a class="xref" href="#fig-2" title="Figur 1.2. Four aspects of resource management">1.2</a>).
 331       </p><div class="figure"><a name="fig-2"></a><p class="title"><b>Figur 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>
 332           Resources have particular characteristics or attributes that affect the way
 333 they can be used. Some resources are natural; others are human
 334 produced. And—significantly for today’s commons—resources can be physical or
 335 digital, which affects a resource’s inherent potential.
 336         </p><p>
 337           Physical resources exist in limited supply. If I have a physical resource
 338 and give it to you, I no longer have it.  When a resource is removed and
 339 used, the supply becomes scarce or depleted. Scarcity can result in
 340 competing rivalry for the resource. Made with Creative Commons enterprises
 341 are usually digitally based but some of our case studies also produce
 342 resources in physical form. The costs of producing and distributing a
 343 physical good usually require them to engage with the market.
 344         </p><p>
 345           Physical resources are depletable, exclusive, and rivalrous.  Digital
 346 resources, on the other hand, are nondepletable, nonexclusive, and
 347 nonrivalrous. If I share a digital resource with you, we both have the
 348 resource. Giving it to you does not mean I no longer have it. Digital
 349 resources can be infinitely stored, copied, and distributed without becoming
 350 depleted, and at close to zero cost. Abundance rather than scarcity is an
 351 inherent characteristic of digital resources.
 352         </p><p>
 353           The nondepletable, nonexclusive, and nonrivalrous nature of digital
 354 resources means the rules and norms for managing them can (and ought to) be
 355 different from how physical resources are managed. However, this is not
 356 always the case. Digital resources are frequently made artificially
 357 scarce. Placing digital resources in the commons makes them free and
 358 abundant.
 359         </p><p>
 360           Our case studies frequently manage hybrid resources, which start out as
 361 digital with the possibility of being made into a physical resource. The
 362 digital file of a book can be printed on paper and made into a physical
 363 book. A computer-rendered design for furniture can be physically
 364 manufactured in wood.  This conversion from digital to physical invariably
 365 has costs.  Often the digital resources are managed in a free and open way,
 366 but money is charged to convert a digital resource into a physical one.
 367         </p><p>
 368           Beyond this idea of physical versus digital, the commons, market, and state
 369 conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Figur 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities
 370 for sale—from which value is extracted. The state sees resources as public
 371 goods that provide value to state citizens. The commons sees resources as
 372 common goods, providing a common wealth extending beyond state boundaries,
 373 to be passed on in undiminished or enhanced form to future generations.
 374         </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>
 375           In the commons, the market, and the state, different people and processes
 376 are used to manage resources. The processes used define both who has a say
 377 and how a resource is managed.
 378         </p><p>
 379           In the state, a government of elected officials is responsible for managing
 380 resources on behalf of the public. The citizens who produce and use those
 381 resources are not directly involved; instead, that responsibility is given
 382 over to the government.  State ministries and departments staffed with
 383 public servants set budgets, implement programs, and manage resources based
 384 on government priorities and procedures.
 385         </p><p>
 386           In the market, the people involved are producers, buyers, sellers, and
 387 consumers. Businesses act as intermediaries between those who produce
 388 resources and those who consume or use them. Market processes seek to
 389 extract as much monetary value from resources as possible. In the market,
 390 resources are managed as commodities, frequently mass-produced, and sold to
 391 consumers on the basis of a cash transaction.
 392         </p><p>
 393           In contrast to the state and market, resources in a commons are managed more
 394 directly by the people involved.<a href="#ftn.idm170" class="footnote" name="idm170"><sup class="footnote">[7]</sup></a>
 395 Creators of human produced resources can put them in the commons by personal
 396 choice. No permission from state or market is required. Anyone can
 397 participate in the commons and determine for themselves the extent to which
 398 they want to be involved—as a contributor, user, or manager. The people
 399 involved include not only those who create and use resources but those
 400 affected by outcome of use. Who you are affects your say, actions you can
 401 take, and extent of decision making. In the commons, the community as a
 402 whole manages the resources.  Resources put into the commons using Creative
 403 Commons require users to give the original creator credit. Knowing the
 404 person behind a resource makes the commons less anonymous and more personal.
 405         </p><div class="figure"><a name="fig-3"></a><p class="title"><b>Figur 1.3. How the market, commons and state concieve of resources.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png" width="100%" alt="How the market, commons and state concieve of resources."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="norms-and-rules"></a>Norms and rules</h3></div></div></div><p>
 406           The social interactions between people, and the processes used by the state,
 407 market, and commons, evolve social norms and rules. These norms and rules
 408 define permissions, allocate entitlements, and resolve disputes.
 409         </p><p>
 410           State authority is governed by national constitutions. Norms related to
 411 priorities and decision making are defined by elected officials and
 412 parliamentary procedures. State rules are expressed through policies,
 413 regulations, and laws. The state influences the norms and rules of the
 414 market and commons through the rules it passes.
 415         </p><p>
 416           Market norms are influenced by economics and competition for scarce
 417 resources. Market rules follow property, business, and financial laws
 418 defined by the state.
 419         </p><p>
 420           As with the market, a commons can be influenced by state policies,
 421 regulations, and laws. But the norms and rules of a commons are largely
 422 defined by the community. They weigh individual costs and benefits against
 423 the costs and benefits to the whole community. Consideration is given not
 424 just to economic efficiency but also to equity and
 425 sustainability.<a href="#ftn.idm185" class="footnote" name="idm185"><sup class="footnote">[8]</sup></a>
 426         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>Goals</h3></div></div></div><p>
 427           The combination of the aspects we’ve discussed so far—the resource’s
 428 inherent characteristics, people and processes, and norms and rules—shape
 429 how resources are used. Use is also influenced by the different goals the
 430 state, market, and commons have.
 431         </p><p>
 432           In the market, the focus is on maximizing the utility of a resource. What we
 433 pay for the goods we consume is seen as an objective measure of the utility
 434 they provide. The goal then becomes maximizing total monetary value in the
 435 economy.<a href="#ftn.idm191" class="footnote" name="idm191"><sup class="footnote">[9]</sup></a> Units consumed translates to
 436 sales, revenue, profit, and growth, and these are all ways to measure goals
 437 of the market.
 438         </p><p>
 439           The state aims to use and manage resources in a way that balances the
 440 economy with the social and cultural needs of its citizens. Health care,
 441 education, jobs, the environment, transportation, security, heritage, and
 442 justice are all facets of a healthy society, and the state applies its
 443 resources toward these aims. State goals are reflected in quality of life
 444 measures.
 445         </p><p>
 446           In the commons, the goal is maximizing access, equity, distribution,
 447 participation, innovation, and sustainability.  You can measure success by
 448 looking at how many people access and use a resource; how users are
 449 distributed across gender, income, and location; if a community to extend
 450 and enhance the resources is being formed; and if the resources are being
 451 used in innovative ways for personal and social good.
 452         </p><p>
 453           As hybrid combinations of the commons with the market or state, the success
 454 and sustainability of all our case study enterprises depends on their
 455 ability to strategically utilize and balance these different aspects of
 456 managing resources.
 457         </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>
 458         Using the commons to manage resources is part of a long historical
 459 continuum. However, in contemporary society, the market and the state
 460 dominate the discourse on how resources are best managed. Rarely is the
 461 commons even considered as an option. The commons has largely disappeared
 462 from consciousness and consideration. There are no news reports or speeches
 463 about the commons.
 464       </p><p>
 465         But the more than 1.1 billion resources licensed with Creative Commons
 466 around the world are indications of a grassroots move toward the
 467 commons. The commons is making a resurgence. To understand the resilience of
 468 the commons and its current renewal, it’s helpful to know something of its
 469 history.
 470       </p><p>
 471         For centuries, indigenous people and preindustrialized societies managed
 472 resources, including water, food, firewood, irrigation, fish, wild game, and
 473 many other things collectively as a commons.<a href="#ftn.idm202" class="footnote" name="idm202"><sup class="footnote">[10]</sup></a> There was no market, no global economy. The state in the form of
 474 rulers influenced the commons but by no means controlled it. Direct social
 475 participation in a commons was the primary way in which resources were
 476 managed and needs met. (Fig. <a class="xref" href="#fig-4" title="Figur 1.4. In preindustrialized society.">1.4</a>
 477 illustrates the commons in relation to the state and the market.)
 478       </p><div class="figure"><a name="fig-4"></a><p class="title"><b>Figur 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>
 479         This is followed by a long history of the state (a monarchy or ruler) taking
 480 over the commons for their own purposes. This is called enclosure of the
 481 commons.<a href="#ftn.idm213" class="footnote" name="idm213"><sup class="footnote">[11]</sup></a> In olden days,
 482 <span class="quote">”<span class="quote">commoners</span>”</span> were evicted from the land, fences and hedges
 483 erected, laws passed, and security set up to forbid access.<a href="#ftn.idm216" class="footnote" name="idm216"><sup class="footnote">[12]</sup></a> Gradually, resources became the property of the
 484 state and the state became the primary means by which resources were
 485 managed. (See Fig. <a class="xref" href="#fig-5" title="Figur 1.5. The commons is gradually superseded by the state.">1.5</a>).
 486       </p><p>
 487         Holdings of land, water, and game were distributed to ruling family and
 488 political appointees. Commoners displaced from the land migrated to
 489 cities. With the emergence of the industrial revolution, land and resources
 490 became commodities sold to businesses to support production. Monarchies
 491 evolved into elected parliaments. Commoners became labourers earning money
 492 operating the machinery of industry. Financial, business, and property laws
 493 were revised by governments to support markets, growth, and
 494 productivity. Over time ready access to market produced goods resulted in a
 495 rising standard of living, improved health, and education. Fig. <a class="xref" href="#fig-6" title="Figur 1.6. How the market, the state and the commons look today.">1.6</a> shows how today the market is the
 496 primary means by which resources are managed.
 497       </p><div class="figure"><a name="fig-5"></a><p class="title"><b>Figur 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>
 498         However, the world today is going through turbulent times. The benefits of
 499 the market have been offset by unequal distribution and overexploitation.
 500       </p><p>
 501         Overexploitation was the topic of Garrett Hardin’s influential essay
 502 <span class="quote">”<span class="quote">The Tragedy of the Commons,</span>”</span> published in Science in
 503 1968. Hardin argues that everyone in a commons seeks to maximize personal
 504 gain and will continue to do so even when the limits of the commons are
 505 reached. The commons is then tragically depleted to the point where it can
 506 no longer support anyone. Hardin’s essay became widely accepted as an
 507 economic truism and a justification for private property and free markets.
 508       </p><p>
 509         However, there is one serious flaw with Hardin’s <span class="quote">”<span class="quote">The Tragedy of the
 510 Commons</span>”</span>—it’s fiction. Hardin did not actually study how real commons
 511 work. Elinor Ostrom won the 2009 Nobel Prize in economics for her work
 512 studying different commons all around the world. Ostrom’s work shows that
 513 natural resource commons can be successfully managed by local communities
 514 without any regulation by central authorities or without privatization.
 515 Government and privatization are not the only two choices. There is a third
 516 way: management by the people, where those that are directly impacted are
 517 directly involved. With natural resources, there is a regional locality. The
 518 people in the region are the most familiar with the natural resource, have
 519 the most direct relationship and history with it, and are therefore best
 520 situated to manage it. Ostrom’s approach to the governance of natural
 521 resources broke with convention; she recognized the importance of the
 522 commons as an alternative to the market or state for solving problems of
 523 collective action.<a href="#ftn.idm233" class="footnote" name="idm233"><sup class="footnote">[13]</sup></a>
 524       </p><p>
 525         Hardin failed to consider the actual social dynamic of the commons. His
 526 model assumed that people in the commons act autonomously, out of pure
 527 self-interest, without interaction or consideration of others. But as Ostrom
 528 found, in reality, managing common resources together forms a community and
 529 encourages discourse. This naturally generates norms and rules that help
 530 people work collectively and ensure a sustainable commons. Paradoxically,
 531 while Hardin’s essay is called The Tragedy of the Commons it might more
 532 accurately be titled The Tragedy of the Market.
 533       </p><p>
 534         Hardin’s story is based on the premise of depletable resources.  Economists
 535 have focused almost exclusively on scarcity-based markets. Very little is
 536 known about how abundance works.<a href="#ftn.idm238" class="footnote" name="idm238"><sup class="footnote">[14]</sup></a> The
 537 emergence of information technology and the Internet has led to an explosion
 538 in digital resources and new means of sharing and distribution. Digital
 539 resources can never be depleted. An absence of a theory or model for how
 540 abundance works, however, has led the market to make digital resources
 541 artificially scarce and makes it possible for the usual market norms and
 542 rules to be applied.
 543       </p><p>
 544         When it comes to use of state funds to create digital goods, however, there
 545 is really no justification for artificial scarcity. The norm for state
 546 funded digital works should be that they are freely and openly available to
 547 the public that paid for them.
 548       </p><div class="figure"><a name="fig-6"></a><p class="title"><b>Figur 1.6. How the market, the state and the commons look today.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C400000515F1CAA15B223F6BAF.png" width="100%" alt="How the market, the state and the commons look today."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-digital-revolution"></a>The Digital Revolution</h2></div></div></div><p>
 549         In the early days of computing, programmers and developers learned from each
 550 other by sharing software. In the 1980s, the free-software movement codified
 551 this practice of sharing into a set of principles and freedoms:
 552       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
 553             The freedom to run a software program as you wish, for any purpose.
 554           </p></li><li class="listitem"><p>
 555             The freedom to study how a software program works (because access to the
 556 source code has been freely given), and change it so it does your computing
 557 as you wish.
 558           </p></li><li class="listitem"><p>
 559             The freedom to redistribute copies.
 560           </p></li><li class="listitem"><p>
 561             The freedom to distribute copies of your modified versions to
 562 others.<a href="#ftn.idm261" class="footnote" name="idm261"><sup class="footnote">[15]</sup></a>
 563           </p></li></ul></div><p>
 564         These principles and freedoms constitute a set of norms and rules that
 565 typify a digital commons.
 566       </p><p>
 567         In the late 1990s, to make the sharing of source code and collaboration more
 568 appealing to companies, the open-source-software initiative converted these
 569 principles into licenses and standards for managing access to and
 570 distribution of software. The benefits of open source—such as reliability,
 571 scalability, and quality verified by independent peer review—became widely
 572 recognized and accepted. Customers liked the way open source gave them
 573 control without being locked into a closed, proprietary technology. Free and
 574 open-source software also generated a network effect where the value of a
 575 product or service increases with the number of people using it.<a href="#ftn.idm267" class="footnote" name="idm267"><sup class="footnote">[16]</sup></a> The dramatic growth of the Internet itself owes
 576 much to the fact that nobody has a proprietary lock on core Internet
 577 protocols.
 578       </p><p>
 579         While open-source software functions as a commons, many businesses and
 580 markets did build up around it. Business models based on the licenses and
 581 standards of open-source software evolved alongside organizations that
 582 managed software code on principles of abundance rather than scarcity. Eric
 583 Raymond’s essay <span class="quote">”<span class="quote">The Magic Cauldron</span>”</span> does a great job of
 584 analyzing the economics and business models associated with open-source
 585 software.<a href="#ftn.idm272" class="footnote" name="idm272"><sup class="footnote">[17]</sup></a> These models can provide
 586 examples of sustainable approaches for those Made with Creative Commons.
 587       </p><p>
 588         It isn’t just about an abundant availability of digital assets but also
 589 about abundance of participation. The growth of personal computing,
 590 information technology, and the Internet made it possible for mass
 591 participation in producing creative works and distributing them. Photos,
 592 books, music, and many other forms of digital content could now be readily
 593 created and distributed by almost anyone. Despite this potential for
 594 abundance, by default these digital works are governed by copyright
 595 laws. Under copyright, a digital work is the property of the creator, and by
 596 law others are excluded from accessing and using it without the creator’s
 597 permission.
 598       </p><p>
 599         But people like to share. One of the ways we define ourselves is by sharing
 600 valuable and entertaining content. Doing so grows and nourishes
 601 relationships, seeks to change opinions, encourages action, and informs
 602 others about who we are and what we care about. Sharing lets us feel more
 603 involved with the world.<a href="#ftn.idm278" class="footnote" name="idm278"><sup class="footnote">[18]</sup></a>
 604       </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>
 605         In 2001, Creative Commons was created as a nonprofit to support all those
 606 who wanted to share digital content. A suite of Creative Commons licenses
 607 was modeled on those of open-source software but for use with digital
 608 content rather than software code. The licenses give everyone from
 609 individual creators to large companies and institutions a simple,
 610 standardized way to grant copyright permissions to their creative work.
 611       </p><p>
 612         Creative Commons licenses have a three-layer design. The norms and rules of
 613 each license are first expressed in full legal language as used by
 614 lawyers. This layer is called the legal code. But since most creators and
 615 users are not lawyers, the licenses also have a commons deed, expressing the
 616 permissions in plain language, which regular people can read and quickly
 617 understand. It acts as a user-friendly interface to the legal-code layer
 618 beneath. The third layer is the machine-readable one, making it easy for the
 619 Web to know a work is Creative Commons–licensed by expressing permissions in
 620 a way that software systems, search engines, and other kinds of technology
 621 can understand.<a href="#ftn.idm285" class="footnote" name="idm285"><sup class="footnote">[19]</sup></a> Taken together, these
 622 three layers ensure creators, users, and even the Web itself understand the
 623 norms and rules associated with digital content in a commons.
 624       </p><p>
 625         In 2015, there were over one billion Creative Commons licensed works in a
 626 global commons. These works were viewed online 136 billion times. People are
 627 using Creative Commons licenses all around the world, in thirty-four
 628 languages. These resources include photos, artwork, research articles in
 629 journals, educational resources, music and other audio tracks, and videos.
 630       </p><p>
 631         Individual artists, photographers, musicians, and filmmakers use Creative
 632 Commons, but so do museums, governments, creative industries, manufacturers,
 633 and publishers. Millions of websites use CC licenses, including major
 634 platforms like Wikipedia and Flickr and smaller ones like blogs.<a href="#ftn.idm291" class="footnote" name="idm291"><sup class="footnote">[20]</sup></a> Users of Creative Commons are diverse and cut
 635 across many different sectors. (Our case studies were chosen to reflect that
 636 diversity.)
 637       </p><p>
 638         Some see Creative Commons as a way to share a gift with others, a way of
 639 getting known, or a way to provide social benefit.  Others are simply
 640 committed to the norms associated with a commons. And for some,
 641 participation has been spurred by the free-culture movement, a social
 642 movement that promotes the freedom to distribute and modify creative
 643 works. The free-culture movement sees a commons as providing significant
 644 benefits compared to restrictive copyright laws. This ethos of free exchange
 645 in a commons aligns the free-culture movement with the free and open-source
 646 software movement.
 647       </p><p>
 648         Over time, Creative Commons has spawned a range of open movements, including
 649 open educational resources, open access, open science, and open data. The
 650 goal in every case has been to democratize participation and share digital
 651 resources at no cost, with legal permissions for anyone to freely access,
 652 use, and modify.
 653       </p><p>
 654         The state is increasingly involved in supporting open movements.  The Open
 655 Government Partnership was launched in 2011 to provide an international
 656 platform for governments to become more open, accountable, and responsive to
 657 citizens. Since then, it has grown from eight participating countries to
 658 seventy.<a href="#ftn.idm297" class="footnote" name="idm297"><sup class="footnote">[21]</sup></a> In all these countries,
 659 government and civil society are working together to develop and implement
 660 ambitious open-government reforms. Governments are increasingly adopting
 661 Creative Commons to ensure works funded with taxpayer dollars are open and
 662 free to the public that paid for them.
 663       </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>
 664         Today’s market is largely driven by global capitalism. Law and financial
 665 systems are structured to support extraction, privatization, and corporate
 666 growth. A perception that the market is more efficient than the state has
 667 led to continual privatization of many public natural resources, utilities,
 668 services, and infrastructures.<a href="#ftn.idm304" class="footnote" name="idm304"><sup class="footnote">[22]</sup></a> While
 669 this system has been highly efficient at generating consumerism and the
 670 growth of gross domestic product, the impact on human well-being has been
 671 mixed. Offsetting rising living standards and improvements to health and
 672 education are ever-increasing wealth inequality, social inequality, poverty,
 673 deterioration of our natural environment, and breakdowns of
 674 democracy.<a href="#ftn.idm306" class="footnote" name="idm306"><sup class="footnote">[23]</sup></a>
 675       </p><p>
 676         In light of these challenges there is a growing recognition that GDP growth
 677 should not be an end in itself, that development needs to be socially and
 678 economically inclusive, that environmental sustainability is a requirement
 679 not an option, and that we need to better balance the market, state and
 680 community.<a href="#ftn.idm309" class="footnote" name="idm309"><sup class="footnote">[24]</sup></a>
 681       </p><p>
 682         These realizations have led to a resurgence of interest in the commons as a
 683 means of enabling that balance. City governments like Bologna, Italy, are
 684 collaborating with their citizens to put in place regulations for the care
 685 and regeneration of urban commons.<a href="#ftn.idm314" class="footnote" name="idm314"><sup class="footnote">[25]</sup></a>
 686 Seoul and Amsterdam call themselves <span class="quote">”<span class="quote">sharing cities,</span>”</span> looking
 687 to make sustainable and more efficient use of scarce resources. They see
 688 sharing as a way to improve the use of public spaces, mobility, social
 689 cohesion, and safety.<a href="#ftn.idm318" class="footnote" name="idm318"><sup class="footnote">[26]</sup></a>
 690       </p><p>
 691         The market itself has taken an interest in the sharing economy, with
 692 businesses like Airbnb providing a peer-to-peer marketplace for short-term
 693 lodging and Uber providing a platform for ride sharing. However, Airbnb and
 694 Uber are still largely operating under the usual norms and rules of the
 695 market, making them less like a commons and more like a traditional business
 696 seeking financial gain. Much of the sharing economy is not about the commons
 697 or building an alternative to a corporate-driven market economy; it’s about
 698 extending the deregulated free market into new areas of our
 699 lives.<a href="#ftn.idm323" class="footnote" name="idm323"><sup class="footnote">[27]</sup></a> While none of the people we
 700 interviewed for our case studies would describe themselves as part of the
 701 sharing economy, there are in fact some significant parallels. Both the
 702 sharing economy and the commons make better use of asset capacity. The
 703 sharing economy sees personal residents and cars as having latent spare
 704 capacity with rental value. The equitable access of the commons broadens and
 705 diversifies the number of people who can use and derive value from an asset.
 706       </p><p>
 707         One way Made with Creative Commons case studies differ from those of the
 708 sharing economy is their focus on digital resources. Digital resources
 709 function under different economic rules than physical ones. In a world where
 710 prices always seem to go up, information technology is an
 711 anomaly. Computer-processing power, storage, and bandwidth are all rapidly
 712 increasing, but rather than costs going up, costs are coming down. Digital
 713 technologies are getting faster, better, and cheaper. The cost of anything
 714 built on these technologies will always go down until it is close to
 715 zero.<a href="#ftn.idm326" class="footnote" name="idm326"><sup class="footnote">[28]</sup></a>
 716       </p><p>
 717         Those that are Made with Creative Commons are looking to leverage the unique
 718 inherent characteristics of digital resources, including lowering costs. The
 719 use of digital-rights-management technologies in the form of locks,
 720 passwords, and controls to prevent digital goods from being accessed,
 721 changed, replicated, and distributed is minimal or nonexistent. Instead,
 722 Creative Commons licenses are used to put digital content out in the
 723 commons, taking advantage of the unique economics associated with being
 724 digital. The aim is to see digital resources used as widely and by as many
 725 people as possible. Maximizing access and participation is a common goal.
 726 They aim for abundance over scarcity.
 727       </p><p>
 728         The incremental cost of storing, copying, and distributing digital goods is
 729 next to zero, making abundance possible. But imagining a market based on
 730 abundance rather than scarcity is so alien to the way we conceive of
 731 economic theory and practice that we struggle to do so.<a href="#ftn.idm330" class="footnote" name="idm330"><sup class="footnote">[29]</sup></a> Those that are Made with Creative Commons are each
 732 pioneering in this new landscape, devising their own economic models and
 733 practice.
 734       </p><p>
 735         Some are looking to minimize their interactions with the market and operate
 736 as autonomously as possible. Others are operating largely as a business
 737 within the existing rules and norms of the market. And still others are
 738 looking to change the norms and rules by which the market operates.
 739       </p><p>
 740         For an ordinary corporation, making social benefit a part of its operations
 741 is difficult, as it’s legally required to make decisions that financially
 742 benefit stockholders. But new forms of business are emerging. There are
 743 benefit corporations and social enterprises, which broaden their business
 744 goals from making a profit to making a positive impact on society, workers,
 745 the community, and the environment.<a href="#ftn.idm334" class="footnote" name="idm334"><sup class="footnote">[30]</sup></a>
 746 Community-owned businesses, worker-owned businesses, cooperatives, guilds,
 747 and other organizational forms offer alternatives to the traditional
 748 corporation. Collectively, these alternative market entities are changing
 749 the rules and norms of the market.<a href="#ftn.idm336" class="footnote" name="idm336"><sup class="footnote">[31]</sup></a>
 750       </p><p><span class="quote">”<span class="quote">A book on open business models</span>”</span> is how we described it in this
 751 book’s Kickstarter campaign. We used a handbook called Business Model
 752 Generation as our reference for defining just what a business model
 753 is. Developed over nine years using an <span class="quote">”<span class="quote">open process</span>”</span> involving
 754 470 coauthors from forty-five countries, it is useful as a framework for
 755 talking about business models.<a href="#ftn.idm341" class="footnote" name="idm341"><sup class="footnote">[32]</sup></a>
 756       </p><p>
 757         It contains a <span class="quote">”<span class="quote">business model canvas,</span>”</span> which conceives of a
 758 business model as having nine building blocks.<a href="#ftn.idm346" class="footnote" name="idm346"><sup class="footnote">[33]</sup></a> This blank canvas can serve as a tool for anyone to design their
 759 own business model. We remixed this business model canvas into an open
 760 business model canvas, adding three more building blocks relevant to hybrid
 761 market, commons enterprises: social good, Creative Commons license, and
 762 <span class="quote">”<span class="quote">type of open environment that the business fits
 763 in.</span>”</span><a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
 764 useful when we analyzed businesses and helped start-ups plan their economic
 765 model.
 766       </p><p>
 767         In our case study interviews, many expressed discomfort over describing
 768 themselves as an open business model—the term business model suggested
 769 primarily being situated in the market.  Where you sit on the
 770 commons-to-market spectrum affects the extent to which you see yourself as a
 771 business in the market.  The more central to the mission shared resources
 772 and commons values are, the less comfort there is in describing yourself, or
 773 depicting what you do, as a business. Not all who have endeavors Made with
 774 Creative Commons use business speak; for some the process has been
 775 experimental, emergent, and organic rather than carefully planned using a
 776 predefined model.
 777       </p><p>
 778         The creators, businesses, and organizations we profile all engage with the
 779 market to generate revenue in some way. The ways in which this is done vary
 780 widely. Donations, pay what you can, memberships, <span class="quote">”<span class="quote">digital for free
 781 but physical for a fee,</span>”</span> crowdfunding, matchmaking, value-add
 782 services, patrons . . . the list goes on and on. (Initial description of how
 783 to earn revenue available through reference note. For latest thinking see
 784 How to Bring In Money in the next section.)<a href="#ftn.idm358" class="footnote" name="idm358"><sup class="footnote">[35]</sup></a> There is no single magic bullet, and each endeavor has devised ways
 785 that work for them. Most make use of more than one way. Diversifying revenue
 786 streams lowers risk and provides multiple paths to sustainability.
 787       </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>
 788         While it may be clear why commons-based organizations want to interact and
 789 engage with the market (they need money to survive), it may be less obvious
 790 why the market would engage with the commons. The digital commons offers
 791 many benefits.
 792       </p><p>
 793         The commons speeds dissemination. The free flow of resources in the commons
 794 offers tremendous economies of scale. Distribution is decentralized, with
 795 all those in the commons empowered to share the resources they have access
 796 to. Those that are Made with Creative Commons have a reduced need for sales
 797 or marketing. Decentralized distribution amplifies supply and know-how.
 798       </p><p>
 799         The commons ensures access to all. The market has traditionally operated by
 800 putting resources behind a paywall requiring payment first before
 801 access. The commons puts resources in the open, providing access up front
 802 without payment. Those that are Made with Creative Commons make little or no
 803 use of digital rights management (DRM) to manage resources. Not using DRM
 804 frees them of the costs of acquiring DRM technology and staff resources to
 805 engage in the punitive practices associated with restricting access. The way
 806 the commons provides access to everyone levels the playing field and
 807 promotes inclusiveness, equity, and fairness.
 808       </p><p>
 809         The commons maximizes participation. Resources in the commons can be used
 810 and contributed to by everyone. Using the resources of others, contributing
 811 your own, and mixing yours with others to create new works are all dynamic
 812 forms of participation made possible by the commons. Being Made with
 813 Creative Commons means you’re engaging as many users with your resources as
 814 possible.  Users are also authoring, editing, remixing, curating,
 815 localizing, translating, and distributing. The commons makes it possible for
 816 people to directly participate in culture, knowledge building, and even
 817 democracy, and many other socially beneficial practices.
 818       </p><p>
 819         The commons spurs innovation. Resources in the hands of more people who can
 820 use them leads to new ideas. The way commons resources can be modified,
 821 customized, and improved results in derivative works never imagined by the
 822 original creator. Some endeavors that are Made with Creative Commons
 823 deliberately encourage users to take the resources being shared and innovate
 824 them. Doing so moves research and development (R&amp;D) from being solely
 825 inside the organization to being in the community.<a href="#ftn.idm369" class="footnote" name="idm369"><sup class="footnote">[36]</sup></a> Community-based innovation will keep an
 826 organization or business on its toes. It must continue to contribute new
 827 ideas, absorb and build on top of the innovations of others, and steward the
 828 resources and the relationship with the community.
 829       </p><p>
 830         The commons boosts reach and impact. The digital commons is
 831 global. Resources may be created for a local or regional need, but they go
 832 far and wide generating a global impact. In the digital world, there are no
 833 borders between countries. When you are Made with Creative Commons, you are
 834 often local and global at the same time: Digital designs being globally
 835 distributed but made and manufactured locally. Digital books or music being
 836 globally distributed but readings and concerts performed locally. The
 837 digital commons magnifies impact by connecting creators to those who use and
 838 build on their work both locally and globally.
 839       </p><p>
 840         The commons is generative. Instead of extracting value, the commons adds
 841 value. Digitized resources persist without becoming depleted, and through
 842 use are improved, personalized, and localized. Each use adds value. The
 843 market focuses on generating value for the business and the customer. The
 844 commons generates value for a broader range of beneficiaries including the
 845 business, the customer, the creator, the public, and the commons itself. The
 846 generative nature of the commons means that it is more cost-effective and
 847 produces a greater return on investment.  Value is not just measured in
 848 financial terms. Each new resource added to the commons provides value to
 849 the public and contributes to the overall value of the commons.
 850       </p><p>
 851         The commons brings people together for a common cause. The commons vests
 852 people directly with the responsibility to manage the resources for the
 853 common good. The costs and benefits for the individual are balanced with the
 854 costs and benefits for the community and for future generations. Resources
 855 are not anonymous or mass produced. Their provenance is known and
 856 acknowledged through attribution and other means. Those that are Made with
 857 Creative Commons generate awareness and reputation based on their
 858 contributions to the commons. The reach, impact, and sustainability of those
 859 contributions rest largely on their ability to forge relationships and
 860 connections with those who use and improve them. By functioning on the basis
 861 of social engagement, not monetary exchange, the commons unifies people.
 862       </p><p>
 863         The benefits of the commons are many. When these benefits align with the
 864 goals of individuals, communities, businesses in the market, or state
 865 enterprises, choosing to manage resources as a commons ought to be the
 866 option of choice.
 867       </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>
 868         The creators, organizations, and businesses in our case studies operate as
 869 nonprofits, for-profits, and social enterprises.  Regardless of legal
 870 status, they all have a social mission.  Their primary reason for being is
 871 to make the world a better place, not to profit. Money is a means to a
 872 social end, not the end itself. They factor public interest into decisions,
 873 behavior, and practices. Transparency and trust are really important. Impact
 874 and success are measured against social aims expressed in mission
 875 statements, and are not just about the financial bottom line.
 876       </p><p>
 877         The case studies are based on the narratives told to us by founders and key
 878 staff. Instead of solely using financials as the measure of success and
 879 sustainability, they emphasized their mission, practices, and means by which
 880 they measure success.  Metrics of success are a blend of how social goals
 881 are being met and how sustainable the enterprise is.
 882       </p><p>
 883         Our case studies are diverse, ranging from publishing to education and
 884 manufacturing. All of the organizations, businesses, and creators in the
 885 case studies produce digital resources. Those resources exist in many forms
 886 including books, designs, songs, research, data, cultural works, education
 887 materials, graphic icons, and video. Some are digital representations of
 888 physical resources. Others are born digital but can be made into physical
 889 resources.
 890       </p><p>
 891         They are creating new resources, or using the resources of others, or mixing
 892 existing resources together to make something new. They, and their audience,
 893 all play a direct, participatory role in managing those resources, including
 894 their preservation, curation, distribution, and enhancement. Access and
 895 participation is open to all regardless of monetary means.
 896       </p><p>
 897         And as users of Creative Commons licenses, they are automatically part of a
 898 global community. The new digital commons is global. Those we profiled come
 899 from nearly every continent in the world. To build and interact within this
 900 global community is conducive to success.
 901       </p><p>
 902         Creative Commons licenses may express legal rules around the use of
 903 resources in a commons, but success in the commons requires more than
 904 following the letter of the law and acquiring financial means. Over and over
 905 we heard in our interviews how success and sustainability are tied to a set
 906 of beliefs, values, and principles that underlie their actions: Give more
 907 than you take. Be open and inclusive. Add value. Make visible what you are
 908 using from the commons, what you are adding, and what you are
 909 monetizing. Maximize abundance. Give attribution. Express gratitude. Develop
 910 trust; don’t exploit. Build relationship and community. Be
 911 transparent. Defend the commons.
 912       </p><p>
 913         The new digital commons is here to stay. Made With Creative Commons case
 914 studies show how it’s possible to be part of this commons while still
 915 functioning within market and state systems.  The commons generates benefits
 916 neither the market nor state can achieve on their own. Rather than the
 917 market or state dominating as primary means of resource management, a more
 918 balanced alternative is possible.
 919       </p><p>
 920         Enterprise use of Creative Commons has only just begun. The case studies in
 921 this book are merely starting points. Each is changing and evolving over
 922 time. Many more are joining and inventing new models. This overview aims to
 923 provide a framework and language for thinking and talking about the new
 924 digital commons. The remaining sections go deeper providing further guidance
 925 and insights on how it works.
 926       </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>
 927           Jonathan Rowe, Our Common Wealth (San Francisco: Berrett-Koehler, 2013), 14.
 928         </p></div><div id="ftn.idm115" class="footnote"><p><a href="#idm115" class="para"><sup class="para">[2] </sup></a>
 929           David Bollier, Think Like a Commoner: A Short Introduction to the Life of
 930 the Commons (Gabriola Island, BC: New Society, 2014), 176.
 931         </p></div><div id="ftn.idm117" class="footnote"><p><a href="#idm117" class="para"><sup class="para">[3] </sup></a>
 932           Ibid., 15.
 933         </p></div><div id="ftn.idm122" class="footnote"><p><a href="#idm122" class="para"><sup class="para">[4] </sup></a>
 934             Ibid., 145.
 935           </p></div><div id="ftn.idm125" class="footnote"><p><a href="#idm125" class="para"><sup class="para">[5] </sup></a>
 936             Ibid., 175.
 937           </p></div><div id="ftn.idm143" class="footnote"><p><a href="#idm143" class="para"><sup class="para">[6] </sup></a>
 938             Daniel H. Cole, <span class="quote">”<span class="quote">Learning from Lin: Lessons and Cautions from the
 939 Natural Commons for the Knowledge Commons,</span>”</span> in Governing Knowledge
 940 Commons, eds. Brett M. Frischmann, Michael J. Madison, and Katherine J.
 941 Strandburg (New York: Oxford University Press, 2014), 53.
 942           </p></div><div id="ftn.idm170" class="footnote"><p><a href="#idm170" class="para"><sup class="para">[7] </sup></a>
 943               Max Haiven, Crises of Imagination, Crises of Power: Capitalism, Creativity
 944 and the Commons (New York: Zed Books, 2014), 93.
 945             </p></div><div id="ftn.idm185" class="footnote"><p><a href="#idm185" class="para"><sup class="para">[8] </sup></a>
 946               Bollier, Think Like a Commoner, 175.
 947             </p></div><div id="ftn.idm191" class="footnote"><p><a href="#idm191" class="para"><sup class="para">[9] </sup></a>
 948               Joshua Farley and Ida Kubiszewski, <span class="quote">”<span class="quote">The Economics of Information in a
 949 Post-Carbon Economy,</span>”</span> in Free Knowledge: Confronting the
 950 Commodification of Human Discovery, eds. Patricia W. Elliott and Daryl
 951 H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4.
 952             </p></div><div id="ftn.idm202" class="footnote"><p><a href="#idm202" class="para"><sup class="para">[10] </sup></a>
 953             Rowe, Our Common Wealth, 19; and Heather Menzies, Reclaiming the Commons for
 954 the Common Good: A Memoir and Manifesto (Gabriola Island, BC: New Society,
 955 2014), 42–43.
 956           </p></div><div id="ftn.idm213" class="footnote"><p><a href="#idm213" class="para"><sup class="para">[11] </sup></a>
 957             Bollier, Think Like a Commoner, 55–78.
 958           </p></div><div id="ftn.idm216" class="footnote"><p><a href="#idm216" class="para"><sup class="para">[12] </sup></a>
 959             Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a Legal System in
 960 Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
 961 and Bollier, Think Like a Commoner, 88.
 962           </p></div><div id="ftn.idm233" class="footnote"><p><a href="#idm233" class="para"><sup class="para">[13] </sup></a>
 963             Brett M. Frischmann, Michael J. Madison, and Katherine J.  Strandburg,
 964 <span class="quote">”<span class="quote">Governing Knowledge Commons,</span>”</span> in Frischmann, Madison, and
 965 Strandburg Governing Knowledge Commons, 12.
 966           </p></div><div id="ftn.idm238" class="footnote"><p><a href="#idm238" class="para"><sup class="para">[14] </sup></a>
 967             Farley and Kubiszewski, <span class="quote">”<span class="quote">Economics of Information,</span>”</span> in Elliott
 968 and Hepting, Free Knowledge, 203.
 969           </p></div><div id="ftn.idm261" class="footnote"><p><a href="#idm261" class="para"><sup class="para">[15] </sup></a><span class="quote">”<span class="quote">What Is Free Software?</span>”</span> GNU Operating System, the Free
 970 Software Foundation’s Licensing and Compliance Lab, accessed December 30,
 971 2016, <a class="ulink" href="http://www.gnu.org/philosophy/free-sw" target="_top">http://www.gnu.org/philosophy/free-sw</a>.
 972               </p></div><div id="ftn.idm267" class="footnote"><p><a href="#idm267" class="para"><sup class="para">[16] </sup></a>
 973             Wikipedia, s.v. <span class="quote">”<span class="quote">Open-source software,</span>”</span> last modified November
 974 22, 2016.
 975           </p></div><div id="ftn.idm272" class="footnote"><p><a href="#idm272" class="para"><sup class="para">[17] </sup></a>
 976             Eric S. Raymond, <span class="quote">”<span class="quote">The Magic Cauldron,</span>”</span> in The Cathedral and the
 977 Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary,
 978 rev. ed. (Sebastopol, CA: O’Reilly Media, 2001), <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
 979           </p></div><div id="ftn.idm278" class="footnote"><p><a href="#idm278" class="para"><sup class="para">[18] </sup></a>
 980             New York Times Customer Insight Group, The Psychology of Sharing: Why Do
 981 People Share Online? (New York: New York Times Customer Insight Group,
 982 2011), <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
 983           </p></div><div id="ftn.idm285" class="footnote"><p><a href="#idm285" class="para"><sup class="para">[19] </sup></a><span class="quote">”<span class="quote">Licensing Considerations,</span>”</span> Creative Commons, accessed December
 984 30, 2016, <a class="ulink" href="http://creativecommons.org/share-your-work/licensing-considerations/" target="_top">http://creativecommons.org/share-your-work/licensing-considerations/</a>.
 985           </p></div><div id="ftn.idm291" class="footnote"><p><a href="#idm291" class="para"><sup class="para">[20] </sup></a>
 986             Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative
 987 Commons, 2015), <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
 988           </p></div><div id="ftn.idm297" class="footnote"><p><a href="#idm297" class="para"><sup class="para">[21] </sup></a>
 989             Wikipedia, s.v. <span class="quote">”<span class="quote">Open Government Partnership,</span>”</span> last modified
 990 September 24, 2016, <a class="ulink" href="http://en.wikipedia.org/wiki/Open_Government_Partnership" target="_top">http://en.wikipedia.org/wiki/Open_Government_Partnership</a>.
 991           </p></div><div id="ftn.idm304" class="footnote"><p><a href="#idm304" class="para"><sup class="para">[22] </sup></a>
 992             Capra and Mattei, Ecology of Law, 114.
 993           </p></div><div id="ftn.idm306" class="footnote"><p><a href="#idm306" class="para"><sup class="para">[23] </sup></a>
 994             Ibid., 116.
 995           </p></div><div id="ftn.idm309" class="footnote"><p><a href="#idm309" class="para"><sup class="para">[24] </sup></a>
 996             The Swedish International Development Cooperation Agency, <span class="quote">”<span class="quote">Stockholm
 997 Statement</span>”</span> accessed February 15, 2017, <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
 998           </p></div><div id="ftn.idm314" class="footnote"><p><a href="#idm314" class="para"><sup class="para">[25] </sup></a>
 999             City of Bologna, Regulation on Collaboration between Citizens and the City
1000 for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory
1001 for the GOVernance of Commons) (Bologna, Italy: City of Bologna, 2014),
1002 <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>.
1003           </p></div><div id="ftn.idm318" class="footnote"><p><a href="#idm318" class="para"><sup class="para">[26] </sup></a>
1004             The Seoul Sharing City website is <a class="ulink" href="http://english.sharehub.kr" target="_top">http://english.sharehub.kr</a>;
1005 for Amsterdam Sharing City, go to <a class="ulink" href="http://www.sharenl.nl/amsterdam-sharing-city/" target="_top">http://www.sharenl.nl/amsterdam-sharing-city/</a>.
1006           </p></div><div id="ftn.idm323" class="footnote"><p><a href="#idm323" class="para"><sup class="para">[27] </sup></a>
1007             Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
1008 Books, 2015), 42.
1009           </p></div><div id="ftn.idm326" class="footnote"><p><a href="#idm326" class="para"><sup class="para">[28] </sup></a>
1010             Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
1011 Something for Nothing, Reprint with new preface.  (New York: Hyperion,
1012 2010), 78.
1013           </p></div><div id="ftn.idm330" class="footnote"><p><a href="#idm330" class="para"><sup class="para">[29] </sup></a>
1014             Jeremy Rifkin, The Zero Marginal Cost Society: The Internet of Things, the
1015 Collaborative Commons, and the Eclipse of Capitalism (New York: Palgrave
1016 Macmillan, 2014), 273.
1017           </p></div><div id="ftn.idm334" class="footnote"><p><a href="#idm334" class="para"><sup class="para">[30] </sup></a>
1018             Gar Alperovitz, What Then Must We Do? Straight Talk about the Next American
1019 Revolution: Democratizing Wealth and Building a Community-Sustaining Economy
1020 from the Ground Up (White River Junction, VT: Chelsea Green, 2013), 39.
1021           </p></div><div id="ftn.idm336" class="footnote"><p><a href="#idm336" class="para"><sup class="para">[31] </sup></a>
1022             Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution;
1023 Journeys to a Generative Economy (San Francisco: Berrett-Koehler, 2012),
1024 8–9.
1025           </p></div><div id="ftn.idm341" class="footnote"><p><a href="#idm341" class="para"><sup class="para">[32] </sup></a>
1026             Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
1027 John Wiley and Sons, 2010). A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
1028           </p></div><div id="ftn.idm346" class="footnote"><p><a href="#idm346" class="para"><sup class="para">[33] </sup></a>
1029             This business model canvas is available to download at <a class="ulink" href="http://strategyzer.com/canvas/business-model-canvas" target="_top">http://strategyzer.com/canvas/business-model-canvas</a>.
1030           </p></div><div id="ftn.idm350" class="footnote"><p><a href="#idm350" class="para"><sup class="para">[34] </sup></a>
1031             We’ve made the <span class="quote">”<span class="quote">Open Business Model Canvas,</span>”</span> designed by the
1032 coauthor Paul Stacey, available online at <a class="ulink" href="http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit" target="_top">http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit</a>.
1033 You can also find the accompanying Open Business Model Canvas Questions at
1034 <a class="ulink" href="http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit" target="_top">http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit</a>.
1035           </p></div><div id="ftn.idm358" class="footnote"><p><a href="#idm358" class="para"><sup class="para">[35] </sup></a>
1036             A more comprehensive list of revenue streams is available in this post I
1037 wrote on Medium on March 6, 2016. <span class="quote">”<span class="quote">What Is an Open Business Model and
1038 How Can You Generate Revenue?</span>”</span>, available at <a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
1039           </p></div><div id="ftn.idm369" class="footnote"><p><a href="#idm369" class="para"><sup class="para">[36] </sup></a>
1040             Henry Chesbrough, Open Innovation: The New Imperative for Creating and
1041 Profiting from Technology (Boston: Harvard Business Review Press, 2006),
1042 31–44.
1043           </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>Kapitel 2. How to Be Made with Creative Commons</h2></div></div></div><div class="toc"><p><b>Innehållsförteckning</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}
1044     \textit{ Sarah Hinchliff Pearson}
1045     \end{flushright}</td></tr></table></div><p>
1046       When we began this project in August 2015, we set out to write a book about
1047 business models that involve Creative Commons licenses in some significant
1048 way—what we call being Made with Creative Commons. With the help of our
1049 Kickstarter backers, we chose twenty-four endeavors from all around the
1050 world that are Made with Creative Commons. The mix is diverse, from an
1051 individual musician to a university-textbook publisher to an electronics
1052 manufacturer.  Some make their own content and share under Creative Commons
1053 licensing. Others are platforms for CC-licensed creative work made by
1054 others. Many sit somewhere in between, both using and contributing creative
1055 work that’s shared with the public. Like all who use the licenses, these
1056 endeavors share their work—whether it’s open data or furniture designs—in a
1057 way that enables the public not only to access it but also to make use of
1058 it.
1059     </p><p>
1060       We analyzed the revenue models, customer segments, and value propositions of
1061 each endeavor. We searched for ways that putting their content under
1062 Creative Commons licenses helped boost sales or increase reach. Using
1063 traditional measures of economic success, we tried to map these business
1064 models in a way that meaningfully incorporated the impact of Creative
1065 Commons. In our interviews, we dug into the motivations, the role of CC
1066 licenses, modes of revenue generation, definitions of success.
1067     </p><p>
1068       In fairly short order, we realized the book we set out to write was quite
1069 different from the one that was revealing itself in our interviews and
1070 research.
1071     </p><p>
1072       It isn’t that we were wrong to think you can make money while using Creative
1073 Commons licenses. In many instances, CC can help make you more money. Nor
1074 were we wrong that there are business models out there that others who want
1075 to use CC licensing as part of their livelihood or business could
1076 replicate. What we didn’t realize was just how misguided it would be to
1077 write a book about being Made with Creative Commons using only a business
1078 lens.
1079     </p><p>
1080       According to the seminal handbook Business Model Generation, a business
1081 model <span class="quote">”<span class="quote">describes the rationale of how an organization creates,
1082 delivers, and captures value.</span>”</span><a href="#ftn.idm396" class="footnote" name="idm396"><sup class="footnote">[37]</sup></a>
1083 Thinking about sharing in terms of creating and capturing value always felt
1084 inappropriately transactional and out of place, something we heard time and
1085 time again in our interviews. And as Cory Doctorow told us in our interview
1086 with him, <span class="quote">”<span class="quote">Business model can mean anything you want it to
1087 mean.</span>”</span>
1088     </p><p>
1089       Eventually, we got it. Being Made with Creative Commons is more than a
1090 business model. While we will talk about specific revenue models as one
1091 piece of our analysis (and in more detail in the case studies), we scrapped
1092 that as our guiding rubric for the book.
1093     </p><p>
1094       Admittedly, it took me a long time to get there. When Paul and I divided up
1095 our writing after finishing the research, my charge was to distill
1096 everything we learned from the case studies and write up the practical
1097 lessons and takeaways. I spent months trying to jam what we learned into the
1098 business-model box, convinced there must be some formula for the way things
1099 interacted. But there is no formula. You’ll probably have to discard that
1100 way of thinking before you read any further.
1101     </p><p>
1102       In every interview, we started from the same simple questions.  Amid all the
1103 diversity among the creators, organizations, and businesses we profiled,
1104 there was one constant. Being Made with Creative Commons may be good for
1105 business, but that is not why they do it. Sharing work with Creative Commons
1106 is, at its core, a moral decision. The commercial and other self-interested
1107 benefits are secondary. Most decided to use CC licenses first and found a
1108 revenue model later. This was our first hint that writing a book solely
1109 about the impact of sharing on business might be a little off track.
1110     </p><p>
1111       But we also started to realize something about what it means to be Made with
1112 Creative Commons. When people talked to us about how and why they used CC,
1113 it was clear that it meant something more than using a copyright license. It
1114 also represented a set of values.  There is symbolism behind using CC, and
1115 that symbolism has many layers.
1116     </p><p>
1117       At one level, being Made with Creative Commons expresses an affinity for the
1118 value of Creative Commons. While there are many different flavors of CC
1119 licenses and nearly infinite ways to be Made with Creative Commons, the
1120 basic value system is rooted in a fundamental belief that knowledge and
1121 creativity are building blocks of our culture rather than just commodities
1122 from which to extract market value. These values reflect a belief that the
1123 common good should always be part of the equation when we determine how to
1124 regulate our cultural outputs. They reflect a belief that everyone has
1125 something to contribute, and that no one can own our shared culture. They
1126 reflect a belief in the promise of sharing.
1127     </p><p>
1128       Whether the public makes use of the opportunity to copy and adapt your work,
1129 sharing with a Creative Commons license is a symbol of how you want to
1130 interact with the people who consume your work.  Whenever you create
1131 something, <span class="quote">”<span class="quote">all rights reserved</span>”</span> under copyright is automatic,
1132 so the copyright symbol (©) on the work does not necessarily come across as
1133 a marker of distrust or excessive protectionism. But using a CC license can
1134 be a symbol of the opposite—of wanting a real human relationship, rather
1135 than an impersonal market transaction. It leaves open the possibility of
1136 connection.
1137     </p><p>
1138       Being Made with Creative Commons not only demonstrates values connected to
1139 CC and sharing. It also demonstrates that something other than profit drives
1140 what you do. In our interviews, we always asked what success looked like for
1141 them. It was stunning how rarely money was mentioned. Most have a deeper
1142 purpose and a different vision of success.
1143     </p><p>
1144       The driving motivation varies depending on the type of endeavor.  For
1145 individual creators, it is most often about personal inspiration. In some
1146 ways, this is nothing new. As Doctorow has written, <span class="quote">”<span class="quote">Creators usually
1147 start doing what they do for love.</span>”</span><a href="#ftn.idm410" class="footnote" name="idm410"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
1148 dynamic is even more pronounced. Similarly, for technological innovators, it
1149 is often less about creating a specific new thing that will make you rich
1150 and more about solving a specific problem you have. The creators of Arduino
1151 told us that the key question when creating something is <span class="quote">”<span class="quote">Do you as
1152 the creator want to use it? It has to have personal use and meaning.</span>”</span>
1153     </p><p>
1154       Many that are Made with Creative Commons have an express social mission that
1155 underpins everything they do. In many cases, sharing with Creative Commons
1156 expressly advances that social mission, and using the licenses can be the
1157 difference between legitimacy and hypocrisy. Noun Project co-founder Edward
1158 Boatman told us they could not have stated their social mission of sharing
1159 with a straight face if they weren’t willing to show the world that it was
1160 OK to share their content using a Creative Commons license.
1161     </p><p>
1162       This dynamic is probably one reason why there are so many nonprofit examples
1163 of being Made with Creative Commons. The content is the result of a labor of
1164 love or a tool to drive social change, and money is like gas in the car,
1165 something that you need to keep going but not an end in itself. Being Made
1166 with Creative Commons is a different vision of a business or livelihood,
1167 where profit is not paramount, and producing social good and human
1168 connection are integral to success.
1169     </p><p>
1170       Even if profit isn’t the end goal, you have to bring in money to be
1171 successfully Made with Creative Commons. At a bare minimum, you have to make
1172 enough money to keep the lights on.
1173     </p><p>
1174       The costs of doing business vary widely for those made with CC, but there is
1175 generally a much lower threshold for sustainability than there used to be
1176 for any creative endeavor. Digital technology has made it easier than ever
1177 to create, and easier than ever to distribute. As Doctorow put it in his
1178 book Information Doesn’t Want to Be Free, <span class="quote">”<span class="quote">If analog dollars have
1179 turned into digital dimes (as the critics of ad-supported media have it),
1180 there is the fact that it’s possible to run a business that gets the same
1181 amount of advertising as its forebears at a fraction of the price.</span>”</span>
1182     </p><p>
1183       Some creation costs are the same as they always were. It takes the same
1184 amount of time and money to write a peer-reviewed journal article or paint a
1185 painting. Technology can’t change that. But other costs are dramatically
1186 reduced by technology, particularly in production-heavy domains like
1187 filmmaking.<a href="#ftn.idm419" class="footnote" name="idm419"><sup class="footnote">[39]</sup></a> CC-licensed content and
1188 content in the public domain, as well as the work of volunteer
1189 collaborators, can also dramatically reduce costs if they’re being used as
1190 resources to create something new. And, of course, there is the reality that
1191 some content would be created whether or not the creator is paid because it
1192 is a labor of love.
1193     </p><p>
1194       Distributing content is almost universally cheaper than ever. Once content
1195 is created, the costs to distribute copies digitally are essentially
1196 zero.<a href="#ftn.idm422" class="footnote" name="idm422"><sup class="footnote">[40]</sup></a> The costs to distribute physical
1197 copies are still significant, but lower than they have been
1198 historically. And it is now much easier to print and distribute physical
1199 copies on-demand, which also reduces costs. Depending on the endeavor, there
1200 can be a whole host of other possible expenses like marketing and promotion,
1201 and even expenses associated with the various ways money is being made, like
1202 touring or custom training.
1203     </p><p>
1204       It’s important to recognize that the biggest impact of technology on
1205 creative endeavors is that creators can now foot the costs of creation and
1206 distribution themselves. People now often have a direct route to their
1207 potential public without necessarily needing intermediaries like record
1208 labels and book publishers. Doctorow wrote, <span class="quote">”<span class="quote">If you’re a creator who
1209 never got the time of day from one of the great imperial powers, this is
1210 your time. Where once you had no means of reaching an audience without the
1211 assistance of the industry-dominating megacompanies, now you have hundreds
1212 of ways to do it without them.</span>”</span><a href="#ftn.idm426" class="footnote" name="idm426"><sup class="footnote">[41]</sup></a>
1213 Previously, distribution of creative work involved the costs associated with
1214 sustaining a monolithic entity, now creators can do the work
1215 themselves. That means the financial needs of creative endeavors can be a
1216 lot more modest.
1217     </p><p>
1218       Whether for an individual creator or a larger endeavor, it usually isn’t
1219 enough to break even if you want to make what you’re doing a livelihood. You
1220 need to build in some support for the general operation. This extra bit
1221 looks different for everyone, but importantly, in nearly all cases for those
1222 Made with Creative Commons, the definition of <span class="quote">”<span class="quote">enough money</span>”</span>
1223 looks a lot different than it does in the world of venture capital and stock
1224 options. It is more about sustainability and less about unlimited growth and
1225 profit. SparkFun founder Nathan Seidle told us, <span class="quote">”<span class="quote">Business model is a
1226 really grandiose word for it. It is really just about keeping the operation
1227 going day to day.</span>”</span>
1228     </p><p>
1229       This book is a testament to the notion that it is possible to make money
1230 while using CC licenses and CC-licensed content, but we are still very much
1231 at an experimental stage. The creators, organizations, and businesses we
1232 profile in this book are blazing the trail and adapting in real time as they
1233 pursue this new way of operating.
1234     </p><p>
1235       There are, however, plenty of ways in which CC licensing can be good for
1236 business in fairly predictable ways. The first is how it helps solve
1237 <span class="quote">”<span class="quote">problem zero.</span>”</span>
1238     </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>
1239         Once you create or collect your content, the next step is finding users,
1240 customers, fans—in other words, your people. As Amanda Palmer wrote,
1241 <span class="quote">”<span class="quote">It has to start with the art. The songs had to touch people
1242 initially, and mean something, for anything to work at
1243 all.</span>”</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[42]</sup></a> There isn’t any magic to
1244 finding your people, and there is certainly no formula. Your work has to
1245 connect with people and offer them some artistic and/or utilitarian
1246 value. In some ways, this is easier than ever. Online we are not limited by
1247 shelf space, so there is room for every obscure interest, taste, and need
1248 imaginable. This is what Chris Anderson dubbed the Long Tail, where
1249 consumption becomes less about mainstream mass <span class="quote">”<span class="quote">hits</span>”</span> and more
1250 about micromarkets for every particular niche. As Anderson wrote, <span class="quote">”<span class="quote">We
1251 are all different, with different wants and needs, and the Internet now has
1252 a place for all of them in the way that physical markets did
1253 not.</span>”</span><a href="#ftn.idm442" class="footnote" name="idm442"><sup class="footnote">[43]</sup></a> We are no longer limited
1254 to what appeals to the masses.
1255       </p><p>
1256         While finding <span class="quote">”<span class="quote">your people</span>”</span> online is theoretically easier than
1257 in the analog world, as a practical matter it can still be difficult to
1258 actually get noticed. The Internet is a firehose of content, one that only
1259 grows larger by the minute.  As a content creator, not only are you
1260 competing for attention against more content creators than ever before, you
1261 are competing against creativity generated outside the market as
1262 well.<a href="#ftn.idm446" class="footnote" name="idm446"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">”<span class="quote">The
1263 greatest change of the past decade has been the shift in time people spend
1264 consuming amateur content instead of professional
1265 content.</span>”</span><a href="#ftn.idm449" class="footnote" name="idm449"><sup class="footnote">[45]</sup></a> To top it all off, you
1266 have to compete against the rest of their lives, too—<span class="quote">”<span class="quote">friends, family,
1267 music playlists, soccer games, and nights on the town.</span>”</span><a href="#ftn.idm452" class="footnote" name="idm452"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
1268 right people.
1269       </p><p>
1270         When you come to the Internet armed with an all-rights-reserved mentality
1271 from the start, you are often restricting access to your work before there
1272 is even any demand for it. In many cases, requiring payment for your work is
1273 part of the traditional copyright system. Even a tiny cost has a big effect
1274 on demand.  It’s called the penny gap—the large difference in demand between
1275 something that is available at the price of one cent versus the price of
1276 zero.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
1277 charge money for your content. It simply means you need to recognize the
1278 effect that doing so will have on demand. The same principle applies to
1279 restricting access to copy the work. If your problem is how to get
1280 discovered and find <span class="quote">”<span class="quote">your people,</span>”</span> prohibiting people from
1281 copying your work and sharing it with others is counterproductive.
1282       </p><p>
1283         Of course, it’s not that being discovered by people who like your work will
1284 make you rich—far from it. But as Cory Doctorow says, <span class="quote">”<span class="quote">Recognition is
1285 one of many necessary preconditions for artistic
1286 success.</span>”</span><a href="#ftn.idm460" class="footnote" name="idm460"><sup class="footnote">[48]</sup></a>
1287       </p><p>
1288         Choosing not to spend time and energy restricting access to your work and
1289 policing infringement also builds goodwill. Lumen Learning, a for-profit
1290 company that publishes online educational materials, made an early decision
1291 not to prevent students from accessing their content, even in the form of a
1292 tiny paywall, because it would negatively impact student success in a way
1293 that would undermine the social mission behind what they do. They believe
1294 this decision has generated an immense amount of goodwill within the
1295 community.
1296       </p><p>
1297         It is not just that restricting access to your work may undermine your
1298 social mission. It also may alienate the people who most value your creative
1299 work. If people like your work, their natural instinct will be to share it
1300 with others. But as David Bollier wrote, <span class="quote">”<span class="quote">Our natural human impulses
1301 to imitate and share—the essence of culture—have been
1302 criminalized.</span>”</span><a href="#ftn.idm465" class="footnote" name="idm465"><sup class="footnote">[49]</sup></a>
1303       </p><p>
1304         The fact that copying can carry criminal penalties undoubtedly deters
1305 copying it, but copying with the click of a button is too easy and
1306 convenient to ever fully stop it. Try as the copyright industry might to
1307 persuade us otherwise, copying a copyrighted work just doesn’t feel like
1308 stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
1309 creative work has no impact on anyone else’s ability to make use of it.
1310       </p><p>
1311         If you take some amount of copying and sharing your work as a given, you can
1312 invest your time and resources elsewhere, rather than wasting them on
1313 playing a cat and mouse game with people who want to copy and share your
1314 work. Lizzy Jongma from the Rijksmuseum said, <span class="quote">”<span class="quote">We could spend a lot of
1315 money trying to protect works, but people are going to do it anyway. And
1316 they will use bad-quality versions.</span>”</span> Instead, they started releasing
1317 high-resolution digital copies of their collection into the public domain
1318 and making them available for free on their website. For them, sharing was a
1319 form of quality control over the copies that were inevitably being shared
1320 online. Doing this meant forgoing the revenue they previously got from
1321 selling digital images. But Lizzy says that was a small price to pay for all
1322 of the opportunities that sharing unlocked for them.
1323       </p><p>
1324         Being Made with Creative Commons means you stop thinking about ways to
1325 artificially make your content scarce, and instead leverage it as the
1326 potentially abundant resource it is.<a href="#ftn.idm471" class="footnote" name="idm471"><sup class="footnote">[50]</sup></a>
1327 When you see information abundance as a feature, not a bug, you start
1328 thinking about the ways to use the idling capacity of your content to your
1329 advantage. As my friend and colleague Eric Steuer once said, <span class="quote">”<span class="quote">Using CC
1330 licenses shows you get the Internet.</span>”</span>
1331       </p><p>
1332         Cory Doctorow says it costs him nothing when other people make copies of his
1333 work, and it opens the possibility that he might get something in
1334 return.<a href="#ftn.idm475" class="footnote" name="idm475"><sup class="footnote">[51]</sup></a> Similarly, the makers of the
1335 Arduino boards knew it was impossible to stop people from copying their
1336 hardware, so they decided not to even try and instead look for the benefits
1337 of being open. For them, the result is one of the most ubiquitous pieces of
1338 hardware in the world, with a thriving online community of tinkerers and
1339 innovators that have done things with their work they never could have done
1340 otherwise.
1341       </p><p>
1342         There are all kinds of way to leverage the power of sharing and remix to
1343 your benefit. Here are a few.
1344       </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>
1345           Putting a Creative Commons license on your content won’t make it
1346 automatically go viral, but eliminating legal barriers to copying the work
1347 certainly can’t hurt the chances that your work will be shared. The CC
1348 license symbolizes that sharing is welcome. It can act as a little tap on
1349 the shoulder to those who come across the work—a nudge to copy the work if
1350 they have any inkling of doing so. All things being equal, if one piece of
1351 content has a sign that says Share and the other says Don’t Share (which is
1352 what <span class="quote">”<span class="quote">©</span>”</span> means), which do you think people are more likely to
1353 share?
1354         </p><p>
1355           The Conversation is an online news site with in-depth articles written by
1356 academics who are experts on particular topics. All of the articles are
1357 CC-licensed, and they are copied and reshared on other sites by design. This
1358 proliferating effect, which they track, is a central part of the value to
1359 their academic authors who want to reach as many readers as possible.
1360         </p><p>
1361           The idea that more eyeballs equates with more success is a form of the max
1362 strategy, adopted by Google and other technology companies. According to
1363 Google’s Eric Schmidt, the idea is simple: <span class="quote">”<span class="quote">Take whatever it is you
1364 are doing and do it at the max in terms of distribution. The other way of
1365 saying this is that since marginal cost of distribution is free, you might
1366 as well put things everywhere.</span>”</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[52]</sup></a>
1367 This strategy is what often motivates companies to make their products and
1368 services free (i.e., no cost), but the same logic applies to making content
1369 freely shareable. Because CC-licensed content is free (as in cost) and can
1370 be freely copied, CC licensing makes it even more accessible and likely to
1371 spread.
1372         </p><p>
1373           If you are successful in reaching more users, readers, listeners, or other
1374 consumers of your work, you can start to benefit from the bandwagon
1375 effect. The simple fact that there are other people consuming or following
1376 your work spurs others to want to do the same.<a href="#ftn.idm488" class="footnote" name="idm488"><sup class="footnote">[53]</sup></a> This is, in part, because we simply have a tendency to engage in
1377 herd behavior, but it is also because a large following is at least a
1378 partial indicator of quality or usefulness.<a href="#ftn.idm490" class="footnote" name="idm490"><sup class="footnote">[54]</sup></a>
1379         </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>
1380           Every Creative Commons license requires that credit be given to the author,
1381 and that reusers supply a link back to the original source of the
1382 material. CC0, not a license but a tool used to put work in the public
1383 domain, does not make attribution a legal requirement, but many communities
1384 still give credit as a matter of best practices and social norms. In fact,
1385 it is social norms, rather than the threat of legal enforcement, that most
1386 often motivate people to provide attribution and otherwise comply with the
1387 CC license terms anyway. This is the mark of any well-functioning community,
1388 within both the marketplace and the society at large.<a href="#ftn.idm495" class="footnote" name="idm495"><sup class="footnote">[55]</sup></a> CC licenses reflect a set of wishes on the part of
1389 creators, and in the vast majority of circumstances, people are naturally
1390 inclined to follow those wishes. This is particularly the case for something
1391 as straightforward and consistent with basic notions of fairness as
1392 providing credit.
1393         </p><p>
1394           The fact that the name of the creator follows a CC-licensed work makes the
1395 licenses an important means to develop a reputation or, in corporate speak,
1396 a brand. The drive to associate your name with your work is not just based
1397 on commercial motivations, it is fundamental to authorship.  Knowledge
1398 Unlatched is a nonprofit that helps to subsidize the print production of
1399 CC-licensed academic texts by pooling contributions from libraries around
1400 the United States. The CEO, Frances Pinter, says that the Creative Commons
1401 license on the works has a huge value to authors because reputation is the
1402 most important currency for academics. Sharing with CC is a way of having
1403 the most people see and cite your work.
1404         </p><p>
1405           Attribution can be about more than just receiving credit. It can also be
1406 about establishing provenance. People naturally want to know where content
1407 came from—the source of a work is sometimes just as interesting as the work
1408 itself. Opendesk is a platform for furniture designers to share their
1409 designs.  Consumers who like those designs can then get matched with local
1410 makers who turn the designs into real-life furniture.  The fact that I,
1411 sitting in the middle of the United States, can pick out a design created by
1412 a designer in Tokyo and then use a maker within my own community to
1413 transform the design into something tangible is part of the power of their
1414 platform. The provenance of the design is a special part of the product.
1415         </p><p>
1416           Knowing the source of a work is also critical to ensuring its
1417 credibility. Just as a trademark is designed to give consumers a way to
1418 identify the source and quality of a particular good and service, knowing
1419 the author of a work gives the public a way to assess its credibility. In a
1420 time when online discourse is plagued with misinformation, being a trusted
1421 information source is more valuable than ever.
1422         </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>
1423           As we will cover in more detail later, many endeavors that are Made with
1424 Creative Commons make money by providing a product or service other than the
1425 CC-licensed work. Sometimes that other product or service is completely
1426 unrelated to the CC content. Other times it’s a physical copy or live
1427 performance of the CC content. In all cases, the CC content can attract
1428 people to your other product or service.
1429         </p><p>
1430           Knowledge Unlatched’s Pinter told us she has seen time and again how
1431 offering CC-licensed content—that is, digitally for free—actually increases
1432 sales of the printed goods because it functions as a marketing tool. We see
1433 this phenomenon regularly with famous artwork. The Mona Lisa is likely the
1434 most recognizable painting on the planet. Its ubiquity has the effect of
1435 catalyzing interest in seeing the painting in person, and in owning physical
1436 goods with the image. Abundant copies of the content often entice more
1437 demand, not blunt it.  Another example came with the advent of the
1438 radio. Although the music industry did not see it coming (and fought it!),
1439 free music on the radio functioned as advertising for the paid version
1440 people bought in music stores.<a href="#ftn.idm505" class="footnote" name="idm505"><sup class="footnote">[56]</sup></a> Free can
1441 be a form of promotion.
1442         </p><p>
1443           In some cases, endeavors that are Made with Creative Commons do not even
1444 need dedicated marketing teams or marketing budgets. Cards Against Humanity
1445 is a CC-licensed card game available as a free download. And because of this
1446 (thanks to the CC license on the game), the creators say it is one of the
1447 best-marketed games in the world, and they have never spent a dime on
1448 marketing. The textbook publisher OpenStax has also avoided hiring a
1449 marketing team. Their products are free, or cheaper to buy in the case of
1450 physical copies, which makes them much more attractive to students who then
1451 demand them from their universities. They also partner with service
1452 providers who build atop the CC-licensed content and, in turn, spend money
1453 and resources marketing those services (and by extension, the OpenStax
1454 textbooks).
1455         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-enable-hands-on-engagement-with-your-work"></a>Use CC to enable hands-on engagement with your work</h3></div></div></div><p>
1456           The great promise of Creative Commons licensing is that it signifies an
1457 embrace of remix culture. Indeed, this is the great promise of digital
1458 technology. The Internet opened up a whole new world of possibilities for
1459 public participation in creative work.
1460         </p><p>
1461           Four of the six CC licenses enable reusers to take apart, build upon, or
1462 otherwise adapt the work. Depending on the context, adaptation can mean
1463 wildly different things—translating, updating, localizing, improving,
1464 transforming. It enables a work to be customized for particular needs, uses,
1465 people, and communities, which is another distinct value to offer the
1466 public.<a href="#ftn.idm512" class="footnote" name="idm512"><sup class="footnote">[57]</sup></a> Adaptation is more game
1467 changing in some contexts than others. With educational materials, the
1468 ability to customize and update the content is critically important for its
1469 usefulness. For photography, the ability to adapt a photo is less important.
1470         </p><p>
1471           This is a way to counteract a potential downside of the abundance of free
1472 and open content described above. As Anderson wrote in Free, <span class="quote">”<span class="quote">People
1473 often don’t care as much about things they don’t pay for, and as a result
1474 they don’t think as much about how they consume them.</span>”</span><a href="#ftn.idm516" class="footnote" name="idm516"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
1475 penny for something changes our perception of that thing, then surely the
1476 act of remixing it enhances our perception exponentially.<a href="#ftn.idm518" class="footnote" name="idm518"><sup class="footnote">[59]</sup></a> We know that people will pay more for products they
1477 had a part in creating.<a href="#ftn.idm520" class="footnote" name="idm520"><sup class="footnote">[60]</sup></a> And we know
1478 that creating something, no matter what quality, brings with it a type of
1479 creative satisfaction that can never be replaced by consuming something
1480 created by someone else.<a href="#ftn.idm522" class="footnote" name="idm522"><sup class="footnote">[61]</sup></a>
1481         </p><p>
1482           Actively engaging with the content helps us avoid the type of aimless
1483 consumption that anyone who has absentmindedly scrolled through their
1484 social-media feeds for an hour knows all too well. In his book, Cognitive
1485 Surplus, Clay Shirky says, <span class="quote">”<span class="quote">To participate is to act as if your
1486 presence matters, as if, when you see something or hear something, your
1487 response is part of the event.</span>”</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[62]</sup></a>
1488 Opening the door to your content can get people more deeply tied to your
1489 work.
1490         </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>
1491           Operating under a traditional copyright regime usually means operating under
1492 the rules of establishment players in the media. Business strategies that
1493 are embedded in the traditional copyright system, like using digital rights
1494 management (DRM) and signing exclusivity contracts, can tie the hands of
1495 creators, often at the expense of the creator’s best interest.<a href="#ftn.idm531" class="footnote" name="idm531"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
1496 function without those barriers and, in many cases, use the increased
1497 openness as a competitive advantage. David Harris from OpenStax said they
1498 specifically pursue strategies they know that traditional publishers
1499 cannot. <span class="quote">”<span class="quote">Don’t go into a market and play by the incumbent
1500 rules,</span>”</span> David said.  <span class="quote">”<span class="quote">Change the rules of engagement.</span>”</span>
1501         </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>
1502         Like any moneymaking endeavor, those that are Made with Creative Commons
1503 have to generate some type of value for their audience or
1504 customers. Sometimes that value is subsidized by funders who are not
1505 actually beneficiaries of that value. Funders, whether philanthropic
1506 institutions, governments, or concerned individuals, provide money to the
1507 organization out of a sense of pure altruism. This is the way traditional
1508 nonprofit funding operates.<a href="#ftn.idm538" class="footnote" name="idm538"><sup class="footnote">[64]</sup></a> But in many
1509 cases, the revenue streams used by endeavors that are Made with Creative
1510 Commons are directly tied to the value they generate, where the recipient is
1511 paying for the value they receive like any standard market transaction. In
1512 still other cases, rather than the quid pro quo exchange of money for value
1513 that typically drives market transactions, the recipient gives money out of
1514 a sense of reciprocity.
1515       </p><p>
1516         Most who are Made with Creative Commons use a variety of methods to bring in
1517 revenue, some market-based and some not. One common strategy is using grant
1518 funding for content creation when research-and-development costs are
1519 particularly high, and then finding a different revenue stream (or streams)
1520 for ongoing expenses. As Shirky wrote, <span class="quote">”<span class="quote">The trick is in knowing when
1521 markets are an optimal way of organizing interactions and when they are
1522 not.</span>”</span><a href="#ftn.idm544" class="footnote" name="idm544"><sup class="footnote">[65]</sup></a>
1523       </p><p>
1524         Our case studies explore in more detail the various revenue-generating
1525 mechanisms used by the creators, organizations, and businesses we
1526 interviewed. There is nuance hidden within the specific ways each of them
1527 makes money, so it is a bit dangerous to generalize too much about what we
1528 learned.  Nonetheless, zooming out and viewing things from a higher level of
1529 abstraction can be instructive.
1530       </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>
1531           In the market, the central question when determining how to bring in revenue
1532 is what value people are willing to pay for.<a href="#ftn.idm550" class="footnote" name="idm550"><sup class="footnote">[66]</sup></a> By definition, if you are Made with Creative Commons, the content
1533 you provide is available for free and not a market commodity. Like the
1534 ubiquitous freemium business model, any possible market transaction with a
1535 consumer of your content has to be based on some added value you
1536 provide.<a href="#ftn.idm552" class="footnote" name="idm552"><sup class="footnote">[67]</sup></a>
1537         </p><p>
1538           In many ways, this is the way of the future for all content-driven
1539 endeavors. In the market, value lives in things that are scarce. Because the
1540 Internet makes a universe of content available to all of us for free, it is
1541 difficult to get people to pay for content online. The struggling newspaper
1542 industry is a testament to this fact. This is compounded by the fact that at
1543 least some amount of copying is probably inevitable. That means you may end
1544 up competing with free versions of your own content, whether you condone it
1545 or not.<a href="#ftn.idm555" class="footnote" name="idm555"><sup class="footnote">[68]</sup></a> If people can easily find your
1546 content for free, getting people to buy it will be difficult, particularly
1547 in a context where access to content is more important than owning it. In
1548 Free, Anderson wrote, <span class="quote">”<span class="quote">Copyright protection schemes, whether coded
1549 into either law or software, are simply holding up a price against the force
1550 of gravity.</span>”</span>
1551         </p><p>
1552           Of course, this doesn’t mean that content-driven endeavors have no future in
1553 the traditional marketplace. In Free, Anderson explains how when one product
1554 or service becomes free, as information and content largely have in the
1555 digital age, other things become more valuable. <span class="quote">”<span class="quote">Every abundance
1556 creates a new scarcity,</span>”</span> he wrote. You just have to find some way
1557 other than the content to provide value to your audience or customers. As
1558 Anderson says, <span class="quote">”<span class="quote">It’s easy to compete with Free: simply offer something
1559 better or at least different from the free version.</span>”</span><a href="#ftn.idm561" class="footnote" name="idm561"><sup class="footnote">[69]</sup></a>
1560         </p><p>
1561           In light of this reality, in some ways endeavors that are Made with Creative
1562 Commons are at a level playing field with all content-based endeavors in the
1563 digital age. In fact, they may even have an advantage because they can use
1564 the abundance of content to derive revenue from something scarce. They can
1565 also benefit from the goodwill that stems from the values behind being Made
1566 with Creative Commons.
1567         </p><p>
1568           For content creators and distributors, there are nearly infinite ways to
1569 provide value to the consumers of your work, above and beyond the value that
1570 lives within your free digital content. Often, the CC-licensed content
1571 functions as a marketing tool for the paid product or service.
1572         </p><p>
1573           Here are the most common high-level categories.
1574         </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
1575 <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1576           In this age of information abundance, we don’t lack for content. The trick
1577 is finding content that matches our needs and wants, so customized services
1578 are particularly valuable.  As Anderson wrote, <span class="quote">”<span class="quote">Commodity information
1579 (everybody gets the same version) wants to be free. Customized information
1580 (you get something unique and meaningful to you)  wants to be
1581 expensive.</span>”</span><a href="#ftn.idm571" class="footnote" name="idm571"><sup class="footnote">[70]</sup></a> This can be anything
1582 from the artistic and cultural consulting services provided by Ártica to the
1583 custom-song business of Jonathan <span class="quote">”<span class="quote">Song-A-Day</span>”</span> Mann.
1584         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-physical-copy-market-based"></a>Charging for the physical copy <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1585           In his book about maker culture, Anderson characterizes this model as giving
1586 away the bits and selling the atoms (where bits refers to digital content
1587 and atoms refer to a physical object).<a href="#ftn.idm578" class="footnote" name="idm578"><sup class="footnote">[71]</sup></a>
1588 This is particularly successful in domains where the digital version of the
1589 content isn’t as valuable as the analog version, like book publishing where
1590 a significant subset of people still prefer reading something they can hold
1591 in their hands. Or in domains where the content isn’t useful until it is in
1592 physical form, like furniture designs. In those situations, a significant
1593 portion of consumers will pay for the convenience of having someone else put
1594 the physical version together for them. Some endeavors squeeze even more out
1595 of this revenue stream by using a Creative Commons license that only allows
1596 noncommercial uses, which means no one else can sell physical copies of
1597 their work in competition with them. This strategy of reserving commercial
1598 rights can be particularly important for items like books, where every
1599 printed copy of the same work is likely to be the same quality, so it is
1600 harder to differentiate one publishing service from another. On the other
1601 hand, for items like furniture or electronics, the provider of the physical
1602 goods can compete with other providers of the same works based on quality,
1603 service, or other traditional business principles.
1604         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-in-person-version-market-based"></a>Charging for the in-person version <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1605           As anyone who has ever gone to a concert will tell you, experiencing
1606 creativity in person is a completely different experience from consuming a
1607 digital copy on your own. Far from acting as a substitute for face-to-face
1608 interaction, CC-licensed content can actually create demand for the
1609 in-person version of experience. You can see this effect when people go view
1610 original art in person or pay to attend a talk or training course.
1611         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="selling-merchandise-market-based"></a>Selling merchandise <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1612           In many cases, people who like your work will pay for products demonstrating
1613 a connection to your work. As a child of the 1980s, I can personally attest
1614 to the power of a good concert T-shirt. This can also be an important
1615 revenue stream for museums and galleries.
1616         </p><p>
1617           Sometimes the way to find a market-based revenue stream is by providing
1618 value to people other than those who consume your CC-licensed content. In
1619 these revenue streams, the free content is being subsidized by an entirely
1620 different category of people or businesses. Often, those people or
1621 businesses are paying to access your main audience. The fact that the
1622 content is free increases the size of the audience, which in turn makes the
1623 offer more valuable to the paying customers. This is a variation of a
1624 traditional business model built on free called multi-sided
1625 platforms.<a href="#ftn.idm589" class="footnote" name="idm589"><sup class="footnote">[72]</sup></a> Access to your audience
1626 isn’t the only thing people are willing to pay for—there are other services
1627 you can provide as well.
1628         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-advertisers-or-sponsors-market-based"></a>Charging advertisers or sponsors <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1629           The traditional model of subsidizing free content is advertising. In this
1630 version of multi-sided platforms, advertisers pay for the opportunity to
1631 reach the set of eyeballs the content creators provide in the form of their
1632 audience.<a href="#ftn.idm595" class="footnote" name="idm595"><sup class="footnote">[73]</sup></a> The Internet has made this
1633 model more difficult because the number of potential channels available to
1634 reach those eyeballs has become essentially infinite.<a href="#ftn.idm597" class="footnote" name="idm597"><sup class="footnote">[74]</sup></a> Nonetheless, it remains a viable revenue stream for
1635 many content creators, including those who are Made with Creative
1636 Commons. Often, instead of paying to display advertising, the advertiser
1637 pays to be an official sponsor of particular content or projects, or of the
1638 overall endeavor.
1639         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-your-content-creators-market-based"></a>Charging your content creators <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1640           Another type of multisided platform is where the content creators themselves
1641 pay to be featured on the platform.  Obviously, this revenue stream is only
1642 available to those who rely on work created, at least in part, by
1643 others. The most well-known version of this model is the
1644 <span class="quote">”<span class="quote">author-processing charge</span>”</span> of open-access journals like those
1645 published by the Public Library of Science, but there are other
1646 variations. The Conversation is primarily funded by a university-membership
1647 model, where universities pay to have their faculties participate as writers
1648 of the content on the Conversation website.
1649         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-a-transaction-fee-market-based"></a>Charging a transaction fee <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1650           This is a version of a traditional business model based on brokering
1651 transactions between parties.<a href="#ftn.idm608" class="footnote" name="idm608"><sup class="footnote">[75]</sup></a> Curation
1652 is an important element of this model.  Platforms like the Noun Project add
1653 value by wading through CC-licensed content to curate a high-quality set and
1654 then derive revenue when creators of that content make transactions with
1655 customers. Other platforms make money when service providers transact with
1656 their customers; for example, Opendesk makes money every time someone on
1657 their site pays a maker to make furniture based on one of the designs on the
1658 platform.
1659         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-service-to-your-creators-market-based"></a>Providing a service to your creators <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1660           As mentioned above, endeavors can make money by providing customized
1661 services to their users. Platforms can undertake a variation of this service
1662 model directed at the creators that provide the content they feature. The
1663 data platforms Figure.NZ and Figshare both capitalize on this model by
1664 providing paid tools to help their users make the data they contribute to
1665 the platform more discoverable and reusable.
1666         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="licensing-a-trademark-market-based"></a>Licensing a trademark <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1667           Finally, some that are Made with Creative Commons make money by selling use
1668 of their trademarks. Well known brands that consumers associate with
1669 quality, credibility, or even an ethos can license that trademark to
1670 companies that want to take advantage of that goodwill. By definition,
1671 trademarks are scarce because they represent a particular source of a good
1672 or service. Charging for the ability to use that trademark is a way of
1673 deriving revenue from something scarce while taking advantage of the
1674 abundance of CC content.
1675         </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>
1676           Even if we set aside grant funding, we found that the traditional economic
1677 framework of understanding the market failed to fully capture the ways the
1678 endeavors we analyzed were making money. It was not simply about monetizing
1679 scarcity.
1680         </p><p>
1681           Rather than devising a scheme to get people to pay money in exchange for
1682 some direct value provided to them, many of the revenue streams were more
1683 about providing value, building a relationship, and then eventually finding
1684 some money that flows back out of a sense of reciprocity. While some look
1685 like traditional nonprofit funding models, they aren’t charity. The endeavor
1686 exchange value with people, just not necessarily synchronously or in a way
1687 that requires that those values be equal. As David Bollier wrote in Think
1688 Like a Commoner, <span class="quote">”<span class="quote">There is no self-serving calculation of whether the
1689 value given and received is strictly equal.</span>”</span>
1690         </p><p>
1691           This should be a familiar dynamic—it is the way you deal with your friends
1692 and family. We give without regard for what and when we will get back. David
1693 Bollier wrote, <span class="quote">”<span class="quote">Reciprocal social exchange lies at the heart of human
1694 identity, community and culture. It is a vital brain function that helps the
1695 human species survive and evolve.</span>”</span>
1696         </p><p>
1697           What is rare is to incorporate this sort of relationship into an endeavor
1698 that also engages with the market.<a href="#ftn.idm626" class="footnote" name="idm626"><sup class="footnote">[76]</sup></a> We
1699 almost can’t help but think of relationships in the market as being centered
1700 on an even-steven exchange of value.<a href="#ftn.idm628" class="footnote" name="idm628"><sup class="footnote">[77]</sup></a>
1701         </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
1702 <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1703           While memberships and donations are traditional nonprofit funding models, in
1704 the Made with Creative Commons context, they are directly tied to the
1705 reciprocal relationship that is cultivated with the beneficiaries of their
1706 work. The bigger the pool of those receiving value from the content, the
1707 more likely this strategy will work, given that only a small percentage of
1708 people are likely to contribute. Since using CC licenses can grease the
1709 wheels for content to reach more people, this strategy can be more effective
1710 for endeavors that are Made with Creative Commons. The greater the argument
1711 that the content is a public good or that the entire endeavor is furthering
1712 a social mission, the more likely this strategy is to succeed.
1713         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="the-pay-what-you-want-model-reciprocity-based"></a>The pay-what-you-want model <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1714           In the pay-what-you-want model, the beneficiary of Creative Commons content
1715 is invited to give—at any amount they can and feel is appropriate, based on
1716 the public and personal value they feel is generated by the open
1717 content. Critically, these models are not touted as <span class="quote">”<span class="quote">buying</span>”</span>
1718 something free.  They are similar to a tip jar. People make financial
1719 contributions as an act of gratitude. These models capitalize on the fact
1720 that we are naturally inclined to give money for things we value in the
1721 marketplace, even in situations where we could find a way to get it for
1722 free.
1723         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="crowdfunding-reciprocity-based"></a>Crowdfunding <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1724           Crowdfunding models are based on recouping the costs of creating and
1725 distributing content before the content is created. If the endeavor is Made
1726 with Creative Commons, anyone who wants the work in question could simply
1727 wait until it’s created and then access it for free. That means, for this
1728 model to work, people have to care about more than just receiving the
1729 work. They have to want you to succeed. Amanda Palmer credits the success of
1730 her crowdfunding on Kickstarter and Patreon to the years she spent building
1731 her community and creating a connection with her fans. She wrote in The Art
1732 of Asking, <span class="quote">”<span class="quote">Good art is made, good art is shared, help is offered,
1733 ears are bent, emotions are exchanged, the compost of real, deep connection
1734 is sprayed all over the fields. Then one day, the artist steps up and asks
1735 for something. And if the ground has been fertilized enough, the audience
1736 says, without hesitation: of course.</span>”</span>
1737         </p><p>
1738           Other types of crowdfunding rely on a sense of responsibility that a
1739 particular community may feel. Knowledge Unlatched pools funds from major
1740 U.S. libraries to subsidize CC-licensed academic work that will be, by
1741 definition, available to everyone for free. Libraries with bigger budgets
1742 tend to give more out of a sense of commitment to the library community and
1743 to the idea of open access generally.
1744         </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>
1745         Regardless of how they made money, in our interviews, we repeatedly heard
1746 language like <span class="quote">”<span class="quote">persuading people to buy</span>”</span> and <span class="quote">”<span class="quote">inviting
1747 people to pay.</span>”</span> We heard it even in connection with revenue streams
1748 that sit squarely within the market. Cory Doctorow told us, <span class="quote">”<span class="quote">I have to
1749 convince my readers that the right thing to do is to pay me.</span>”</span> The
1750 founders of the for-profit company Lumen Learning showed us the letter they
1751 send to those who opt not to pay for the services they provide in connection
1752 with their CC-licensed educational content. It isn’t a cease-and-desist
1753 letter; it’s an invitation to pay because it’s the right thing to do. This
1754 sort of behavior toward what could be considered nonpaying customers is
1755 largely unheard of in the traditional marketplace. But it seems to be part
1756 of the fabric of being Made with Creative Commons.
1757       </p><p>
1758         Nearly every endeavor we profiled relied, at least in part, on people being
1759 invested in what they do. The closer the Creative Commons content is to
1760 being <span class="quote">”<span class="quote">the product,</span>”</span> the more pronounced this dynamic has to
1761 be. Rather than simply selling a product or service, they are making
1762 ideological, personal, and creative connections with the people who value
1763 what they do.
1764       </p><p>
1765         It took me a very long time to see how this avoidance of thinking about what
1766 they do in pure market terms was deeply tied to being Made with Creative
1767 Commons.
1768       </p><p>
1769         I came to the research with preconceived notions about what Creative Commons
1770 is and what it means to be Made with Creative Commons. It turned out I was
1771 wrong on so many counts.
1772       </p><p>
1773         Obviously, being Made with Creative Commons means using Creative Commons
1774 licenses. That much I knew. But in our interviews, people spoke of so much
1775 more than copyright permissions when they explained how sharing fit into
1776 what they do. I was thinking about sharing too narrowly, and as a result, I
1777 was missing vast swaths of the meaning packed within Creative
1778 Commons. Rather than parsing the specific and narrow role of the copyright
1779 license in the equation, it is important not to disaggregate the rest of
1780 what comes with sharing. You have to widen the lens.
1781       </p><p>
1782         Being Made with Creative Commons is not just about the simple act of
1783 licensing a copyrighted work under a set of standardized terms, but also
1784 about community, social good, contributing ideas, expressing a value system,
1785 working together. These components of sharing are hard to cultivate if you
1786 think about what you do in purely market terms. Decent social behavior isn’t
1787 as intuitive when we are doing something that involves monetary exchange. It
1788 takes a conscious effort to foster the context for real sharing, based not
1789 strictly on impersonal market exchange, but on connections with the people
1790 with whom you share—connections with you, with your work, with your values,
1791 with each other.
1792       </p><p>
1793         The rest of this section will explore some of the common strategies that
1794 creators, companies, and organizations use to remind us that there are
1795 humans behind every creative endeavor.  To remind us we have obligations to
1796 each other. To remind us what sharing really looks like.
1797       </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-human"></a>Be human</h3></div></div></div><p>
1798           Humans are social animals, which means we are naturally inclined to treat
1799 each other well.<a href="#ftn.idm661" class="footnote" name="idm661"><sup class="footnote">[78]</sup></a> But the further
1800 removed we are from the person with whom we are interacting, the less caring
1801 our behavior will be. While the Internet has democratized cultural
1802 production, increased access to knowledge, and connected us in extraordinary
1803 ways, it can also make it easy forget we are dealing with another human.
1804         </p><p>
1805           To counteract the anonymous and impersonal tendencies of how we operate
1806 online, individual creators and corporations who use Creative Commons
1807 licenses work to demonstrate their humanity. For some, this means pouring
1808 their lives out on the page. For others, it means showing their creative
1809 process, giving a glimpse into how they do what they do. As writer Austin
1810 Kleon wrote, <span class="quote">”<span class="quote">Our work doesn’t speak for itself.  Human beings want to
1811 know where things came from, how they were made, and who made them. The
1812 stories you tell about the work you do have a huge effect on how people feel
1813 and what they understand about your work, and how people feel and what they
1814 understand about your work affects how they value it.</span>”</span><a href="#ftn.idm665" class="footnote" name="idm665"><sup class="footnote">[79]</sup></a>
1815         </p><p>
1816           A critical component to doing this effectively is not worrying about being a
1817 <span class="quote">”<span class="quote">brand.</span>”</span> That means not being afraid to be vulnerable. Amanda
1818 Palmer says, <span class="quote">”<span class="quote">When you’re afraid of someone’s judgment, you can’t
1819 connect with them. You’re too preoccupied with the task of impressing
1820 them.</span>”</span> Not everyone is suited to live life as an open book like
1821 Palmer, and that’s OK. There are a lot of ways to be human. The trick is
1822 just avoiding pretense and the temptation to artificially craft an
1823 image. People don’t just want the glossy version of you. They can’t relate
1824 to it, at least not in a meaningful way.
1825         </p><p>
1826           This advice is probably even more important for businesses and organizations
1827 because we instinctively conceive of them as nonhuman (though in the United
1828 States, corporations are people!). When corporations and organizations make
1829 the people behind them more apparent, it reminds people that they are
1830 dealing with something other than an anonymous corporate entity. In
1831 business-speak, this is about <span class="quote">”<span class="quote">humanizing your interactions</span>”</span>
1832 with the public.<a href="#ftn.idm672" class="footnote" name="idm672"><sup class="footnote">[80]</sup></a> But it can’t be a
1833 gimmick. You can’t fake being human.
1834         </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>
1835           Transparency helps people understand who you are and why you do what you do,
1836 but it also inspires trust. Max Temkin of Cards Against Humanity told us,
1837 <span class="quote">”<span class="quote">One of the most surprising things you can do in capitalism is just be
1838 honest with people.</span>”</span> That means sharing the good and the bad.  As
1839 Amanda Palmer wrote, <span class="quote">”<span class="quote">You can fix almost anything by authentically
1840 communicating.</span>”</span><a href="#ftn.idm679" class="footnote" name="idm679"><sup class="footnote">[81]</sup></a> It isn’t about
1841 trying to satisfy everyone or trying to sugarcoat mistakes or bad news, but
1842 instead about explaining your rationale and then being prepared to defend it
1843 when people are critical.<a href="#ftn.idm681" class="footnote" name="idm681"><sup class="footnote">[82]</sup></a>
1844         </p><p>
1845           Being accountable does not mean operating on consensus.  According to James
1846 Surowiecki, consensus-driven groups tend to resort to
1847 lowest-common-denominator solutions and avoid the sort of candid exchange of
1848 ideas that cultivates healthy collaboration.<a href="#ftn.idm684" class="footnote" name="idm684"><sup class="footnote">[83]</sup></a> Instead, it can be as simple as asking for input and then giving
1849 context and explanation about decisions you make, even if soliciting
1850 feedback and inviting discourse is time-consuming. If you don’t go through
1851 the effort to actually respond to the input you receive, it can be worse
1852 than not inviting input in the first place.<a href="#ftn.idm686" class="footnote" name="idm686"><sup class="footnote">[84]</sup></a> But when you get it right, it can guarantee the type of diversity
1853 of thought that helps endeavors excel. And it is another way to get people
1854 involved and invested in what you do.
1855         </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>
1856           Traditional economics assumes people make decisions based solely on their
1857 own economic self-interest.<a href="#ftn.idm691" class="footnote" name="idm691"><sup class="footnote">[85]</sup></a> Any
1858 relatively introspective human knows this is a fiction—we are much more
1859 complicated beings with a whole range of needs, emotions, and
1860 motivations. In fact, we are hardwired to work together and ensure
1861 fairness.<a href="#ftn.idm693" class="footnote" name="idm693"><sup class="footnote">[86]</sup></a> Being Made with Creative
1862 Commons requires an assumption that people will largely act on those social
1863 motivations, motivations that would be considered <span class="quote">”<span class="quote">irrational</span>”</span>
1864 in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">”<span class="quote">It is
1865 best to ignore people who try to scare you about free riding. That fear is
1866 based on a very shallow view of what motivates human behavior.</span>”</span> There
1867 will always be people who will act in purely selfish ways, but endeavors
1868 that are Made with Creative Commons design for the good actors.
1869         </p><p>
1870           The assumption that people will largely do the right thing can be a
1871 self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">”<span class="quote">Systems
1872 that assume people will act in ways that create public goods, and that give
1873 them opportunities and rewards for doing so, often let them work together
1874 better than neoclassical economics would predict.</span>”</span><a href="#ftn.idm699" class="footnote" name="idm699"><sup class="footnote">[87]</sup></a> When we acknowledge that people are often motivated
1875 by something other than financial self-interest, we design our endeavors in
1876 ways that encourage and accentuate our social instincts.
1877         </p><p>
1878           Rather than trying to exert control over people’s behavior, this mode of
1879 operating requires a certain level of trust. We might not realize it, but
1880 our daily lives are already built on trust. As Surowiecki wrote in The
1881 Wisdom of Crowds, <span class="quote">”<span class="quote">It’s impossible for a society to rely on law alone
1882 to make sure citizens act honestly and responsibly. And it’s impossible for
1883 any organization to rely on contracts alone to make sure that its managers
1884 and workers live up to their obligation.</span>”</span> Instead, we largely trust
1885 that people—mostly strangers—will do what they are supposed to
1886 do.<a href="#ftn.idm703" class="footnote" name="idm703"><sup class="footnote">[88]</sup></a> And most often, they do.
1887         </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>
1888           For creators, treating people as humans means not treating them like
1889 fans. As Kleon says, <span class="quote">”<span class="quote">If you want fans, you have to be a fan
1890 first.</span>”</span><a href="#ftn.idm709" class="footnote" name="idm709"><sup class="footnote">[89]</sup></a> Even if you happen to be
1891 one of the few to reach celebrity levels of fame, you are better off
1892 remembering that the people who follow your work are human, too. Cory
1893 Doctorow makes a point to answer every single email someone sends him.
1894 Amanda Palmer spends vast quantities of time going online to communicate
1895 with her public, making a point to listen just as much as she
1896 talks.<a href="#ftn.idm711" class="footnote" name="idm711"><sup class="footnote">[90]</sup></a>
1897         </p><p>
1898           The same idea goes for businesses and organizations. Rather than automating
1899 its customer service, the music platform Tribe of Noise makes a point to
1900 ensure its employees have personal, one-on-one interaction with users.
1901         </p><p>
1902           When we treat people like humans, they typically return the gift in
1903 kind. It’s called karma. But social relationships are fragile. It is all too
1904 easy to destroy them if you make the mistake of treating people as anonymous
1905 customers or free labor.<a href="#ftn.idm715" class="footnote" name="idm715"><sup class="footnote">[91]</sup></a> Platforms that
1906 rely on content from contributors are especially at risk of creating an
1907 exploitative dynamic. It is important to find ways to acknowledge and pay
1908 back the value that contributors generate. That does not mean you can solve
1909 this problem by simply paying contributors for their time or
1910 contributions. As soon as we introduce money into a relationship—at least
1911 when it takes a form of paying monetary value in exchange for other value—it
1912 can dramatically change the dynamic.<a href="#ftn.idm717" class="footnote" name="idm717"><sup class="footnote">[92]</sup></a>
1913         </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>
1914           Being Made with Creative Commons makes a statement about who you are and
1915 what you do. The symbolism is powerful. Using Creative Commons licenses
1916 demonstrates adherence to a particular belief system, which generates
1917 goodwill and connects like-minded people to your work. Sometimes people will
1918 be drawn to endeavors that are Made with Creative Commons as a way of
1919 demonstrating their own commitment to the Creative Commons value system,
1920 akin to a political statement. Other times people will identify and feel
1921 connected with an endeavor’s separate social mission. Often both.
1922         </p><p>
1923           The expression of your values doesn’t have to be implicit. In fact, many of
1924 the people we interviewed talked about how important it is to state your
1925 guiding principles up front.  Lumen Learning attributes a lot of their
1926 success to having been outspoken about the fundamental values that guide
1927 what they do. As a for-profit company, they think their expressed commitment
1928 to low-income students and open licensing has been critical to their
1929 credibility in the OER (open educational resources) community in which they
1930 operate.
1931         </p><p>
1932           When your end goal is not about making a profit, people trust that you
1933 aren’t just trying to extract value for your own gain. People notice when
1934 you have a sense of purpose that transcends your own
1935 self-interest.<a href="#ftn.idm724" class="footnote" name="idm724"><sup class="footnote">[93]</sup></a> It attracts committed
1936 employees, motivates contributors, and builds trust.
1937         </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>
1938           Endeavors that are Made with Creative Commons thrive when community is built
1939 around what they do. This may mean a community collaborating together to
1940 create something new, or it may simply be a collection of like-minded people
1941 who get to know each other and rally around common interests or
1942 beliefs.<a href="#ftn.idm729" class="footnote" name="idm729"><sup class="footnote">[94]</sup></a> To a certain extent, simply
1943 being Made with Creative Commons automatically brings with it some element
1944 of community, by helping connect you to like-minded others who recognize and
1945 are drawn to the values symbolized by using CC.
1946         </p><p>
1947           To be sustainable, though, you have to work to nurture community. People
1948 have to care—about you and each other. One critical piece to this is
1949 fostering a sense of belonging. As Jono Bacon writes in The Art of
1950 Community, <span class="quote">”<span class="quote">If there is no belonging, there is no community.</span>”</span>
1951 For Amanda Palmer and her band, that meant creating an accepting and
1952 inclusive environment where people felt a part of their <span class="quote">”<span class="quote">weird little
1953 family.</span>”</span><a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[95]</sup></a> For organizations like
1954 Red Hat, that means connecting around common beliefs or goals. As the CEO
1955 Jim Whitehurst wrote in The Open Organization, <span class="quote">”<span class="quote">Tapping into passion
1956 is especially important in building the kinds of participative communities
1957 that drive open organizations.</span>”</span><a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[96]</sup></a>
1958         </p><p>
1959           Communities that collaborate together take deliberate planning. Surowiecki
1960 wrote, <span class="quote">”<span class="quote">It takes a lot of work to put the group together. It’s
1961 difficult to ensure that people are working in the group’s interest and not
1962 in their own. And when there’s a lack of trust between the members of the
1963 group (which isn’t surprising given that they don’t really know each other),
1964 considerable energy is wasted trying to determine each other’s bona
1965 fides.</span>”</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[97]</sup></a> Building true community
1966 requires giving people within the community the power to create or influence
1967 the rules that govern the community.<a href="#ftn.idm743" class="footnote" name="idm743"><sup class="footnote">[98]</sup></a> If
1968 the rules are created and imposed in a top-down manner, people feel like
1969 they don’t have a voice, which in turn leads to disengagement.
1970         </p><p>
1971           Community takes work, but working together, or even simply being connected
1972 around common interests or values, is in many ways what sharing is about.
1973         </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>
1974           Conventional wisdom in the marketplace dictates that people should try to
1975 extract as much money as possible from resources. This is essentially what
1976 defines so much of the so-called sharing economy. In an article on the
1977 Harvard Business Review website called <span class="quote">”<span class="quote">The Sharing Economy Isn’t
1978 about Sharing at All,</span>”</span> authors Giana Eckhardt and Fleura Bardhi
1979 explained how the anonymous market-driven trans-actions in most
1980 sharing-economy businesses are purely about monetizing access.<a href="#ftn.idm750" class="footnote" name="idm750"><sup class="footnote">[99]</sup></a> As Lisa Gansky put it in her book The Mesh, the
1981 primary strategy of the sharing economy is to sell the same product multiple
1982 times, by selling access rather than ownership.<a href="#ftn.idm754" class="footnote" name="idm754"><sup class="footnote">[100]</sup></a> That is not sharing.
1983         </p><p>
1984           Sharing requires adding as much or more value to the ecosystem than you
1985 take. You can’t simply treat open content as a free pool of resources from
1986 which to extract value. Part of giving back to the ecosystem is contributing
1987 content back to the public under CC licenses. But it doesn’t have to just be
1988 about creating content; it can be about adding value in other ways.  The
1989 social blogging platform Medium provides value to its community by
1990 incentivizing good behavior, and the result is an online space with
1991 remarkably high-quality user-generated content and limited
1992 trolling.<a href="#ftn.idm757" class="footnote" name="idm757"><sup class="footnote">[101]</sup></a> Opendesk contributes to its
1993 community by committing to help its designers make money, in part by
1994 actively curating and displaying their work on its platform effectively.
1995         </p><p>
1996           In all cases, it is important to openly acknowledge the amount of value you
1997 add versus that which you draw on that was created by others. Being
1998 transparent about this builds credibility and shows you are a contributing
1999 player in the commons. When your endeavor is making money, that also means
2000 apportioning financial compensation in a way that reflects the value
2001 contributed by others, providing more to contributors when the value they
2002 add outweighs the value provided by you.
2003         </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>
2004           Thanks to the Internet, we can tap into the talents and expertise of people
2005 around the globe. Chris Anderson calls it the Long Tail of
2006 talent.<a href="#ftn.idm765" class="footnote" name="idm765"><sup class="footnote">[102]</sup></a> But to make collaboration work,
2007 the group has to be effective at what it is doing, and the people within the
2008 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
2009 creative work than it is for others. Groups tied together online collaborate
2010 best when people can work independently and asynchronously, and particularly
2011 for larger groups with loose ties, when contributors can make simple
2012 improvements without a particularly heavy time commitment.<a href="#ftn.idm769" class="footnote" name="idm769"><sup class="footnote">[104]</sup></a>
2013         </p><p>
2014           As the success of Wikipedia demonstrates, editing an online encyclopedia is
2015 exactly the sort of activity that is perfect for massive co-creation because
2016 small, incremental edits made by a diverse range of people acting on their
2017 own are immensely valuable in the aggregate. Those same sorts of small
2018 contributions would be less useful for many other types of creative work,
2019 and people are inherently less motivated to contribute when it doesn’t
2020 appear that their efforts will make much of a difference.<a href="#ftn.idm772" class="footnote" name="idm772"><sup class="footnote">[105]</sup></a>
2021         </p><p>
2022           It is easy to romanticize the opportunities for global cocreation made
2023 possible by the Internet, and, indeed, the successful examples of it are
2024 truly incredible and inspiring.  But in a wide range of
2025 circumstances—perhaps more often than not—community cocreation is not part
2026 of the equation, even within endeavors built on CC content. Shirky wrote,
2027 <span class="quote">”<span class="quote">Sometimes the value of professional work trumps the value of amateur
2028 sharing or a feeling of belonging.<a href="#ftn.idm776" class="footnote" name="idm776"><sup class="footnote">[106]</sup></a> The
2029 textbook publisher OpenStax, which distributes all of its material for free
2030 under CC licensing, is an example of this dynamic. Rather than tapping the
2031 community to help cocreate their college textbooks, they invest a
2032 significant amount of time and money to develop professional content. For
2033 individual creators, where the creative work is the basis for what they do,
2034 community cocreation is only rarely a part of the picture. Even musician
2035 Amanda Palmer, who is famous for her openness and involvement with her fans,
2036 said,</span>”</span>The only department where I wasn’t open to input was the
2037 writing, the music itself."<a href="#ftn.idm778" class="footnote" name="idm778"><sup class="footnote">[107]</sup></a>
2038         </p><p>
2039           While we tend to immediately think of cocreation and remixing when we hear
2040 the word collaboration, you can also involve others in your creative process
2041 in more informal ways, by sharing half-baked ideas and early drafts, and
2042 interacting with the public to incubate ideas and get feedback. So-called
2043 <span class="quote">”<span class="quote">making in public</span>”</span> opens the door to letting people feel more
2044 invested in your creative work.<a href="#ftn.idm782" class="footnote" name="idm782"><sup class="footnote">[108]</sup></a> And it
2045 shows a nonterritorial approach to ideas and information. Stephen Covey (of
2046 The 7 Habits of Highly Effective People fame) calls this the abundance
2047 mentality—treating ideas like something plentiful—and it can create an
2048 environment where collaboration flourishes.<a href="#ftn.idm784" class="footnote" name="idm784"><sup class="footnote">[109]</sup></a>
2049         </p><p>
2050           There is no one way to involve people in what you do. They key is finding a
2051 way for people to contribute on their terms, compelled by their own
2052 motivations.<a href="#ftn.idm787" class="footnote" name="idm787"><sup class="footnote">[110]</sup></a> What that looks like
2053 varies wildly depending on the project. Not every endeavor that is Made with
2054 Creative Commons can be Wikipedia, but every endeavor can find ways to
2055 invite the public into what they do. The goal for any form of collaboration
2056 is to move away from thinking of consumers as passive recipients of your
2057 content and transition them into active participants.<a href="#ftn.idm789" class="footnote" name="idm789"><sup class="footnote">[111]</sup></a>
2058         </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>
2059           Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
2060 John Wiley and Sons, 2010), 14. A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
2061         </p></div><div id="ftn.idm410" class="footnote"><p><a href="#idm410" class="para"><sup class="para">[38] </sup></a>
2062           Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
2063 Age (San Francisco, CA: McSweeney’s, 2014) 68.
2064         </p></div><div id="ftn.idm419" class="footnote"><p><a href="#idm419" class="para"><sup class="para">[39] </sup></a>
2065           Ibid., 55.
2066         </p></div><div id="ftn.idm422" class="footnote"><p><a href="#idm422" class="para"><sup class="para">[40] </sup></a>
2067           Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
2068 Something for Nothing, reprint with new preface (New York: Hyperion, 2010),
2069 224.
2070         </p></div><div id="ftn.idm426" class="footnote"><p><a href="#idm426" class="para"><sup class="para">[41] </sup></a>
2071           Doctorow, Information Doesn’t Want to Be Free, 44.
2072         </p></div><div id="ftn.idm438" class="footnote"><p><a href="#idm438" class="para"><sup class="para">[42] </sup></a>
2073             Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let
2074 People Help (New York: Grand Central, 2014), 121.
2075           </p></div><div id="ftn.idm442" class="footnote"><p><a href="#idm442" class="para"><sup class="para">[43] </sup></a>
2076             Chris Anderson, Makers: The New Industrial Revolution (New York: Signal,
2077 2012), 64.
2078           </p></div><div id="ftn.idm446" class="footnote"><p><a href="#idm446" class="para"><sup class="para">[44] </sup></a>
2079             David Bollier, Think Like a Commoner: A Short Introduction to the Life of
2080 the Commons (Gabriola Island, BC: New Society, 2014), 70.
2081           </p></div><div id="ftn.idm449" class="footnote"><p><a href="#idm449" class="para"><sup class="para">[45] </sup></a>
2082             Anderson, Makers, 66.
2083           </p></div><div id="ftn.idm452" class="footnote"><p><a href="#idm452" class="para"><sup class="para">[46] </sup></a>
2084             Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy (New
2085 York: Morgan James, 2016), 10.
2086           </p></div><div id="ftn.idm455" class="footnote"><p><a href="#idm455" class="para"><sup class="para">[47] </sup></a>
2087             Anderson, Free, 62.
2088           </p></div><div id="ftn.idm460" class="footnote"><p><a href="#idm460" class="para"><sup class="para">[48] </sup></a>
2089             Doctorow, Information Doesn’t Want to Be Free, 38.
2090           </p></div><div id="ftn.idm465" class="footnote"><p><a href="#idm465" class="para"><sup class="para">[49] </sup></a>
2091             Bollier, Think Like a Commoner, 68.
2092           </p></div><div id="ftn.idm471" class="footnote"><p><a href="#idm471" class="para"><sup class="para">[50] </sup></a>
2093             Anderson, Free, 86.
2094           </p></div><div id="ftn.idm475" class="footnote"><p><a href="#idm475" class="para"><sup class="para">[51] </sup></a>
2095             Doctorow, Information Doesn’t Want to Be Free, 144.
2096           </p></div><div id="ftn.idm485" class="footnote"><p><a href="#idm485" class="para"><sup class="para">[52] </sup></a>
2097               Anderson, Free, 123.
2098             </p></div><div id="ftn.idm488" class="footnote"><p><a href="#idm488" class="para"><sup class="para">[53] </sup></a>
2099               Ibid., 132.
2100             </p></div><div id="ftn.idm490" class="footnote"><p><a href="#idm490" class="para"><sup class="para">[54] </sup></a>
2101               Ibid., 70.
2102             </p></div><div id="ftn.idm495" class="footnote"><p><a href="#idm495" class="para"><sup class="para">[55] </sup></a>
2103               James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005),
2104 124. Surowiecki says, <span class="quote">”<span class="quote">The measure of success of laws and contracts is
2105 how rarely they are invoked.</span>”</span>
2106             </p></div><div id="ftn.idm505" class="footnote"><p><a href="#idm505" class="para"><sup class="para">[56] </sup></a>
2107               Anderson, Free, 44.
2108             </p></div><div id="ftn.idm512" class="footnote"><p><a href="#idm512" class="para"><sup class="para">[57] </sup></a>
2109               Osterwalder and Pigneur, Business Model Generation, 23.
2110             </p></div><div id="ftn.idm516" class="footnote"><p><a href="#idm516" class="para"><sup class="para">[58] </sup></a>
2111               Anderson, Free, 67.
2112             </p></div><div id="ftn.idm518" class="footnote"><p><a href="#idm518" class="para"><sup class="para">[59] </sup></a>
2113               Ibid., 58.
2114             </p></div><div id="ftn.idm520" class="footnote"><p><a href="#idm520" class="para"><sup class="para">[60] </sup></a>
2115               Anderson, Makers, 71.
2116             </p></div><div id="ftn.idm522" class="footnote"><p><a href="#idm522" class="para"><sup class="para">[61] </sup></a>
2117               Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into
2118 Collaborators (London: Penguin Books, 2010), 78.
2119             </p></div><div id="ftn.idm526" class="footnote"><p><a href="#idm526" class="para"><sup class="para">[62] </sup></a>
2120               Ibid., 21.
2121             </p></div><div id="ftn.idm531" class="footnote"><p><a href="#idm531" class="para"><sup class="para">[63] </sup></a>
2122               Doctorow, Information Doesn’t Want to Be Free, 43.
2123             </p></div><div id="ftn.idm538" class="footnote"><p><a href="#idm538" class="para"><sup class="para">[64] </sup></a>
2124             William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">”<span class="quote">Ten
2125 Nonprofit Funding Models,</span>”</span> Stanford Social Innovation Review, Spring
2126 2009, <a class="ulink" href="http://ssir.org/articles/entry/ten_nonprofit_funding_models" target="_top">http://ssir.org/articles/entry/ten_nonprofit_funding_models</a>.
2127           </p></div><div id="ftn.idm544" class="footnote"><p><a href="#idm544" class="para"><sup class="para">[65] </sup></a>
2128             Shirky, Cognitive Surplus, 111.
2129           </p></div><div id="ftn.idm550" class="footnote"><p><a href="#idm550" class="para"><sup class="para">[66] </sup></a>
2130               Osterwalder and Pigneur, Business Model Generation, 30.
2131             </p></div><div id="ftn.idm552" class="footnote"><p><a href="#idm552" class="para"><sup class="para">[67] </sup></a>
2132               Jim Whitehurst, The Open Organization: Igniting Passion and Performance
2133 (Boston: Harvard Business Review Press, 2015), 202.
2134             </p></div><div id="ftn.idm555" class="footnote"><p><a href="#idm555" class="para"><sup class="para">[68] </sup></a>
2135               Anderson, Free, 71.
2136             </p></div><div id="ftn.idm561" class="footnote"><p><a href="#idm561" class="para"><sup class="para">[69] </sup></a>
2137               Ibid., 231.
2138             </p></div><div id="ftn.idm571" class="footnote"><p><a href="#idm571" class="para"><sup class="para">[70] </sup></a>
2139               Ibid., 97.
2140             </p></div><div id="ftn.idm578" class="footnote"><p><a href="#idm578" class="para"><sup class="para">[71] </sup></a>
2141               Anderson, Makers, 107.
2142             </p></div><div id="ftn.idm589" class="footnote"><p><a href="#idm589" class="para"><sup class="para">[72] </sup></a>
2143               Osterwalder and Pigneur, Business Model Generation, 89.
2144             </p></div><div id="ftn.idm595" class="footnote"><p><a href="#idm595" class="para"><sup class="para">[73] </sup></a>
2145               Ibid., 92.
2146             </p></div><div id="ftn.idm597" class="footnote"><p><a href="#idm597" class="para"><sup class="para">[74] </sup></a>
2147               Anderson, Free, 142.
2148             </p></div><div id="ftn.idm608" class="footnote"><p><a href="#idm608" class="para"><sup class="para">[75] </sup></a>
2149               Osterwalder and Pigneur, Business Model Generation, 32.
2150             </p></div><div id="ftn.idm626" class="footnote"><p><a href="#idm626" class="para"><sup class="para">[76] </sup></a>
2151               Bollier, Think Like a Commoner, 150.
2152             </p></div><div id="ftn.idm628" class="footnote"><p><a href="#idm628" class="para"><sup class="para">[77] </sup></a>
2153               Ibid., 134.
2154             </p></div><div id="ftn.idm661" class="footnote"><p><a href="#idm661" class="para"><sup class="para">[78] </sup></a>
2155               Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our
2156 Decisions, rev. ed. (New York: Harper Perennial, 2010), 109.
2157             </p></div><div id="ftn.idm665" class="footnote"><p><a href="#idm665" class="para"><sup class="para">[79] </sup></a>
2158               Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and Get
2159 Discovered (New York: Workman, 2014), 93.
2160             </p></div><div id="ftn.idm672" class="footnote"><p><a href="#idm672" class="para"><sup class="para">[80] </sup></a>
2161               Kramer, Shareology, 76.
2162             </p></div><div id="ftn.idm679" class="footnote"><p><a href="#idm679" class="para"><sup class="para">[81] </sup></a>
2163               Palmer, Art of Asking, 252.
2164             </p></div><div id="ftn.idm681" class="footnote"><p><a href="#idm681" class="para"><sup class="para">[82] </sup></a>
2165               Whitehurst, Open Organization, 145.
2166             </p></div><div id="ftn.idm684" class="footnote"><p><a href="#idm684" class="para"><sup class="para">[83] </sup></a>
2167               Surowiecki, Wisdom of Crowds, 203.
2168             </p></div><div id="ftn.idm686" class="footnote"><p><a href="#idm686" class="para"><sup class="para">[84] </sup></a>
2169               Whitehurst, Open Organization, 80.
2170             </p></div><div id="ftn.idm691" class="footnote"><p><a href="#idm691" class="para"><sup class="para">[85] </sup></a>
2171               Bollier, Think Like a Commoner, 25.
2172             </p></div><div id="ftn.idm693" class="footnote"><p><a href="#idm693" class="para"><sup class="para">[86] </sup></a>
2173               Ibid., 31.
2174             </p></div><div id="ftn.idm699" class="footnote"><p><a href="#idm699" class="para"><sup class="para">[87] </sup></a>
2175               Shirky, Cognitive Surplus, 112.
2176             </p></div><div id="ftn.idm703" class="footnote"><p><a href="#idm703" class="para"><sup class="para">[88] </sup></a>
2177               Surowiecki, Wisdom of Crowds, 124.
2178             </p></div><div id="ftn.idm709" class="footnote"><p><a href="#idm709" class="para"><sup class="para">[89] </sup></a>
2179               Kleon, Show Your Work, 127.
2180             </p></div><div id="ftn.idm711" class="footnote"><p><a href="#idm711" class="para"><sup class="para">[90] </sup></a>
2181               Palmer, Art of Asking, 121.
2182             </p></div><div id="ftn.idm715" class="footnote"><p><a href="#idm715" class="para"><sup class="para">[91] </sup></a>
2183               Ariely, Predictably Irrational, 87.
2184             </p></div><div id="ftn.idm717" class="footnote"><p><a href="#idm717" class="para"><sup class="para">[92] </sup></a>
2185               Ibid., 105.
2186             </p></div><div id="ftn.idm724" class="footnote"><p><a href="#idm724" class="para"><sup class="para">[93] </sup></a>
2187               Ibid., 36.
2188             </p></div><div id="ftn.idm729" class="footnote"><p><a href="#idm729" class="para"><sup class="para">[94] </sup></a>
2189               Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
2190 2012), 36.
2191             </p></div><div id="ftn.idm734" class="footnote"><p><a href="#idm734" class="para"><sup class="para">[95] </sup></a>
2192               Palmer, Art of Asking, 98.
2193             </p></div><div id="ftn.idm737" class="footnote"><p><a href="#idm737" class="para"><sup class="para">[96] </sup></a>
2194               Whitehurst, Open Organization, 34.
2195             </p></div><div id="ftn.idm741" class="footnote"><p><a href="#idm741" class="para"><sup class="para">[97] </sup></a>
2196               Surowiecki, Wisdom of Crowds, 200.
2197             </p></div><div id="ftn.idm743" class="footnote"><p><a href="#idm743" class="para"><sup class="para">[98] </sup></a>
2198               Bollier, Think Like a Commoner, 29.
2199             </p></div><div id="ftn.idm750" class="footnote"><p><a href="#idm750" class="para"><sup class="para">[99] </sup></a>
2200               Giana Eckhardt and Fleura Bardhi, <span class="quote">”<span class="quote">The Sharing Economy Isn’t about
2201 Sharing at All,</span>”</span> Harvard Business Review (website), January 28, 2015,
2202 <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>.
2203             </p></div><div id="ftn.idm754" class="footnote"><p><a href="#idm754" class="para"><sup class="para">[100] </sup></a>
2204               Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with
2205 new epilogue (New York: Portfolio, 2012).
2206             </p></div><div id="ftn.idm757" class="footnote"><p><a href="#idm757" class="para"><sup class="para">[101] </sup></a>
2207               David Lee, <span class="quote">”<span class="quote">Inside Medium: An Attempt to Bring Civility to the
2208 Internet,</span>”</span> BBC News, March 3, 2016, <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
2209             </p></div><div id="ftn.idm765" class="footnote"><p><a href="#idm765" class="para"><sup class="para">[102] </sup></a>
2210               Anderson, Makers, 148.
2211             </p></div><div id="ftn.idm767" class="footnote"><p><a href="#idm767" class="para"><sup class="para">[103] </sup></a>
2212               Shirky, Cognitive Surplus, 164.
2213             </p></div><div id="ftn.idm769" class="footnote"><p><a href="#idm769" class="para"><sup class="para">[104] </sup></a>
2214               Whitehurst, foreword to Open Organization.
2215             </p></div><div id="ftn.idm772" class="footnote"><p><a href="#idm772" class="para"><sup class="para">[105] </sup></a>
2216               Shirky, Cognitive Surplus, 144.
2217             </p></div><div id="ftn.idm776" class="footnote"><p><a href="#idm776" class="para"><sup class="para">[106] </sup></a>
2218               Ibid., 154.
2219             </p></div><div id="ftn.idm778" class="footnote"><p><a href="#idm778" class="para"><sup class="para">[107] </sup></a>
2220               Palmer, Art of Asking, 163.
2221             </p></div><div id="ftn.idm782" class="footnote"><p><a href="#idm782" class="para"><sup class="para">[108] </sup></a>
2222               Anderson, Makers, 173.
2223             </p></div><div id="ftn.idm784" class="footnote"><p><a href="#idm784" class="para"><sup class="para">[109] </sup></a>
2224               Tom Kelley and David Kelley, Creative Confidence: Unleashing the Potential
2225 within Us All (New York: Crown, 2013), 82.
2226             </p></div><div id="ftn.idm787" class="footnote"><p><a href="#idm787" class="para"><sup class="para">[110] </sup></a>
2227               Whitehurst, foreword to Open Organization.
2228             </p></div><div id="ftn.idm789" class="footnote"><p><a href="#idm789" class="para"><sup class="para">[111] </sup></a>
2229               Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
2230 Collaborative Consumption (New York: Harper Business, 2010), 188.
2231             </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Kapitel 3. The Creative Commons Licenses</h2></div></div></div><p>
2232       All of the Creative Commons licenses grant a basic set of permissions. At a
2233 minimum, a CC- licensed work can be copied and shared in its original form
2234 for noncommercial purposes so long as attribution is given to the
2235 creator. There are six licenses in the CC license suite that build on that
2236 basic set of permissions, ranging from the most restrictive (allowing only
2237 those basic permissions to share unmodified copies for noncommercial
2238 purposes)  to the most permissive (reusers can do anything they want with
2239 the work, even for commercial purposes, as long as they give the creator
2240 credit). The licenses are built on copyright and do not cover other types of
2241 rights that creators might have in their works, like patents or trademarks.
2242     </p><p>
2243       Here are the six licenses:
2244     </p><p>
2245         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D83BF99FC0821C489.png" width="40.0%"></span>
2246       </p><p>
2247       The Attribution license (CC BY) lets others distribute, remix, tweak, and
2248 build upon your work, even commercially, as long as they credit you for the
2249 original creation. This is the most accommodating of licenses
2250 offered. Recommended for maximum dissemination and use of licensed
2251 materials.
2252     </p><p>
2253         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DFD3592CB17C4EC38.png" width="40.0%"></span>
2254       </p><p>
2255       The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak, and
2256 build upon your work, even for commercial purposes, as long as they credit
2257 you and license their new creations under identical terms. This license is
2258 often compared to <span class="quote">”<span class="quote">copyleft</span>”</span> free and open source software
2259 licenses.  All new works based on yours will carry the same license, so any
2260 derivatives will also allow commercial use.
2261     </p><p>
2262         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D254882DE24793FEA.png" width="40.0%"></span>
2263       </p><p>
2264       The Attribution-NoDerivs license (CC BY-ND) allows for redistribution,
2265 commercial and noncommercial, as long as it is passed along unchanged with
2266 credit to you.
2267     </p><p>
2268         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png" width="40.0%"></span>
2269       </p><p>
2270       The Attribution-NonCommercial license (CC BY-NC) lets others remix, tweak,
2271 and build upon your work noncommercially. Although their new works must also
2272 acknowledge you, they don’t have to license their derivative works on the
2273 same terms.
2274     </p><p>
2275         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
2276       </p><p>
2277       The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA)  lets others
2278 remix, tweak, and build upon your work noncommercially, as long as they
2279 credit you and license their new creations under the same terms.
2280     </p><p>
2281         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DC3FEF92B21310965.png" width="40.0%"></span>
2282       </p><p>
2283       The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
2284 restrictive of our six main licenses, only allowing others to download your
2285 works and share them with others as long as they credit you, but they can’t
2286 change them or use them commercially.
2287     </p><p>
2288       In addition to these six licenses, Creative Commons has two public-domain
2289 tools—one for creators and the other for those who manage collections of
2290 existing works by authors whose terms of copyright have expired:
2291     </p><p>
2292         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008DBE3414994CD27786.png" width="40.0%"></span>
2293       </p><p>
2294       CC0 enables authors and copyright owners to dedicate their works to the
2295 worldwide public domain (<span class="quote">”<span class="quote">no rights reserved</span>”</span>).
2296     </p><p>
2297         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
2298       </p><p>
2299       The Creative Commons Public Domain Mark facilitates the labeling and
2300 discovery of works that are already free of known copyright restrictions.
2301     </p><p>
2302       In our case studies, some use just one Creative Commons license, others use
2303 several. Attribution (found in thirteen case studies)  and
2304 Attribution-ShareAlike (found in eight studies) were the most common, with
2305 the other licenses coming up in four or so case studies, including the
2306 public-domain tool CC0. Some of the organizations we profiled offer both
2307 digital content and software: by using open-source-software licenses for the
2308 software code and Creative Commons licenses for digital content, they
2309 amplify their involvement with and commitment to sharing.
2310     </p><p>
2311       There is a popular misconception that the three NonCommercial licenses
2312 offered by CC are the only options for those who want to make money off
2313 their work. As we hope this book makes clear, there are many ways to make
2314 endeavors that are Made with Creative Commons sustainable. Reserving
2315 commercial rights is only one of those ways. It is certainly true that a
2316 license that allows others to make commercial use of your work (CC BY, CC
2317 BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you
2318 apply an Attribution (CC BY) license to your book, you can’t force a film
2319 company to pay you royalties if they turn your book into a feature-length
2320 film, or prevent another company from selling physical copies of your work.
2321     </p><p>
2322       The decision to choose a NonCommercial and/or NoDerivs license comes down to
2323 how much you need to retain control over the creative work. The
2324 NonCommercial and NoDerivs licenses are ways of reserving some significant
2325 portion of the exclusive bundle of rights that copyright grants to
2326 creators. In some cases, reserving those rights is important to how you
2327 bring in revenue. In other cases, creators use a NonCommercial or NoDerivs
2328 license because they can’t give up on the dream of hitting the creative
2329 jackpot.  The music platform Tribe of Noise told us the NonCommercial
2330 licenses were popular among their users because people still held out the
2331 dream of having a major record label discover their work.
2332     </p><p>
2333       Other times the decision to use a more restrictive license is due to a
2334 concern about the integrity of the work. For example, the nonprofit
2335 TeachAIDS uses a NoDerivs license for its educational materials because the
2336 medical subject matter is particularly important to get right.
2337     </p><p>
2338       There is no one right way. The NonCommercial and NoDerivs restrictions
2339 reflect the values and preferences of creators about how their creative work
2340 should be reused, just as the ShareAlike license reflects a different set of
2341 values, one that is less about controlling access to their own work and more
2342 about ensuring that whatever gets created with their work is available to
2343 all on the same terms. Since the beginning of the commons, people have been
2344 setting up structures that helped regulate the way in which shared resources
2345 were used. The CC licenses are an attempt to standardize norms across all
2346 domains.
2347     </p><p>
2348       Note
2349     </p><p>
2350       For more about the licenses including examples and tips on sharing your work
2351 in the digital commons, start with the Creative Commons page called
2352 <span class="quote">”<span class="quote">Share Your Work</span>”</span> at <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
2353     </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Del II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
2354     The twenty-four case studies in this section were chosen from hundreds of
2355 nominations received from Kickstarter backers, Creative Commons staff, and
2356 the global Creative Commons community. We selected eighty potential
2357 candidates that represented a mix of industries, content types, revenue
2358 streams, and parts of the world.  Twelve of the case studies were selected
2359 from that group based on votes cast by Kickstarter backers, and the other
2360 twelve were selected by us.
2361   </p><p>
2362     We did background research and conducted interviews for each case study,
2363 based on the same set of basic questions about the endeavor.  The idea for
2364 each case study is to tell the story about the endeavor and the role sharing
2365 plays within it, largely the way in which it was told to us by those we
2366 interviewed.
2367   </p><div class="toc"><p><b>Innehållsförteckning</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>Kapitel 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>
2368         Arduino is a for-profit open-source electronics platform and computer
2369 hardware and software company. Founded in 2005 in Italy.
2370       </p><p>
2371           <a class="ulink" href="http://www.arduino.cc" target="_top">http://www.arduino.cc</a>
2372         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
2373 copies (sales of boards, modules, shields, and kits), licensing a trademark
2374 (fees paid by those who want to sell Arduino products using their name)
2375       </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
2376       </p><p><span class="strong"><strong>Interviewees</strong></span>: David Cuartielles and Tom
2377 Igoe, cofounders
2378       </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}
2379     \textit{
2380         Profile written by Paul Stacey
2381       }
2382     \end{flushright}</td></tr></table></div><p>
2383       In 2005, at the Interaction Design Institute Ivrea in northern Italy,
2384 teachers and students needed an easy way to use electronics and programming
2385 to quickly prototype design ideas. As musicians, artists, and designers,
2386 they needed a platform that didn’t require engineering expertise. A group of
2387 teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe,
2388 Gianluca Martino, and David Mellis, built a platform that combined different
2389 open technologies. They called it Arduino. The platform integrated software,
2390 hardware, microcontrollers, and electronics. All aspects of the platform
2391 were openly licensed: hardware designs and documentation with the
2392 Attribution-Share-Alike license (CC BY-SA), and software with the GNU
2393 General Public License.
2394     </p><p>
2395       Arduino boards are able to read inputs—light on a sensor, a finger on a
2396 button, or a Twitter message—and turn it into outputs—activating a motor,
2397 turning on an LED, publishing something online. You send a set of
2398 instructions to the microcontroller on the board by using the Arduino
2399 programming language and Arduino software (based on a piece of open-source
2400 software called Processing, a programming tool used to make visual art).
2401     </p><p><span class="quote">”<span class="quote">The reasons for making Arduino open source are complicated,</span>”</span>
2402 Tom says. Partly it was about supporting flexibility. The open-source nature
2403 of Arduino empowers users to modify it and create a lot of different
2404 variations, adding on top of what the founders build. David says this
2405 <span class="quote">”<span class="quote">ended up strengthening the platform far beyond what we had even
2406 thought of building.</span>”</span>
2407     </p><p>
2408       For Tom another factor was the impending closure of the Ivrea design
2409 school. He’d seen other organizations close their doors and all their work
2410 and research just disappear. Open-sourcing ensured that Arduino would
2411 outlive the Ivrea closure. Persistence is one thing Tom really likes about
2412 open source. If key people leave, or a company shuts down, an open-source
2413 product lives on. In Tom’s view, <span class="quote">”<span class="quote">Open sourcing makes it easier to
2414 trust a product.</span>”</span>
2415     </p><p>
2416       With the school closing, David and some of the other Arduino founders
2417 started a consulting firm and multidisciplinary design studio they called
2418 Tinker, in London. Tinker designed products and services that bridged the
2419 digital and the physical, and they taught people how to use new technologies
2420 in creative ways.  Revenue from Tinker was invested in sustaining and
2421 enhancing Arduino.
2422     </p><p>
2423       For Tom, part of Arduino’s success is because the founders made themselves
2424 the first customer of their product. They made products they themselves
2425 personally wanted. It was a matter of <span class="quote">”<span class="quote">I need this thing,</span>”</span> not
2426 <span class="quote">”<span class="quote">If we make this, we’ll make a lot of money.</span>”</span> Tom notes that
2427 being your own first customer makes you more confident and convincing at
2428 selling your product.
2429     </p><p>
2430       Arduino’s business model has evolved over time—and Tom says model is a
2431 grandiose term for it. Originally, they just wanted to make a few boards and
2432 get them out into the world. They started out with two hundred boards, sold
2433 them, and made a little profit. They used that to make another thousand,
2434 which generated enough revenue to make five thousand. In the early days,
2435 they simply tried to generate enough funding to keep the venture going day
2436 to day. When they hit the ten thousand mark, they started to think about
2437 Arduino as a company. By then it was clear you can open-source the design
2438 but still manufacture the physical product. As long as it’s a quality
2439 product and sold at a reasonable price, people will buy it.
2440     </p><p>
2441       Arduino now has a worldwide community of makers—students, hobbyists,
2442 artists, programmers, and professionals. Arduino provides a wiki called
2443 Playground (a wiki is where all users can edit and add pages, contributing
2444 to and benefiting from collective research). People share code, circuit
2445 diagrams, tutorials, DIY instructions, and tips and tricks, and show off
2446 their projects. In addition, there’s a multilanguage discussion forum where
2447 users can get help using Arduino, discuss topics like robotics, and make
2448 suggestions for new Arduino product designs. As of January 2017, 324,928
2449 members had made 2,989,489 posts on 379,044 topics. The worldwide community
2450 of makers has contributed an incredible amount of accessible knowledge
2451 helpful to novices and experts alike.
2452     </p><p>
2453       Transitioning Arduino from a project to a company was a big step.  Other
2454 businesses who made boards were charging a lot of money for them. Arduino
2455 wanted to make theirs available at a low price to people across a wide range
2456 of industries. As with any business, pricing was key. They wanted prices
2457 that would get lots of customers but were also high enough to sustain the
2458 business.
2459     </p><p>
2460       For a business, getting to the end of the year and not being in the red is a
2461 success. Arduino may have an open-licensing strategy, but they are still a
2462 business, and all the things needed to successfully run one still
2463 apply. David says, <span class="quote">”<span class="quote">If you do those other things well, sharing things
2464 in an open-source way can only help you.</span>”</span>
2465     </p><p>
2466       While openly licensing the designs, documentation, and software ensures
2467 longevity, it does have risks. There’s a possibility that others will create
2468 knockoffs, clones, and copies. The CC BY-SA license means anyone can produce
2469 copies of their boards, redesign them, and even sell boards that copy the
2470 design. They don’t have to pay a license fee to Arduino or even ask
2471 permission. However, if they republish the design of the board, they have to
2472 give attribution to Arduino. If they change the design, they must release
2473 the new design using the same Creative Commons license to ensure that the
2474 new version is equally free and open.
2475     </p><p>
2476       Tom and David say that a lot of people have built companies off of Arduino,
2477 with dozens of Arduino derivatives out there. But in contrast to closed
2478 business models that can wring money out of the system over many years
2479 because there is no competition, Arduino founders saw competition as keeping
2480 them honest, and aimed for an environment of collaboration. A benefit of
2481 open over closed is the many new ideas and designs others have contributed
2482 back to the Arduino ecosystem, ideas and designs that Arduino and the
2483 Arduino community use and incorporate into new products.
2484     </p><p>
2485       Over time, the range of Arduino products has diversified, changing and
2486 adapting to new needs and challenges. In addition to simple entry level
2487 boards, new products have been added ranging from enhanced boards that
2488 provide advanced functionality and faster performance, to boards for
2489 creating Internet of Things applications, wearables, and 3-D printing. The
2490 full range of official Arduino products includes boards, modules (a smaller
2491 form-factor of classic boards), shields (elements that can be plugged onto a
2492 board to give it extra features), and kits.<a href="#ftn.idm884" class="footnote" name="idm884"><sup class="footnote">[112]</sup></a>
2493     </p><p>
2494       Arduino’s focus is on high-quality boards, well-designed support materials,
2495 and the building of community; this focus is one of the keys to their
2496 success. And being open lets you build a real community. David says
2497 Arduino’s community is a big strength and something that really does
2498 matter—in his words, <span class="quote">”<span class="quote">It’s good business.</span>”</span> When they started,
2499 the Arduino team had almost entirely no idea how to build a community. They
2500 started by conducting numerous workshops, working directly with people using
2501 the platform to make sure the hardware and software worked the way it was
2502 meant to work and solved people’s problems. The community grew organically
2503 from there.
2504     </p><p>
2505       A key decision for Arduino was trademarking the name. The founders needed a
2506 way to guarantee to people that they were buying a quality product from a
2507 company committed to open-source values and knowledge sharing. Trademarking
2508 the Arduino name and logo expresses that guarantee and helps customers
2509 easily identify their products, and the products sanctioned by them. If
2510 others want to sell boards using the Arduino name and logo, they have to pay
2511 a small fee to Arduino. This allows Arduino to scale up manufacturing and
2512 distribution while at the same time ensuring the Arduino brand isn’t hurt by
2513 low-quality copies.
2514     </p><p>
2515       Current official manufacturers are Smart Projects in Italy, SparkFun in the
2516 United States, and Dog Hunter in Taiwan/China.  These are the only
2517 manufacturers that are allowed to use the Arduino logo on their
2518 boards. Trademarking their brand provided the founders with a way to protect
2519 Arduino, build it out further, and fund software and tutorial
2520 development. The trademark-licensing fee for the brand became Arduino’s
2521 revenue-generating model.
2522     </p><p>
2523       How far to open things up wasn’t always something the founders perfectly
2524 agreed on. David, who was always one to advocate for opening things up more,
2525 had some fears about protecting the Arduino name, thinking people would be
2526 mad if they policed their brand. There was some early backlash with a
2527 project called Freeduino, but overall, trademarking and branding has been a
2528 critical tool for Arduino.
2529     </p><p>
2530       David encourages people and businesses to start by sharing everything as a
2531 default strategy, and then think about whether there is anything that really
2532 needs to be protected and why. There are lots of good reasons to not open up
2533 certain elements. This strategy of sharing everything is certainly the
2534 complete opposite of how today’s world operates, where nothing is
2535 shared. Tom suggests a business formalize which elements are based on open
2536 sharing and which are closed. An Arduino blog post from 2013 entitled
2537 <span class="quote">”<span class="quote">Send In the Clones,</span>”</span> by one of the founders Massimo Banzi,
2538 does a great job of explaining the full complexities of how trademarking
2539 their brand has played out, distinguishing between official boards and those
2540 that are clones, derivatives, compatibles, and counterfeits.<a href="#ftn.idm894" class="footnote" name="idm894"><sup class="footnote">[113]</sup></a>
2541     </p><p>
2542       For David, an exciting aspect of Arduino is the way lots of people can use
2543 it to adapt technology in many different ways. Technology is always making
2544 more things possible but doesn’t always focus on making it easy to use and
2545 adapt. This is where Arduino steps in.  Arduino’s goal is <span class="quote">”<span class="quote">making
2546 things that help other people make things.</span>”</span>
2547     </p><p>
2548       Arduino has been hugely successful in making technology and electronics
2549 reach a larger audience. For Tom, Arduino has been about <span class="quote">”<span class="quote">the
2550 democratization of technology.</span>”</span> Tom sees Arduino’s open-source
2551 strategy as helping the world get over the idea that technology has to be
2552 protected. Tom says, <span class="quote">”<span class="quote">Technology is a literacy everyone should
2553 learn.</span>”</span>
2554     </p><p>
2555       Ultimately, for Arduino, going open has been good business—good for product
2556 development, good for distribution, good for pricing, and good for
2557 manufacturing.
2558     </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>Kapitel 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>
2559         Ártica provides online courses and consulting services focused on how to use
2560 digital technology to share knowledge and enable collaboration in arts and
2561 culture. Founded in 2011 in Uruguay.
2562       </p><p>
2563           <a class="ulink" href="http://www.articaonline.com" target="_top">http://www.articaonline.com</a>
2564         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
2565 services
2566       </p><p><span class="strong"><strong>Interview date</strong></span>: March 9, 2016
2567       </p><p><span class="strong"><strong>Interviewees</strong></span>: Mariana Fossatti and Jorge
2568 Gemetto, cofounders
2569       </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}
2570     \textit{
2571         Profile written by Sarah Hinchliff Pearson
2572       }
2573     \end{flushright}</td></tr></table></div><p>
2574       The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
2575 ultimate example of DIY. Not only are they successful entrepreneurs, the
2576 niche in which their small business operates is essentially one they built
2577 themselves.
2578     </p><p>
2579       Their dream jobs didn’t exist, so they created them.
2580     </p><p>
2581       In 2011, Mariana was a sociologist working for an international organization
2582 to develop research and online education about rural-development
2583 issues. Jorge was a psychologist, also working in online education. Both
2584 were bloggers and heavy users of social media, and both had a passion for
2585 arts and culture. They decided to take their skills in digital technology
2586 and online learning and apply them to a topic area they loved. They launched
2587 Ártica, an online business that provides education and consulting for people
2588 and institutions creating artistic and cultural projects on the Internet.
2589     </p><p>
2590       Ártica feels like a uniquely twenty-first century business. The small
2591 company has a global online presence with no physical offices. Jorge and
2592 Mariana live in Uruguay, and the other two full-time employees, who Jorge
2593 and Mariana have never actually met in person, live in Spain. They started
2594 by creating a MOOC (massive open online course) about remix culture and
2595 collaboration in the arts, which gave them a direct way to reach an
2596 international audience, attracting students from across Latin America and
2597 Spain.  In other words, it is the classic Internet story of being able to
2598 directly tap into an audience without relying upon gatekeepers or
2599 intermediaries.
2600     </p><p>
2601       Ártica offers personalized education and consulting services, and helps
2602 clients implement projects. All of these services are customized. They call
2603 it an <span class="quote">”<span class="quote">artisan</span>”</span> process because of the time and effort it takes
2604 to adapt their work for the particular needs of students and
2605 clients. <span class="quote">”<span class="quote">Each student or client is paying for a specific solution to
2606 his or her problems and questions,</span>”</span> Mariana said. Rather than sell
2607 access to their content, they provide it for free and charge for the
2608 personalized services.
2609     </p><p>
2610       When they started, they offered a smaller number of courses designed to
2611 attract large audiences. <span class="quote">”<span class="quote">Over the years, we realized that online
2612 communities are more specific than we thought,</span>”</span> Mariana said. Ártica
2613 now provides more options for classes and has lower enrollment in each
2614 course. This means they can provide more attention to individual students
2615 and offer classes on more specialized topics.
2616     </p><p>
2617       Online courses are their biggest revenue stream, but they also do more than
2618 a dozen consulting projects each year, ranging from digitization to event
2619 planning to marketing campaigns. Some are significant in scope, particularly
2620 when they work with cultural institutions, and some are smaller projects
2621 commissioned by individual artists.
2622     </p><p>
2623       Ártica also seeks out public and private funding for specific
2624 projects. Sometimes, even if they are unsuccessful in subsidizing a project
2625 like a new course or e-book, they will go ahead because they believe in
2626 it. They take the stance that every new project leads them to something new,
2627 every new resource they create opens new doors.
2628     </p><p>
2629       Ártica relies heavily on their free Creative Commons–licensed content to
2630 attract new students and clients. Everything they create—online education,
2631 blog posts, videos—is published under an Attribution-ShareAlike license (CC
2632 BY-SA). <span class="quote">”<span class="quote">We use a ShareAlike license because we want to give the
2633 greatest freedom to our students and readers, and we also want that freedom
2634 to be viral,</span>”</span> Jorge said. For them, giving others the right to reuse
2635 and remix their content is a fundamental value. <span class="quote">”<span class="quote">How can you offer an
2636 online educational service without giving permission to download, make and
2637 keep copies, or print the educational resources?</span>”</span> Jorge
2638 said. <span class="quote">”<span class="quote">If we want to do the best for our students—those who trust in
2639 us to the point that they are willing to pay online without face-to-face
2640 contact—we have to offer them a fair and ethical agreement.</span>”</span>
2641     </p><p>
2642       They also believe sharing their ideas and expertise openly helps them build
2643 their reputation and visibility. People often share and cite their work. A
2644 few years ago, a publisher even picked up one of their e-books and
2645 distributed printed copies. Ártica views reuse of their work as a way to
2646 open up new opportunities for their business.
2647     </p><p>
2648       This belief that openness creates new opportunities reflects another
2649 belief—in serendipity. When describing their process for creating content,
2650 they spoke of all of the spontaneous and organic ways they find
2651 inspiration. <span class="quote">”<span class="quote">Sometimes, the collaborative process starts with a
2652 conversation between us, or with friends from other projects,</span>”</span> Jorge
2653 said. <span class="quote">”<span class="quote">That can be the first step for a new blog post or another
2654 simple piece of content, which can evolve to a more complex product in the
2655 future, like a course or a book.</span>”</span>
2656     </p><p>
2657       Rather than planning their work in advance, they let their creative process
2658 be dynamic. <span class="quote">”<span class="quote">This doesn’t mean that we don’t need to work hard in
2659 order to get good professional results, but the design process is more
2660 flexible,</span>”</span> Jorge said. They share early and often, and they adjust
2661 based on what they learn, always exploring and testing new ideas and ways of
2662 operating. In many ways, for them, the process is just as important as the
2663 final product.
2664     </p><p>
2665       People and relationships are also just as important, sometimes
2666 more. <span class="quote">”<span class="quote">In the educational and cultural business, it is more important
2667 to pay attention to people and process, rather than content or specific
2668 formats or materials,</span>”</span> Mariana said.  <span class="quote">”<span class="quote">Materials and content
2669 are fluid. The important thing is the relationships.</span>”</span>
2670     </p><p>
2671       Ártica believes in the power of the network. They seek to make connections
2672 with people and institutions across the globe so they can learn from them
2673 and share their knowledge.
2674     </p><p>
2675       At the core of everything Ártica does is a set of values.  <span class="quote">”<span class="quote">Good
2676 content is not enough,</span>”</span> Jorge said. <span class="quote">”<span class="quote">We also think that it is
2677 very important to take a stand for some things in the cultural
2678 sector.</span>”</span> Mariana and Jorge are activists. They defend free culture
2679 (the movement promoting the freedom to modify and distribute creative work)
2680 and work to demonstrate the intersection between free culture and other
2681 social-justice movements. Their efforts to involve people in their work and
2682 enable artists and cultural institutions to better use technology are all
2683 tied closely to their belief system.  Ultimately, what drives their work is
2684 a mission to democratize art and culture.
2685     </p><p>
2686       Of course, Ártica also has to make enough money to cover its expenses. Human
2687 resources are, by far, their biggest expense. They tap a network of
2688 collaborators on a case-by-case basis and hire contractors for specific
2689 projects. Whenever possible, they draw from artistic and cultural resources
2690 in the commons, and they rely on free software. Their operation is small,
2691 efficient, and sustainable, and because of that, it is a success.
2692     </p><p><span class="quote">”<span class="quote">There are lots of people offering online courses,</span>”</span> Jorge
2693 said. <span class="quote">”<span class="quote">But it is easy to differentiate us. We have an approach that is
2694 very specific and personal.</span>”</span> Ártica’s model is rooted in the personal
2695 at every level. For Mariana and Jorge, success means doing what brings them
2696 personal meaning and purpose, and doing it sustainably and collaboratively.
2697     </p><p>
2698       In their work with younger artists, Mariana and Jorge try to emphasize that
2699 this model of success is just as valuable as the picture of success we get
2700 from the media. <span class="quote">”<span class="quote">If they seek only the traditional type of success,
2701 they will get frustrated,</span>”</span> Mariana said. <span class="quote">”<span class="quote">We try to show them
2702 another image of what it looks like.</span>”</span>
2703     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Kapitel 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>
2704         The Blender Institute is an animation studio that creates 3-D films using
2705 Blender software. Founded in 2006 in the Netherlands.
2706       </p><p>
2707           <a class="ulink" href="http://www.blender.org" target="_top">http://www.blender.org</a>
2708         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
2709 (subscription-based), charging for physical copies, selling merchandise
2710       </p><p><span class="strong"><strong>Interview date</strong></span>: March 8, 2016
2711       </p><p><span class="strong"><strong>Interviewee</strong></span>: Francesco Siddi, production
2712 coordinator
2713       </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}
2714     \textit{
2715         Profile written by Sarah Hinchliff Pearson
2716       }
2717     \end{flushright}</td></tr></table></div><p>
2718       For Ton Roosendaal, the creator of Blender software and its related
2719 entities, sharing is practical. Making their 3-D content creation software
2720 available under a free software license has been integral to its development
2721 and popularity. Using that software to make movies that were licensed with
2722 Creative Commons pushed that development even further. Sharing enables
2723 people to participate and to interact with and build upon the technology and
2724 content they create in a way that benefits Blender and its community in
2725 concrete ways.
2726     </p><p>
2727       Each open-movie project Blender runs produces a host of openly licensed
2728 outputs, not just the final film itself but all of the source material as
2729 well. The creative process also enhances the development of the Blender
2730 software because the technical team responds directly to the needs of the
2731 film production team, creating tools and features that make their lives
2732 easier. And, of course, each project involves a long, rewarding process for
2733 the creative and technical community working together.
2734     </p><p>
2735       Rather than just talking about the theoretical benefits of sharing and free
2736 culture, Ton is very much about doing and making free culture. Blender’s
2737 production coordinator Francesco Siddi told us, <span class="quote">”<span class="quote">Ton believes if you
2738 don’t make content using your tools, then you’re not doing anything.</span>”</span>
2739     </p><p>
2740       Blender’s history begins in the late 1990s, when Ton created the Blender
2741 software. Originally, the software was an in-house resource for his
2742 animation studio based in the Netherlands.  Investors became interested in
2743 the software, so he began marketing the software to the public, offering a
2744 free version in addition to a paid version. Sales were disappointing, and
2745 his investors gave up on the endeavor in the early 2000s. He made a deal
2746 with investors—if he could raise enough money, he could then make the
2747 Blender software available under the GNU General Public License.
2748     </p><p>
2749       This was long before Kickstarter and other online crowdfunding sites
2750 existed, but Ton ran his own version of a crowdfunding campaign and quickly
2751 raised the money he needed. The Blender software became freely available for
2752 anyone to use. Simply applying the General Public License to the software,
2753 however, was not enough to create a thriving community around it. Francesco
2754 told us, <span class="quote">”<span class="quote">Software of this complexity relies on people and their
2755 vision of how people work together. Ton is a fantastic community builder and
2756 manager, and he put a lot of work into fostering a community of developers
2757 so that the project could live.</span>”</span>
2758     </p><p>
2759       Like any successful free and open-source software project, Blender developed
2760 quickly because the community could make fixes and
2761 improvements. <span class="quote">”<span class="quote">Software should be free and open to hack,</span>”</span>
2762 Francesco said. <span class="quote">”<span class="quote">Otherwise, everyone is doing the same thing in the
2763 dark for ten years.</span>”</span> Ton set up the Blender Foundation to oversee and
2764 steward the software development and maintenance.
2765     </p><p>
2766       After a few years, Ton began looking for new ways to push development of the
2767 software. He came up with the idea of creating CC-licensed films using the
2768 Blender software. Ton put a call online for all interested and skilled
2769 artists. Francesco said the idea was to get the best artists available, put
2770 them in a building together with the best developers, and have them work
2771 together.  They would not only produce high-quality openly licensed content,
2772 they would improve the Blender software in the process.
2773     </p><p>
2774       They turned to crowdfunding to subsidize the costs of the project.  They had
2775 about twenty people working full-time for six to ten months, so the costs
2776 were significant. Francesco said that when their crowdfunding campaign
2777 succeeded, people were astounded.  <span class="quote">”<span class="quote">The idea that making money was
2778 possible by producing CC-licensed material was mind-blowing to
2779 people,</span>”</span> he said.  <span class="quote">”<span class="quote">They were like, <span class="quote">’<span class="quote">I have to see it to
2780 believe it.</span>’</span></span>”</span>
2781     </p><p>
2782       The first film, which was released in 2006, was an experiment. It was so
2783 successful that Ton decided to set up the Blender Institute, an entity
2784 dedicated to hosting open-movie projects. The Blender Institute’s next
2785 project was an even bigger success. The film, Big Buck Bunny, went viral,
2786 and its animated characters were picked up by marketers.
2787     </p><p>
2788       Francesco said that, over time, the Blender Institute projects have gotten
2789 bigger and more prominent. That means the filmmaking process has become more
2790 complex, combining technical experts and artists who focus on
2791 storytelling. Francesco says the process is almost on an industrial scale
2792 because of the number of moving parts. This requires a lot of specialized
2793 assistance, but the Blender Institute has no problem finding the talent it
2794 needs to help on projects. <span class="quote">”<span class="quote">Blender hardly does any recruiting for
2795 film projects because the talent emerges naturally,</span>”</span> Francesco
2796 said. <span class="quote">”<span class="quote">So many people want to work with us, and we can’t always hire
2797 them because of budget constraints.</span>”</span>
2798     </p><p>
2799       Blender has had a lot of success raising money from its community over the
2800 years. In many ways, the pitch has gotten easier to make.  Not only is
2801 crowdfunding simply more familiar to the public, but people know and trust
2802 Blender to deliver, and Ton has developed a reputation as an effective
2803 community leader and visionary for their work. <span class="quote">”<span class="quote">There is a whole
2804 community who sees and understands the benefit of these projects,</span>”</span>
2805 Francesco said.
2806     </p><p>
2807       While these benefits of each open-movie project make a compelling pitch for
2808 crowdfunding campaigns, Francesco told us the Blender Institute has found
2809 some limitations in the standard crowdfunding model where you propose a
2810 specific project and ask for funding.  <span class="quote">”<span class="quote">Once a project is over,
2811 everyone goes home,</span>”</span> he said. <span class="quote">”<span class="quote">It is great fun, but then it
2812 ends. That is a problem.</span>”</span>
2813     </p><p>
2814       To make their work more sustainable, they needed a way to receive ongoing
2815 support rather than on a project-by-project basis. Their solution is Blender
2816 Cloud, a subscription-style crowdfunding model akin to the online
2817 crowdfunding platform, Patreon. For about ten euros each month, subscribers
2818 get access to download everything the Blender Institute produces—software,
2819 art, training, and more.  All of the assets are available under an
2820 Attribution license (CC BY) or placed in the public domain (CC0), but they
2821 are initially made available only to subscribers. Blender Cloud enables
2822 subscribers to follow Blender’s movie projects as they develop, sharing
2823 detailed information and content used in the creative process. Blender Cloud
2824 also has extensive training materials and libraries of characters and other
2825 assets used in various projects.
2826     </p><p>
2827       The continuous financial support provided by Blender Cloud subsidizes five
2828 to six full-time employees at the Blender Institute. Francesco says their
2829 goal is to grow their subscriber base. <span class="quote">”<span class="quote">This is our freedom,</span>”</span>
2830 he told us, <span class="quote">”<span class="quote">and for artists, freedom is everything.</span>”</span>
2831     </p><p>
2832       Blender Cloud is the primary revenue stream of the Blender Institute. The
2833 Blender Foundation is funded primarily by donations, and that money goes
2834 toward software development and maintenance. The revenue streams of the
2835 Institute and Foundation are deliberately kept separate. Blender also has
2836 other revenue streams, such as the Blender Store, where people can purchase
2837 DVDs, T-shirts, and other Blender products.
2838     </p><p>
2839       Ton has worked on projects relating to his Blender software for nearly
2840 twenty years. Throughout most of that time, he has been committed to making
2841 the software and the content produced with the software free and
2842 open. Selling a license has never been part of the business model.
2843     </p><p>
2844       Since 2006, he has been making films available along with all of their
2845 source material. He says he has hardly ever seen people stepping into
2846 Blender’s shoes and trying to make money off of their content. Ton believes
2847 this is because the true value of what they do is in the creative and
2848 production process. <span class="quote">”<span class="quote">Even when you share everything, all your original
2849 sources, it still takes a lot of talent, skills, time, and budget to
2850 reproduce what you did,</span>”</span> Ton said.
2851     </p><p>
2852       For Ton and Blender, it all comes back to doing.
2853     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Kapitel 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>
2854         Cards Against Humanity is a private, for-profit company that makes a popular
2855 party game by the same name. Founded in 2011 in the U.S.
2856       </p><p>
2857           <a class="ulink" href="http://www.cardsagainsthumanity.com" target="_top">http://www.cardsagainsthumanity.com</a>
2858         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
2859 copies
2860       </p><p><span class="strong"><strong>Interview date</strong></span>: February 3, 2016
2861       </p><p><span class="strong"><strong>Interviewee</strong></span>: Max Temkin, cofounder
2862       </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}
2863     \textit{
2864         Profile written by Sarah Hinchliff Pearson
2865       }
2866     \end{flushright}</td></tr></table></div><p>
2867       If you ask cofounder Max Temkin, there is nothing particularly interesting
2868 about the Cards Against Humanity business model.  <span class="quote">”<span class="quote">We make a
2869 product. We sell it for money. Then we spend less money than we
2870 make,</span>”</span> Max said.
2871     </p><p>
2872       He is right. Cards Against Humanity is a simple party game, modeled after
2873 the game Apples to Apples. To play, one player asks a question or
2874 fill-in-the-blank statement from a black card, and the other players submit
2875 their funniest white card in response.  The catch is that all of the cards
2876 are filled with crude, gruesome, and otherwise awful things. For the right
2877 kind of people (<span class="quote">”<span class="quote">horrible people,</span>”</span> according to Cards Against
2878 Humanity advertising), this makes for a hilarious and fun game.
2879     </p><p>
2880       The revenue model is simple. Physical copies of the game are sold for a
2881 profit. And it works. At the time of this writing, Cards Against Humanity is
2882 the number-one best-selling item out of all toys and games on Amazon. There
2883 are official expansion packs available, and several official themed packs
2884 and international editions as well.
2885     </p><p>
2886       But Cards Against Humanity is also available for free. Anyone can download a
2887 digital version of the game on the Cards Against Humanity website. More than
2888 one million people have downloaded the game since the company began tracking
2889 the numbers.
2890     </p><p>
2891       The game is available under an Attribution-NonCommercial-ShareAlike license
2892 (CC BY-NC-SA). That means, in addition to copying the game, anyone can
2893 create new versions of the game as long as they make it available under the
2894 same noncommercial terms. The ability to adapt the game is like an entire
2895 new game unto itself.
2896     </p><p>
2897       All together, these factors—the crass tone of the game and company, the free
2898 download, the openness to fans remixing the game—give the game a massive
2899 cult following.
2900     </p><p>
2901       Their success is not the result of a grand plan. Instead, Cards Against
2902 Humanity was the last in a long line of games and comedy projects that Max
2903 Temkin and his friends put together for their own amusement. As Max tells
2904 the story, they made the game so they could play it themselves on New Year’s
2905 Eve because they were too nerdy to be invited to other parties. The game was
2906 a hit, so they decided to put it up online as a free PDF. People started
2907 asking if they could pay to have the game printed for them, and eventually
2908 they decided to run a Kickstarter to fund the printing.  They set their
2909 Kickstarter goal at $4,000—and raised $15,000. The game was officially
2910 released in May 2011.
2911     </p><p>
2912       The game caught on quickly, and it has only grown more popular over
2913 time. Max says the eight founders never had a meeting where they decided to
2914 make it an ongoing business. <span class="quote">”<span class="quote">It kind of just happened,</span>”</span> he
2915 said.
2916     </p><p>
2917       But this tale of a <span class="quote">”<span class="quote">happy accident</span>”</span> belies marketing
2918 genius. Just like the game, the Cards Against Humanity brand is irreverent
2919 and memorable. It is hard to forget a company that calls the FAQ on their
2920 website <span class="quote">”<span class="quote">Your dumb questions.</span>”</span>
2921     </p><p>
2922       Like most quality satire, however, there is more to the joke than vulgarity
2923 and shock value. The company’s marketing efforts around Black Friday
2924 illustrate this particularly well. For those outside the United States,
2925 Black Friday is the term for the day after the Thanksgiving holiday, the
2926 biggest shopping day of the year. It is an incredibly important day for
2927 Cards Against Humanity, like it is for all U.S. retailers. Max said they
2928 struggled with what to do on Black Friday because they didn’t want to
2929 support what he called the <span class="quote">”<span class="quote">orgy of consumerism</span>”</span> the day has
2930 become, particularly since it follows a day that is about being grateful for
2931 what you have. In 2013, after deliberating, they decided to have an
2932 Everything Costs $5 More sale.
2933     </p><p><span class="quote">”<span class="quote">We sweated it out the night before Black Friday, wondering if our
2934 fans were going to hate us for it,</span>”</span> he said.  <span class="quote">”<span class="quote">But it made us
2935 laugh so we went with it. People totally caught the joke.</span>”</span>
2936     </p><p>
2937       This sort of bold transparency delights the media, but more importantly, it
2938 engages their fans. <span class="quote">”<span class="quote">One of the most surprising things you can do in
2939 capitalism is just be honest with people,</span>”</span> Max said. <span class="quote">”<span class="quote">It shocks
2940 people that there is transparency about what you are doing.</span>”</span>
2941     </p><p>
2942       Max also likened it to a grand improv scene. <span class="quote">”<span class="quote">If we do something a
2943 little subversive and unexpected, the public wants to be a part of the
2944 joke.</span>”</span> One year they did a Give Cards Against Humanity $5 event,
2945 where people literally paid them five dollars for no reason. Their fans
2946 wanted to make the joke funnier by making it successful. They made $70,000
2947 in a single day.
2948     </p><p>
2949       This remarkable trust they have in their customers is what inspired their
2950 decision to apply a Creative Commons license to the game. Trusting your
2951 customers to reuse and remix your work requires a leap of faith. Cards
2952 Against Humanity obviously isn’t afraid of doing the unexpected, but there
2953 are lines even they do not want to cross. Before applying the license, Max
2954 said they worried that some fans would adapt the game to include all of the
2955 jokes they intentionally never made because they crossed that
2956 line. <span class="quote">”<span class="quote">It happened, and the world didn’t end,</span>”</span> Max
2957 said. <span class="quote">”<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
2958 times over because there are so many benefits.</span>”</span>
2959     </p><p>
2960       Any successful product inspires its biggest fans to create remixes of it,
2961 but unsanctioned adaptations are more likely to fly under the radar. The
2962 Creative Commons license gives fans of Cards Against Humanity the freedom to
2963 run with the game and copy, adapt, and promote their creations openly. Today
2964 there are thousands of fan expansions of the game.
2965     </p><p>
2966       Max said, <span class="quote">”<span class="quote">CC was a no-brainer for us because it gets the most people
2967 involved. Making the game free and available under a CC license led to the
2968 unbelievable situation where we are one of the best-marketed games in the
2969 world, and we have never spent a dime on marketing.</span>”</span>
2970     </p><p>
2971       Of course, there are limits to what the company allows its customers to do
2972 with the game. They chose the Attribution-NonCommercial-ShareAlike license
2973 because it restricts people from using the game to make money. It also
2974 requires that adaptations of the game be made available under the same
2975 licensing terms if they are shared publicly. Cards Against Humanity also
2976 polices its brand. <span class="quote">”<span class="quote">We feel like we’re the only ones who can use our
2977 brand and our game and make money off of it,</span>”</span> Max said. About 99.9
2978 percent of the time, they just send an email to those making commercial use
2979 of the game, and that is the end of it. There have only been a handful of
2980 instances where they had to get a lawyer involved.
2981     </p><p>
2982       Just as there is more than meets the eye to the Cards Against Humanity
2983 business model, the same can be said of the game itself.  To be playable,
2984 every white card has to work syntactically with enough black cards. The
2985 eight creators invest an incredible amount of work into creating new cards
2986 for the game. <span class="quote">”<span class="quote">We have daylong arguments about commas,</span>”</span> Max
2987 said. <span class="quote">”<span class="quote">The slacker tone of the cards gives people the impression that
2988 it is easy to write them, but it is actually a lot of work and
2989 quibbling.</span>”</span>
2990     </p><p>
2991       That means cocreation with their fans really doesn’t work. The company has a
2992 submission mechanism on their website, and they get thousands of
2993 suggestions, but it is very rare that a submitted card is adopted. Instead,
2994 the eight initial creators remain the primary authors of expansion decks and
2995 other new products released by the company. Interestingly, the creativity of
2996 their customer base is really only an asset to the company once their
2997 original work is created and published when people make their own
2998 adaptations of the game.
2999     </p><p>
3000       For all of their success, the creators of Cards Against Humanity are only
3001 partially motivated by money. Max says they have always been interested in
3002 the Walt Disney philosophy of financial success. <span class="quote">”<span class="quote">We don’t make jokes
3003 and games to make money—we make money so we can make more jokes and
3004 games,</span>”</span> he said.
3005     </p><p>
3006       In fact, the company has given more than $4 million to various charities and
3007 causes. <span class="quote">”<span class="quote">Cards is not our life plan,</span>”</span> Max said. <span class="quote">”<span class="quote">We all
3008 have other interests and hobbies. We are passionate about other things going
3009 on in our lives. A lot of the activism we have done comes out of us taking
3010 things from the rest of our lives and channeling some of the excitement from
3011 the game into it.</span>”</span>
3012     </p><p>
3013       Seeing money as fuel rather than the ultimate goal is what has enabled them
3014 to embrace Creative Commons licensing without reservation. CC licensing
3015 ended up being a savvy marketing move for the company, but nonetheless,
3016 giving up exclusive control of your work necessarily means giving up some
3017 opportunities to extract more money from customers.
3018     </p><p><span class="quote">”<span class="quote">It’s not right for everyone to release everything under CC
3019 licensing,</span>”</span> Max said. <span class="quote">”<span class="quote">If your only goal is to make a lot of
3020 money, then CC is not best strategy. This kind of business model, though,
3021 speaks to your values, and who you are and why you’re making things.</span>”</span>
3022     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Kapitel 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>
3023         The Conversation is an independent source of news, sourced from the academic
3024 and research community and delivered direct to the public over the
3025 Internet. Founded in 2011 in Australia.
3026       </p><p>
3027           <a class="ulink" href="http://theconversation.com" target="_top">http://theconversation.com</a>
3028         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
3029 (universities pay membership fees to have their faculties serve as writers),
3030 grant funding
3031       </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
3032       </p><p><span class="strong"><strong>Interviewee</strong></span>: Andrew Jaspan, founder
3033       </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}
3034     \textit{
3035         Profile written by Paul Stacey
3036       }
3037     \end{flushright}</td></tr></table></div><p>
3038       Andrew Jaspan spent years as an editor of major newspapers including the
3039 Observer in London, the Sunday Herald in Glasgow, and the Age in Melbourne,
3040 Australia. He experienced firsthand the decline of newspapers, including the
3041 collapse of revenues, layoffs, and the constant pressure to reduce
3042 costs. After he left the Age in 2005, his concern for the future journalism
3043 didn’t go away. Andrew made a commitment to come up with an alternative
3044 model.
3045     </p><p>
3046       Around the time he left his job as editor of the Melbourne Age, Andrew
3047 wondered where citizens would get news grounded in fact and evidence rather
3048 than opinion or ideology. He believed there was still an appetite for
3049 journalism with depth and substance but was concerned about the increasing
3050 focus on the sensational and sexy.
3051     </p><p>
3052       While at the Age, he’d become friends with a vice-chancellor of a university
3053 in Melbourne who encouraged him to talk to smart people across campus—an
3054 astrophysicist, a Nobel laureate, earth scientists, economists . . . These
3055 were the kind of smart people he wished were more involved in informing the
3056 world about what is going on and correcting the errors that appear in
3057 media. However, they were reluctant to engage with mass media. Often,
3058 journalists didn’t understand what they said, or unilaterally chose what
3059 aspect of a story to tell, putting out a version that these people felt was
3060 wrong or mischaracterized. Newspapers want to attract a mass
3061 audience. Scholars want to communicate serious news, findings, and
3062 insights. It’s not a perfect match. Universities are massive repositories of
3063 knowledge, research, wisdom, and expertise. But a lot of that stays behind a
3064 wall of their own making—there are the walled garden and ivory tower
3065 metaphors, and in more literal terms, the paywall. Broadly speaking,
3066 universities are part of society but disconnected from it. They are an
3067 enormous public resource but not that good at presenting their expertise to
3068 the wider public.
3069     </p><p>
3070       Andrew believed he could to help connect academics back into the public
3071 arena, and maybe help society find solutions to big problems. He thought
3072 about pairing professional editors with university and research experts,
3073 working one-on-one to refine everything from story structure to headline,
3074 captions, and quotes.  The editors could help turn something that is
3075 academic into something understandable and readable. And this would be a key
3076 difference from traditional journalism—the subject matter expert would get a
3077 chance to check the article and give final approval before it is
3078 published. Compare this with reporters just picking and choosing the quotes
3079 and writing whatever they want.
3080     </p><p>
3081       The people he spoke to liked this idea, and Andrew embarked on raising money
3082 and support with the help of the Commonwealth Scientific and Industrial
3083 Research Organisation (CSIRO), the University of Melbourne, Monash
3084 University, the University of Technology Sydney, and the University of
3085 Western Australia. These founding partners saw the value of an independent
3086 information channel that would also showcase the talent and knowledge of the
3087 university and research sector. With their help, in 2011, the Conversation,
3088 was launched as an independent news site in Australia. Everything published
3089 in the Conversation is openly licensed with Creative Commons.
3090     </p><p>
3091       The Conversation is founded on the belief that underpinning a functioning
3092 democracy is access to independent, high-quality, informative
3093 journalism. The Conversation’s aim is for people to have a better
3094 understanding of current affairs and complex issues—and hopefully a better
3095 quality of public discourse. The Conversation sees itself as a source of
3096 trusted information dedicated to the public good. Their core mission is
3097 simple: to provide readers with a reliable source of evidence-based
3098 information.
3099     </p><p>
3100       Andrew worked hard to reinvent a methodology for creating reliable, credible
3101 content. He introduced strict new working practices, a charter, and codes of
3102 conduct.<a href="#ftn.idm1075" class="footnote" name="idm1075"><sup class="footnote">[114]</sup></a> These include fully disclosing
3103 who every author is (with their relevant expertise); who is funding their
3104 research; and if there are any potential or real conflicts of interest. Also
3105 important is where the content originates, and even though it comes from the
3106 university and research community, it still needs to be fully disclosed. The
3107 Conversation does not sit behind a paywall. Andrew believes access to
3108 information is an issue of equality—everyone should have access, like access
3109 to clean water.  The Conversation is committed to an open and free
3110 Internet.  Everyone should have free access to their content, and be able to
3111 share it or republish it.
3112     </p><p>
3113       Creative Commons help with these goals; articles are published with the
3114 Attribution- NoDerivs license (CC BY-ND). They’re freely available for
3115 others to republish elsewhere as long as attribution is given and the
3116 content is not edited. Over five years, more than twenty-two thousand sites
3117 have republished their content. The Conversation website gets about 2.9
3118 million unique views per month, but through republication they have
3119 thirty-five million readers. This couldn’t have been done without the
3120 Creative Commons license, and in Andrew’s view, Creative Commons is central
3121 to everything the Conversation does.
3122     </p><p>
3123       When readers come across the Conversation, they seem to like what they find
3124 and recommend it to their friends, peers, and networks.  Readership has
3125 grown primarily through word of mouth. While they don’t have sales and
3126 marketing, they do promote their work through social media (including
3127 Twitter and Facebook), and by being an accredited supplier to Google News.
3128     </p><p>
3129       It’s usual for the founders of any company to ask themselves what kind of
3130 company it should be. It quickly became clear to the founders of the
3131 Conversation that they wanted to create a public good rather than make money
3132 off of information. Most media companies are working to aggregate as many
3133 eyeballs as possible and sell ads. The Conversation founders didn’t want
3134 this model. It takes no advertising and is a not-for-profit venture.
3135     </p><p>
3136       There are now different editions of the Conversation for Africa, the United
3137 Kingdom, France, and the United States, in addition to the one for
3138 Australia. All five editions have their own editorial mastheads, advisory
3139 boards, and content. The Conversation’s global virtual newsroom has roughly
3140 ninety staff working with thirty-five thousand academics from over sixteen
3141 hundred universities around the world. The Conversation would like to be
3142 working with university scholars from even more parts of the world.
3143     </p><p>
3144       Additionally, each edition has its own set of founding partners, strategic
3145 partners, and funders. They’ve received funding from foundations,
3146 corporates, institutions, and individual donations, but the Conversation is
3147 shifting toward paid memberships by universities and research institutions
3148 to sustain operations. This would safeguard the current service and help
3149 improve coverage and features.
3150     </p><p>
3151       When professors from member universities write an article, there is some
3152 branding of the university associated with the article. On the Conversation
3153 website, paying university members are listed as <span class="quote">”<span class="quote">members and
3154 funders.</span>”</span> Early participants may be designated as <span class="quote">”<span class="quote">founding
3155 members,</span>”</span> with seats on the editorial advisory board.
3156     </p><p>
3157       Academics are not paid for their contributions, but they get free editing
3158 from a professional (four to five hours per piece, on average). They also
3159 get access to a large audience. Every author and member university has
3160 access to a special analytics dashboard where they can check the reach of an
3161 article. The metrics include what people are tweeting, the comments,
3162 countries the readership represents, where the article is being republished,
3163 and the number of readers per article.
3164     </p><p>
3165       The Conversation plans to expand the dashboard to show not just reach but
3166 impact. This tracks activities, behaviors, and events that occurred as a
3167 result of publication, including things like a scholar being asked to go on
3168 a show to discuss their piece, give a talk at a conference, collaborate,
3169 submit a journal paper, and consult a company on a topic.
3170     </p><p>
3171       These reach and impact metrics show the benefits of membership.  With the
3172 Conversation, universities can engage with the public and show why they’re
3173 of value.
3174     </p><p>
3175       With its tagline, <span class="quote">”<span class="quote">Academic Rigor, Journalistic Flair,</span>”</span> the
3176 Conversation represents a new form of journalism that contributes to a more
3177 informed citizenry and improved democracy around the world. Its open
3178 business model and use of Creative Commons show how it’s possible to
3179 generate both a public good and operational revenue at the same time.
3180     </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>Kapitel 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>
3181         Cory Doctorow is a science fiction writer, activist, blogger, and
3182 journalist. Based in the U.S.
3183       </p><p><a class="ulink" href="http://craphound.com" target="_top">http://craphound.com</a> and <a class="ulink" href="http://boingboing.net" target="_top">http://boingboing.net</a>
3184       </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
3185 copies (book sales), pay-what-you-want, selling translation rights to books
3186       </p><p><span class="strong"><strong>Interview date</strong></span>: January 12, 2016
3187       </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}
3188     \textit{
3189         Profile written by Sarah Hinchliff Pearson
3190       }
3191     \end{flushright}</td></tr></table></div><p>
3192       Cory Doctorow hates the term <span class="quote">”<span class="quote">business model,</span>”</span> and he is
3193 adamant that he is not a brand. <span class="quote">”<span class="quote">To me, branding is the idea that you
3194 can take a thing that has certain qualities, remove the qualities, and go on
3195 selling it,</span>”</span> he said. <span class="quote">”<span class="quote">I’m not out there trying to figure out
3196 how to be a brand. I’m doing this thing that animates me to work crazy
3197 insane hours because it’s the most important thing I know how to do.</span>”</span>
3198     </p><p>
3199       Cory calls himself an entrepreneur. He likes to say his success came from
3200 making stuff people happened to like and then getting out of the way of them
3201 sharing it.
3202     </p><p>
3203       He is a science fiction writer, activist, blogger, and journalist.
3204 Beginning with his first novel, Down and Out in the Magic Kingdom, in 2003,
3205 his work has been published under a Creative Commons license. Cory is
3206 coeditor of the popular CC-licensed site Boing Boing, where he writes about
3207 technology, politics, and intellectual property. He has also written several
3208 nonfiction books, including the most recent Information Doesn’t Want to Be
3209 Free, about the ways in which creators can make a living in the Internet
3210 age.
3211     </p><p>
3212       Cory primarily makes money by selling physical books, but he also takes on
3213 paid speaking gigs and is experimenting with pay-what-you-want models for
3214 his work.
3215     </p><p>
3216       While Cory’s extensive body of fiction work has a large following, he is
3217 just as well known for his activism. He is an outspoken opponent of
3218 restrictive copyright and digital-rights-management (DRM) technology used to
3219 lock up content because he thinks both undermine creators and the public
3220 interest. He is currently a special adviser at the Electronic Frontier
3221 Foundation, where he is involved in a lawsuit challenging the U.S. law that
3222 protects DRM.  Cory says his political work doesn’t directly make him money,
3223 but if he gave it up, he thinks he would lose credibility and, more
3224 importantly, lose the drive that propels him to create. <span class="quote">”<span class="quote">My political
3225 work is a different expression of the same artistic-political urge,</span>”</span>
3226 he said. <span class="quote">”<span class="quote">I have this suspicion that if I gave up the things that
3227 didn’t make me money, the genuineness would leach out of what I do, and the
3228 quality that causes people to like what I do would be gone.</span>”</span>
3229     </p><p>
3230       Cory has been financially successful, but money is not his primary
3231 motivation. At the start of his book Information Doesn’t Want to Be Free, he
3232 stresses how important it is not to become an artist if your goal is to get
3233 rich. <span class="quote">”<span class="quote">Entering the arts because you want to get rich is like buying
3234 lottery tickets because you want to get rich,</span>”</span> he wrote. <span class="quote">”<span class="quote">It
3235 might work, but it almost certainly won’t. Though, of course, someone always
3236 wins the lottery.</span>”</span> He acknowledges that he is one of the lucky few to
3237 <span class="quote">”<span class="quote">make it,</span>”</span> but he says he would be writing no matter
3238 what. <span class="quote">”<span class="quote">I am compelled to write,</span>”</span> he wrote.  <span class="quote">”<span class="quote">Long before
3239 I wrote to keep myself fed and sheltered, I was writing to keep myself
3240 sane.</span>”</span>
3241     </p><p>
3242       Just as money is not his primary motivation to create, money is not his
3243 primary motivation to share. For Cory, sharing his work with Creative
3244 Commons is a moral imperative. <span class="quote">”<span class="quote">It felt morally right,</span>”</span> he said
3245 of his decision to adopt Creative Commons licenses. <span class="quote">”<span class="quote">I felt like I
3246 wasn’t contributing to the culture of surveillance and censorship that has
3247 been created to try to stop copying.</span>”</span> In other words, using CC
3248 licenses symbolizes his worldview.
3249     </p><p>
3250       He also feels like there is a solid commercial basis for licensing his work
3251 with Creative Commons. While he acknowledges he hasn’t been able to do a
3252 controlled experiment to compare the commercial benefits of licensing with
3253 CC against reserving all rights, he thinks he has sold more books using a CC
3254 license than he would have without it. Cory says his goal is to convince
3255 people they should pay him for his work. <span class="quote">”<span class="quote">I started by not calling
3256 them thieves,</span>”</span> he said.
3257     </p><p>
3258       Cory started using CC licenses soon after they were first created.  At the
3259 time his first novel came out, he says the science fiction genre was overrun
3260 with people scanning and downloading books without permission. When he and
3261 his publisher took a closer look at who was doing that sort of thing online,
3262 they realized it looked a lot like book promotion. <span class="quote">”<span class="quote">I knew there was a
3263 relationship between having enthusiastic readers and having a successful
3264 career as a writer,</span>”</span> he said. <span class="quote">”<span class="quote">At the time, it took eighty
3265 hours to OCR a book, which is a big effort. I decided to spare them the time
3266 and energy, and give them the book for free in a format destined to
3267 spread.</span>”</span>
3268     </p><p>
3269       Cory admits the stakes were pretty low for him when he first adopted
3270 Creative Commons licenses. He only had to sell two thousand copies of his
3271 book to break even. People often said he was only able to use CC licenses
3272 successfully at that time because he was just starting out. Now they say he
3273 can only do it because he is an established author.
3274     </p><p>
3275       The bottom line, Cory says, is that no one has found a way to prevent people
3276 from copying the stuff they like. Rather than fighting the tide, Cory makes
3277 his work intrinsically shareable.  <span class="quote">”<span class="quote">Getting the hell out of the way
3278 for people who want to share their love of you with other people sounds
3279 obvious, but it’s remarkable how many people don’t do it,</span>”</span> he said.
3280     </p><p>
3281       Making his work available under Creative Commons licenses enables him to
3282 view his biggest fans as his ambassadors. <span class="quote">”<span class="quote">Being open to fan activity
3283 makes you part of the conversation about what fans do with your work and how
3284 they interact with it,</span>”</span> he said.  Cory’s own website routinely
3285 highlights cool things his audience has done with his work. Unlike
3286 corporations like Disney that tend to have a hands-off relationship with
3287 their fan activity, he has a symbiotic relationship with his
3288 audience. <span class="quote">”<span class="quote">Engaging with your audience can’t guarantee you
3289 success,</span>”</span> he said.  <span class="quote">”<span class="quote">And Disney is an example of being able to
3290 remain aloof and still being the most successful company in the creative
3291 industry in history. But I figure my likelihood of being Disney is pretty
3292 slim, so I should take all the help I can get.</span>”</span>
3293     </p><p>
3294       His first book was published under the most restrictive Creative Commons
3295 license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND).  It allows only
3296 verbatim copying for noncommercial purposes. His later work is published
3297 under the Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA), which
3298 gives people the right to adapt his work for noncommercial purposes but only
3299 if they share it back under the same license terms. Before releasing his
3300 work under a CC license that allows adaptations, he always sells the right
3301 to translate the book to other languages to a commercial publisher first. He
3302 wants to reach new potential buyers in other parts of the world, and he
3303 thinks it is more difficult to get people to pay for translations if there
3304 are fan translations already available for free.
3305     </p><p>
3306       In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
3307 to thinking like a dandelion. Dandelions produce thousands of seeds each
3308 spring, and they are blown into the air going in every direction. The
3309 strategy is to maximize the number of blind chances the dandelion has for
3310 continuing its genetic line. Similarly, he says there are lots of people out
3311 there who may want to buy creative work or compensate authors for it in some
3312 other way. <span class="quote">”<span class="quote">The more places your work can find itself, the greater the
3313 likelihood that it will find one of those would-be customers in some
3314 unsuspected crack in the metaphorical pavement,</span>”</span> he wrote. <span class="quote">”<span class="quote">The
3315 copies that others make of my work cost me nothing, and present the
3316 possibility that I’ll get something.</span>”</span>
3317     </p><p>
3318       Applying a CC license to his work increases the chances it will be shared
3319 more widely around the Web. He avoids DRM—and openly opposes the
3320 practice—for similar reasons. DRM has the effect of tying a work to a
3321 particular platform. This digital lock, in turn, strips the authors of
3322 control over their own work and hands that control over to the platform. He
3323 calls it Cory’s First Law: <span class="quote">”<span class="quote">Anytime someone puts a lock on something
3324 that belongs to you and won’t give you the key, that lock isn’t there for
3325 your benefit.</span>”</span>
3326     </p><p>
3327       Cory operates under the premise that artists benefit when there are more,
3328 rather than fewer, places where people can access their work. The Internet
3329 has opened up those avenues, but DRM is designed to limit them. <span class="quote">”<span class="quote">On
3330 the one hand, we can credibly make our work available to a widely dispersed
3331 audience,</span>”</span> he said. <span class="quote">”<span class="quote">On the other hand, the intermediaries we
3332 historically sold to are making it harder to go around them.</span>”</span> Cory
3333 continually looks for ways to reach his audience without relying upon major
3334 platforms that will try to take control over his work.
3335     </p><p>
3336       Cory says his e-book sales have been lower than those of his competitors,
3337 and he attributes some of that to the CC license making the work available
3338 for free. But he believes people are willing to pay for content they like,
3339 even when it is available for free, as long as it is easy to do. He was
3340 extremely successful using Humble Bundle, a platform that allows people to
3341 pay what they want for DRM-free versions of a bundle of a particular
3342 creator’s work. He is planning to try his own pay-what-you-want experiment
3343 soon.
3344     </p><p>
3345       Fans are particularly willing to pay when they feel personally connected to
3346 the artist. Cory works hard to create that personal connection. One way he
3347 does this is by personally answering every single email he gets. <span class="quote">”<span class="quote">If
3348 you look at the history of artists, most die in penury,</span>”</span> he
3349 said. <span class="quote">”<span class="quote">That reality means that for artists, we have to find ways to
3350 support ourselves when public tastes shift, when copyright stops producing.
3351 Future-proofing your artistic career in many ways means figuring out how to
3352 stay connected to those people who have been touched by your work.</span>”</span>
3353     </p><p>
3354       Cory’s realism about the difficulty of making a living in the arts does not
3355 reflect pessimism about the Internet age. Instead, he says the fact that it
3356 is hard to make a living as an artist is nothing new. What is new, he writes
3357 in his book, <span class="quote">”<span class="quote">is how many ways there are to make things, and to get
3358 them into other people’s hands and minds.</span>”</span>
3359     </p><p>
3360       It has never been easier to think like a dandelion.
3361     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Kapitel 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>
3362         Figshare is a for-profit company offering an online repository where
3363 researchers can preserve and share the output of their research, including
3364 figures, data sets, images, and videos.  Founded in 2011 in the UK.
3365       </p><p>
3366           <a class="ulink" href="http://figshare.com" target="_top">http://figshare.com</a>
3367         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
3368 services to creators
3369       </p><p><span class="strong"><strong>Interview date</strong></span>: January 28, 2016
3370       </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Hahnel, founder
3371       </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}
3372     \textit{
3373         Profile written by Paul Stacey
3374       }
3375     \end{flushright}</td></tr></table></div><p>
3376       Figshare’s mission is to change the face of academic publishing through
3377 improved dissemination, discoverability, and reusability of scholarly
3378 research. Figshare is a repository where users can make all the output of
3379 their research available—from posters and presentations to data sets and
3380 code—in a way that’s easy to discover, cite, and share. Users can upload any
3381 file format, which can then be previewed in a Web browser. Research output
3382 is disseminated in a way that the current scholarly-publishing model does
3383 not allow.
3384     </p><p>
3385       Figshare founder Mark Hahnel often gets asked: How do you make money? How do
3386 we know you’ll be here in five years? Can you, as a for-profit venture, be
3387 trusted? Answers have evolved over time.
3388     </p><p>
3389       Mark traces the origins of Figshare back to when he was a graduate student
3390 getting his PhD in stem cell biology. His research involved working with
3391 videos of stem cells in motion. However, when he went to publish his
3392 research, there was no way for him to also publish the videos, figures,
3393 graphs, and data sets. This was frustrating. Mark believed publishing his
3394 complete research would lead to more citations and be better for his career.
3395     </p><p>
3396       Mark does not consider himself an advanced software programmer.
3397 Fortunately, things like cloud-based computing and wikis had become
3398 mainstream, and he believed it ought to be possible to put all his research
3399 online and share it with anyone. So he began working on a solution.
3400     </p><p>
3401       There were two key needs: licenses to make the data citable, and persistent
3402 identifiers— URL links that always point back to the original object
3403 ensuring the research is citable for the long term.
3404     </p><p>
3405       Mark chose Digital Object Identifiers (DOIs) to meet the need for a
3406 persistent identifier. In the DOI system, an object’s metadata is stored as
3407 a series of numbers in the DOI name. Referring to an object by its DOI is
3408 more stable than referring to it by its URL, because the location of an
3409 object (the web page or URL) can often change. Mark partnered with DataCite
3410 for the provision of DOIs for research data.
3411     </p><p>
3412       As for licenses, Mark chose Creative Commons. The open-access and
3413 open-science communities were already using and recommending Creative
3414 Commons. Based on what was happening in those communities and Mark’s
3415 dialogue with peers, he went with CC0 (in the public domain) for data sets
3416 and CC BY (Attribution) for figures, videos, and data sets.
3417     </p><p>
3418       So Mark began using DOIs and Creative Commons for his own research work. He
3419 had a science blog where he wrote about it and made all his data
3420 open. People started commenting on his blog that they wanted to do the
3421 same. So he opened it up for them to use, too.
3422     </p><p>
3423       People liked the interface and simple upload process. People started asking
3424 if they could also share theses, grant proposals, and code. Inclusion of
3425 code raised new licensing issues, as Creative Commons licenses are not used
3426 for software. To allow the sharing of software code, Mark chose the MIT
3427 license, but GNU and Apache licenses can also be used.
3428     </p><p>
3429       Mark sought investment to make this into a scalable product. After a few
3430 unsuccessful funding pitches, UK-based Digital Science expressed interest
3431 but insisted on a more viable business model.  They made an initial
3432 investment, and together they came up with a freemium-like business model.
3433     </p><p>
3434       Under the freemium model, academics upload their research to Figshare for
3435 storage and sharing for free. Each research object is licensed with Creative
3436 Commons and receives a DOI link. The premium option charges researchers a
3437 fee for gigabytes of private storage space, and for private online space
3438 designed for a set number of research collaborators, which is ideal for
3439 larger teams and geographically dispersed research groups. Figshare sums up
3440 its value proposition to researchers as <span class="quote">”<span class="quote">You retain ownership.  You
3441 license it. You get credit. We just make sure it persists.</span>”</span>
3442     </p><p>
3443       In January 2012, Figshare was launched. (The fig in Figshare stands for
3444 figures.) Using investment funds, Mark made significant improvements to
3445 Figshare. For example, researchers could quickly preview their research
3446 files within a browser without having to download them first or require
3447 third-party software. Journals who were still largely publishing articles as
3448 static noninteractive PDFs became interested in having Figshare provide that
3449 functionality for them.
3450     </p><p>
3451       Figshare diversified its business model to include services for
3452 journals. Figshare began hosting large amounts of data for the journals’
3453 online articles. This additional data improved the quality of the
3454 articles. Outsourcing this service to Figshare freed publishers from having
3455 to develop this functionality as part of their own
3456 infrastructure. Figshare-hosted data also provides a link back to the
3457 article, generating additional click-through and readership—a benefit to
3458 both journal publishers and researchers.  Figshare now provides
3459 research-data infrastructure for a wide variety of publishers including
3460 Wiley, Springer Nature, PLOS, and Taylor and Francis, to name a few, and has
3461 convinced them to use Creative Commons licenses for the data.
3462     </p><p>
3463       Governments allocate significant public funds to research. In parallel with
3464 the launch of Figshare, governments around the world began requesting the
3465 research they fund be open and accessible.  They mandated that researchers
3466 and academic institutions better manage and disseminate their research
3467 outputs. Institutions looking to comply with this new mandate became
3468 interested in Figshare. Figshare once again diversified its business model,
3469 adding services for institutions.
3470     </p><p>
3471       Figshare now offers a range of fee-based services to institutions, including
3472 their own minibranded Figshare space (called Figshare for Institutions) that
3473 securely hosts research data of institutions in the cloud. Services include
3474 not just hosting but data metrics, data dissemination, and user-group
3475 administration.  Figshare’s workflow, and the services they offer for
3476 institutions, take into account the needs of librarians and administrators,
3477 as well as of the researchers.
3478     </p><p>
3479       As with researchers and publishers, Fig-share encouraged institutions to
3480 share their research with CC BY (Attribution) and their data with CC0 (into
3481 the public domain). Funders who require researchers and institutions to use
3482 open licensing believe in the social responsibilities and benefits of making
3483 research accessible to all. Publishing research in this open way has come to
3484 be called open access. But not all funders specify CC BY; some institutions
3485 want to offer their researchers a choice, including less permissive licenses
3486 like CC BY-NC (Attribution-NonCommercial), CC BY-SA
3487 (Attribution-ShareAlike), or CC BY-ND (Attribution-NoDerivs).
3488     </p><p>
3489       For Mark this created a conflict. On the one hand, the principles and
3490 benefits of open science are at the heart of Figshare, and Mark believes CC
3491 BY is the best license for this. On the other hand, institutions were saying
3492 they wouldn’t use Figshare unless it offered a choice in licenses. He
3493 initially refused to offer anything beyond CC0 and CC BY, but after seeing
3494 an open-source CERN project offer all Creative Commons licenses without any
3495 negative repercussions, he decided to follow suit.
3496     </p><p>
3497       Mark is thinking of doing a Figshare study that tracks research
3498 dissemination according to Creative Commons license, and gathering metrics
3499 on views, citations, and downloads. You could see which license generates
3500 the biggest impact. If the data showed that CC BY is more impactful, Mark
3501 believes more and more researchers and institutions will make it their
3502 license of choice.
3503     </p><p>
3504       Figshare has an Application Programming Interface (API) that makes it
3505 possible for data to be pulled from Figshare and used in other
3506 applications. As an example, Mark shared a Figshare data set showing the
3507 journal subscriptions that higher-education institutions in the United
3508 Kingdom paid to ten major publishers.<a href="#ftn.idm1183" class="footnote" name="idm1183"><sup class="footnote">[115]</sup></a>
3509 Figshare’s API enables that data to be pulled into an app developed by a
3510 completely different researcher that converts the data into a visually
3511 interesting graph, which any viewer can alter by changing any of the
3512 variables.<a href="#ftn.idm1186" class="footnote" name="idm1186"><sup class="footnote">[116]</sup></a>
3513     </p><p>
3514       The free version of Figshare has built a community of academics, who through
3515 word of mouth and presentations have promoted and spread awareness of
3516 Figshare. To amplify and reward the community, Figshare established an
3517 Advisor program, providing those who promoted Figshare with hoodies and
3518 T-shirts, early access to new features, and travel expenses when they gave
3519 presentations outside of their area. These Advisors also helped Mark on what
3520 license to use for software code and whether to offer universities an option
3521 of using Creative Commons licenses.
3522     </p><p>
3523       Mark says his success is partly about being in the right place at the right
3524 time. He also believes that the diversification of Figshare’s model over
3525 time has been key to success. Figshare now offers a comprehensive set of
3526 services to researchers, publishers, and institutions.<a href="#ftn.idm1191" class="footnote" name="idm1191"><sup class="footnote">[117]</sup></a> If he had relied solely on revenue from premium
3527 subscriptions, he believes Figshare would have struggled. In Figshare’s
3528 early days, their primary users were early-career and late-career
3529 academics. It has only been because funders mandated open licensing that
3530 Figshare is now being used by the mainstream.
3531     </p><p>
3532       Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
3533 800,000–plus user uploads, 2 million–plus articles, 500,000-plus
3534 collections, and 5,000–plus projects. Sixty percent of their traffic comes
3535 from Google. A sister company called Altmetric tracks the use of Figshare by
3536 others, including Wikipedia and news sources.
3537     </p><p>
3538       Figshare uses the revenue it generates from the premium subscribers, journal
3539 publishers, and institutions to fund and expand what it can offer to
3540 researchers for free. Figshare has publicly stuck to its principles—keeping
3541 the free service free and requiring the use of CC BY and CC0 from the
3542 start—and from Mark’s perspective, this is why people trust Figshare. Mark
3543 sees new competitors coming forward who are just in it for money. If
3544 Figshare was only in it for the money, they wouldn’t care about offering a
3545 free version. Figshare’s principles and advocacy for openness are a key
3546 differentiator. Going forward, Mark sees Figshare not only as supporting
3547 open access to research but also enabling people to collaborate and make new
3548 discoveries.
3549     </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>Kapitel 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>
3550         Figure.NZ is a nonprofit charity that makes an online data platform designed
3551 to make data reusable and easy to understand.  Founded in 2012 in New
3552 Zealand.
3553       </p><p>
3554           <a class="ulink" href="http://figure.nz" target="_top">http://figure.nz</a>
3555         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
3556 services to creators, donations, sponsorships
3557       </p><p><span class="strong"><strong>Interview date</strong></span>: May 3, 2016
3558       </p><p><span class="strong"><strong>Interviewee</strong></span>: Lillian Grace, founder
3559       </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}
3560     \textit{
3561         Profile written by Paul Stacey
3562       }
3563     \end{flushright}</td></tr></table></div><p>
3564       In the paper Harnessing the Economic and Social Power of Data presented at
3565 the New Zealand Data Futures Forum in 2014,<a href="#ftn.idm1210" class="footnote" name="idm1210"><sup class="footnote">[118]</sup></a> Figure.NZ founder Lillian Grace said there are thousands of
3566 valuable and relevant data sets freely available to us right now, but most
3567 people don’t use them. She used to think this meant people didn’t care about
3568 being informed, but she’s come to see that she was wrong. Almost everyone
3569 wants to be informed about issues that matter—not only to them, but also to
3570 their families, their communities, their businesses, and their country.  But
3571 there’s a big difference between availability and accessibility of
3572 information. Data is spread across thousands of sites and is held within
3573 databases and spreadsheets that require both time and skill to engage
3574 with. To use data when making a decision, you have to know what specific
3575 question to ask, identify a source that has collected the data, and
3576 manipulate complex tools to extract and visualize the information within the
3577 data set.  Lillian established Figure.NZ to make data truly accessible to
3578 all, with a specific focus on New Zealand.
3579     </p><p>
3580       Lillian had the idea for Figure.NZ in February 2012 while working for the
3581 New Zealand Institute, a think tank concerned with improving economic
3582 prosperity, social well-being, environmental quality, and environmental
3583 productivity for New Zealand and New Zealanders. While giving talks to
3584 community and business groups, Lillian realized <span class="quote">”<span class="quote">every single issue we
3585 addressed would have been easier to deal with if more people understood the
3586 basic facts.</span>”</span> But understanding the basic facts sometimes requires
3587 data and research that you often have to pay for.
3588     </p><p>
3589       Lillian began to imagine a website that lifted data up to a visual form that
3590 could be easily understood and freely accessed.  Initially launched as Wiki
3591 New Zealand, the original idea was that people could contribute their data
3592 and visuals via a wiki.  However, few people had graphs that could be used
3593 and shared, and there were no standards or consistency around the data and
3594 the visuals. Realizing the wiki model wasn’t working, Lillian brought the
3595 process of data aggregation, curation, and visual presentation in-house, and
3596 invested in the technology to help automate some of it. Wiki New Zealand
3597 became Figure.NZ, and efforts were reoriented toward providing services to
3598 those wanting to open their data and present it visually.
3599     </p><p>
3600       Here’s how it works. Figure.NZ sources data from other organizations,
3601 including corporations, public repositories, government departments, and
3602 academics. Figure.NZ imports and extracts that data, and then validates and
3603 standardizes it—all with a strong eye on what will be best for users. They
3604 then make the data available in a series of standardized forms, both human-
3605 and machine-readable, with rich metadata about the sources, the licenses,
3606 and data types. Figure.NZ has a chart-designing tool that makes simple bar,
3607 line, and area graphs from any data source.  The graphs are posted to the
3608 Figure.NZ website, and they can also be exported in a variety of formats for
3609 print or online use.  Figure.NZ makes its data and graphs available using
3610 the Attribution (CC BY) license. This allows others to reuse, revise, remix,
3611 and redistribute Figure.NZ data and graphs as long as they give attribution
3612 to the original source and to Figure.NZ.
3613     </p><p>
3614       Lillian characterizes the initial decision to use Creative Commons as
3615 naively fortunate. It was first recommended to her by a colleague. Lillian
3616 spent time looking at what Creative Commons offered and thought it looked
3617 good, was clear, and made common sense. It was easy to use and easy for
3618 others to understand. Over time, she’s come to realize just how fortunate
3619 and important that decision turned out to be. New Zealand’s government has
3620 an open-access and licensing framework called NZGOAL, which provides
3621 guidance for agencies when they release copyrighted and noncopyrighted work
3622 and material.<a href="#ftn.idm1218" class="footnote" name="idm1218"><sup class="footnote">[119]</sup></a> It aims to standardize
3623 the licensing of works with government copyright and how they can be reused,
3624 and it does this with Creative Commons licenses. As a result, 98 percent of
3625 all government-agency data is Creative Commons licensed, fitting in nicely
3626 with Figure.NZ’s decision.
3627     </p><p>
3628       Lillian thinks current ideas of what a business is are relatively new, only
3629 a hundred years old or so. She’s convinced that twenty years from now, we
3630 will see new and different models for business.  Figure.NZ is set up as a
3631 nonprofit charity. It is purpose-driven but also strives to pay people well
3632 and thinks like a business.  Lillian sees the charity-nonprofit status as an
3633 essential element for the mission and purpose of Figure.NZ. She believes
3634 Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
3635 nonprofit status assures people who have data and people who want to use it
3636 that they can rely on Figure.NZ’s motives. People see them as a trusted
3637 wrangler and source.
3638     </p><p>
3639       Although Figure.NZ is a social enterprise that openly licenses their data
3640 and graphs for everyone to use for free, they have taken care not to be
3641 perceived as a free service all around the table. Lillian believes hundreds
3642 of millions of dollars are spent by the government and organizations to
3643 collect data. However, very little money is spent on taking that data and
3644 making it accessible, understandable, and useful for decision making.
3645 Government uses some of the data for policy, but Lillian believes that it is
3646 underutilized and the potential value is much larger.  Figure.NZ is focused
3647 on solving that problem. They believe a portion of money allocated to
3648 collecting data should go into making sure that data is useful and generates
3649 value. If the government wants citizens to understand why certain decisions
3650 are being made and to be more aware about what the government is doing, why
3651 not transform the data it collects into easily understood visuals? It could
3652 even become a way for a government or any organization to differentiate,
3653 market, and brand itself.
3654     </p><p>
3655       Figure.NZ spends a lot of time seeking to understand the motivations of data
3656 collectors and to identify the channels where it can provide value. Every
3657 part of their business model has been focused on who is going to get value
3658 from the data and visuals.
3659     </p><p>
3660       Figure.NZ has multiple lines of business. They provide commercial services
3661 to organizations that want their data publicly available and want to use
3662 Figure.NZ as their publishing platform. People who want to publish open data
3663 appreciate Figure.NZ’s ability to do it faster, more easily, and better than
3664 they can. Customers are encouraged to help their users find, use, and make
3665 things from the data they make available on Figure.NZ’s website. Customers
3666 control what is released and the license terms (although Figure.NZ
3667 encourages Creative Commons licensing). Figure.NZ also serves customers who
3668 want a specific collection of charts created—for example, for their website
3669 or annual report. Charging the organizations that want to make their data
3670 available enables Figure.NZ to provide their site free to all users, to
3671 truly democratize data.
3672     </p><p>
3673       Lillian notes that the current state of most data is terrible and often not
3674 well understood by the people who have it. This sometimes makes it difficult
3675 for customers and Figure.NZ to figure out what it would cost to import,
3676 standardize, and display that data in a useful way. To deal with this,
3677 Figure.NZ uses <span class="quote">”<span class="quote">high-trust contracts,</span>”</span> where customers allocate
3678 a certain budget to the task that Figure.NZ is then free to draw from, as
3679 long as Figure.NZ frequently reports on what they’ve produced so the
3680 customer can determine the value for money. This strategy has helped build
3681 trust and transparency about the level of effort associated with doing work
3682 that has never been done before.
3683     </p><p>
3684       A second line of business is what Figure.NZ calls partners. ASB Bank and
3685 Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
3686 example, with their support Figure.NZ has been able to create Business
3687 Figures, a special way for businesses to find useful data without having to
3688 know what questions to ask.<a href="#ftn.idm1228" class="footnote" name="idm1228"><sup class="footnote">[120]</sup></a>
3689     </p><p>
3690       Figure.NZ also has patrons.<a href="#ftn.idm1232" class="footnote" name="idm1232"><sup class="footnote">[121]</sup></a> Patrons
3691 donate to topic areas they care about, directly enabling Figure.NZ to get
3692 data together to flesh out those areas. Patrons do not direct what data is
3693 included or excluded.
3694     </p><p>
3695       Figure.NZ also accepts philanthropic donations, which are used to provide
3696 more content, extend technology, and improve services, or are targeted to
3697 fund a specific effort or provide in-kind support.  As a charity, donations
3698 are tax deductible.
3699     </p><p>
3700       Figure.NZ has morphed and grown over time. With data aggregation, curation,
3701 and visualizing services all in-house, Figure.NZ has developed a deep
3702 expertise in taking random styles of data, standardizing it, and making it
3703 useful. Lillian realized that Figure.NZ could easily become a warehouse of
3704 seventy people doing data. But for Lillian, growth isn’t always good. In her
3705 view, bigger often means less effective. Lillian set artificial constraints
3706 on growth, forcing the organization to think differently and be more
3707 efficient. Rather than in-house growth, they are growing and building
3708 external relationships.
3709     </p><p>
3710       Figure.NZ’s website displays visuals and data associated with a wide range
3711 of categories including crime, economy, education, employment, energy,
3712 environment, health, information and communications technology, industry,
3713 tourism, and many others. A search function helps users find tables and
3714 graphs. Figure.NZ does not provide analysis or interpretation of the data or
3715 visuals.  Their goal is to teach people how to think, not think for them.
3716 Figure.NZ wants to create intuitive experiences, not user manuals.
3717     </p><p>
3718       Figure.NZ believes data and visuals should be useful. They provide their
3719 customers with a data collection template and teach them why it’s important
3720 and how to use it. They’ve begun putting more emphasis on tracking what
3721 users of their website want. They also get requests from social media and
3722 through email for them to share data for a specific topic—for example, can
3723 you share data for water quality? If they have the data, they respond
3724 quickly; if they don’t, they try and identify the organizations that would
3725 have that data and forge a relationship so they can be included on
3726 Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
3727 people to be curious about, access, and interpret data on topics they are
3728 interested in.
3729     </p><p>
3730       Lillian has a deep and profound vision for Figure.NZ that goes well beyond
3731 simply providing open-data services. She says things are different now. "We
3732 used to live in a world where it was really hard to share information
3733 widely. And in that world, the best future was created by having a few great
3734 leaders who essentially had access to the information and made decisions on
3735 behalf of others, whether it was on behalf of a country or companies.
3736     </p><p>
3737       "But now we live in a world where it’s really easy to share information
3738 widely and also to communicate widely. In the world we live in now, the best
3739 future is the one where everyone can make well-informed decisions.
3740     </p><p>
3741       "The use of numbers and data as a way of making well-informed decisions is
3742 one of the areas where there is the biggest gaps. We don’t really use
3743 numbers as a part of our thinking and part of our understanding yet.
3744     </p><p>
3745       "Part of the reason is the way data is spread across hundreds of sites. In
3746 addition, for the most part, deep thinking based on data is constrained to
3747 experts because most people don’t have data literacy. There once was a time
3748 when many citizens in society couldn’t read or write. However, as a society,
3749 we’ve now come to believe that reading and writing skills should be
3750 something all citizens have. We haven’t yet adopted a similar belief around
3751 numbers and data literacy. We largely still believe that only a few
3752 specially trained people can analyze and think with numbers.
3753     </p><p>
3754       "Figure.NZ may be the first organization to assert that everyone can use
3755 numbers in their thinking, and it’s built a technological platform along
3756 with trust and a network of relationships to make that possible. What you
3757 can see on Figure.NZ are tens of thousands of graphs, maps, and data.
3758     </p><p>
3759         <span class="quote">”<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
3760 analyze what they see around them. A way to be thoughtful and informed about
3761 society. A means of engaging in conversation and shaping decision making
3762 that transcends personal experience.  The long-term value and impact is
3763 almost impossible to measure, but the goal is to help citizens gain
3764 understanding and work together in more informed ways to shape the
3765 future.</span>”</span>
3766       </p><p>
3767       Lillian sees Figure.NZ’s model as having global potential. But for now,
3768 their focus is completely on making Figure.NZ work in New Zealand and to get
3769 the <span class="quote">”<span class="quote">network effect</span>”</span>— users dramatically increasing value for
3770 themselves and for others through use of their service. Creative Commons is
3771 core to making the network effect possible.
3772     </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>Kapitel 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>
3773         Knowledge Unlatched is a not-for-profit community interest company that
3774 brings libraries together to pool funds to publish open-access
3775 books. Founded in 2012 in the UK.
3776       </p><p>
3777           <a class="ulink" href="http://knowledgeunlatched.org" target="_top">http://knowledgeunlatched.org</a>
3778         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding (specialized)
3779       </p><p><span class="strong"><strong>Interview date</strong></span>: February 26, 2016
3780       </p><p><span class="strong"><strong>Interviewee</strong></span>: Frances Pinter, founder
3781       </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}
3782     \textit{
3783         Profile written by Paul Stacey
3784       }
3785     \end{flushright}</td></tr></table></div><p>
3786       The serial entrepreneur Dr. Frances Pinter has been at the forefront of
3787 innovation in the publishing industry for nearly forty years. She founded
3788 the UK-based Knowledge Unlatched with a mission to enable open access to
3789 scholarly books. For Frances, the current scholarly- book-publishing system
3790 is not working for anyone, and especially not for monographs in the
3791 humanities and social sciences. Knowledge Unlatched is committed to changing
3792 this and has been working with libraries to create a sustainable alternative
3793 model for publishing scholarly books, sharing the cost of making monographs
3794 (released under a Creative Commons license)  and savings costs over the long
3795 term. Since its launch, Knowledge Unlatched has received several awards,
3796 including the IFLA/Brill Open Access award in 2014 and a Curtin University
3797 Commercial Innovation Award for Innovation in Education in 2015.
3798     </p><p>
3799       Dr. Pinter has been in academic publishing most of her career.  About ten
3800 years ago, she became acquainted with the Creative Commons founder Lawrence
3801 Lessig and got interested in Creative Commons as a tool for both protecting
3802 content online and distributing it free to users.
3803     </p><p>
3804       Not long after, she ran a project in Africa convincing publishers in Uganda
3805 and South Africa to put some of their content online for free using a
3806 Creative Commons license and to see what happened to print sales. Sales went
3807 up, not down.
3808     </p><p>
3809       In 2008, Bloomsbury Academic, a new imprint of Bloomsbury Publishing in the
3810 United Kingdom, appointed her its founding publisher in London. As part of
3811 the launch, Frances convinced Bloomsbury to differentiate themselves by
3812 putting out monographs for free online under a Creative Commons license
3813 (BY-NC or BY-NC-ND, i.e., Attribution-NonCommercial or
3814 Attribution-NonCommercial-NoDerivs). This was seen as risky, as the biggest
3815 cost for publishers is getting a book to the stage where it can be
3816 printed. If everyone read the online book for free, there would be no
3817 print-book sales at all, and the costs associated with getting the book to
3818 print would be lost.  Surprisingly, Bloomsbury found that sales of the print
3819 versions of these books were 10 to 20 percent higher than normal. Frances
3820 found it intriguing that the Creative Commons–licensed free online book acts
3821 as a marketing vehicle for the print format.
3822     </p><p>
3823       Frances began to look at customer interest in the three forms of the book:
3824 1) the Creative Commons–licensed free online book in PDF form, 2) the
3825 printed book, and 3) a digital version of the book on an aggregator platform
3826 with enhanced features. She thought of this as the <span class="quote">”<span class="quote">ice cream
3827 model</span>”</span>: the free PDF was vanilla ice cream, the printed book was an
3828 ice cream cone, and the enhanced e-book was an ice cream sundae.
3829     </p><p>
3830       After a while, Frances had an epiphany—what if there was a way to get
3831 libraries to underwrite the costs of making these books up until they’re
3832 ready be printed, in other words, cover the fixed costs of getting to the
3833 first digital copy? Then you could either bring down the cost of the printed
3834 book, or do a whole bunch of interesting things with the printed book and
3835 e-book—the ice cream cone or sundae part of the model.
3836     </p><p>
3837       This idea is similar to the article-processing charge some open-access
3838 journals charge researchers to cover publishing costs.  Frances began to
3839 imagine a coalition of libraries paying for the prepress costs—a
3840 <span class="quote">”<span class="quote">book-processing charge</span>”</span>—and providing everyone in the world
3841 with an open-access version of the books released under a Creative Commons
3842 license.
3843     </p><p>
3844       This idea really took hold in her mind. She didn’t really have a name for it
3845 but began talking about it and making presentations to see if there was
3846 interest. The more she talked about it, the more people agreed it had
3847 appeal. She offered a bottle of champagne to anyone who could come up with a
3848 good name for the idea. Her husband came up with Knowledge Unlatched, and
3849 after two years of generating interest, she decided to move forward and
3850 launch a community interest company (a UK term for not-for-profit social
3851 enterprises) in 2012.
3852     </p><p>
3853       She describes the business model in a paper called Knowledge Unlatched:
3854 Toward an Open and Networked Future for Academic Publishing:
3855     </p><div class="orderedlist"><ol class="orderedlist compact" type="1"><li class="listitem"><p>
3856           Publishers offer titles for sale reflecting origination costs only via
3857 Knowledge Unlatched.
3858         </p></li><li class="listitem"><p>
3859           Individual libraries select titles either as individual titles or as
3860 collections (as they do from library suppliers now).
3861         </p></li><li class="listitem"><p>
3862           Their selections are sent to Knowledge Unlatched specifying the titles to be
3863 purchased at the stated price(s).
3864         </p></li><li class="listitem"><p>
3865           The price, called a Title Fee (set by publishers and negotiated by Knowledge
3866 Unlatched), is paid to publishers to cover the fixed costs of publishing
3867 each of the titles that were selected by a minimum number of libraries to
3868 cover the Title Fee.
3869         </p></li><li class="listitem"><p>
3870           Publishers make the selected titles available Open Access (on a Creative
3871 Commons or similar open license) and are then paid the Title Fee which is
3872 the total collected from the libraries.
3873         </p></li><li class="listitem"><p>
3874           Publishers make print copies, e-Pub, and other digital versions of selected
3875 titles available to member libraries at a discount that reflects their
3876 contribution to the Title Fee and incentivizes membership.<a href="#ftn.idm1285" class="footnote" name="idm1285"><sup class="footnote">[122]</sup></a>
3877         </p></li></ol></div><p>
3878       The first round of this model resulted in a collection of twenty-eight
3879 current titles from thirteen recognized scholarly publishers being
3880 unlatched. The target was to have two hundred libraries participate. The
3881 cost of the package per library was capped at $1,680, which was an average
3882 price of sixty dollars per book, but in the end they had nearly three
3883 hundred libraries sharing the costs, and the price per book came in at just
3884 under forty-three dollars.
3885     </p><p>
3886       The open-access, Creative Commons versions of these twenty-eight books are
3887 still available online.<a href="#ftn.idm1290" class="footnote" name="idm1290"><sup class="footnote">[123]</sup></a> Most books have
3888 been licensed with CC BY-NC or CC BY-NC-ND. Authors are the copyright
3889 holder, not the publisher, and negotiate choice of license as part of the
3890 publishing agreement.  Frances has found that most authors want to retain
3891 control over the commercial and remix use of their work. Publishers list the
3892 book in their catalogs, and the noncommercial restriction in the Creative
3893 Commons license ensures authors continue to get royalties on sales of
3894 physical copies.
3895     </p><p>
3896       There are three cost variables to consider for each round: the overall cost
3897 incurred by the publishers, total cost for each library to acquire all the
3898 books, and the individual price per book. The fee publishers charge for each
3899 title is a fixed charge, and Knowledge Unlatched calculates the total amount
3900 for all the books being unlatched at a time. The cost of an order for each
3901 library is capped at a maximum based on a minimum number of libraries
3902 participating. If the number of participating libraries exceeds the minimum,
3903 then the cost of the order and the price per book go down for each library.
3904     </p><p>
3905       The second round, recently completed, unlatched seventy-eight books from
3906 twenty-six publishers. For this round, Frances was experimenting with the
3907 size and shape of the offerings. Books were being bundled into eight small
3908 packages separated by subject (including Anthropology, History, Literature,
3909 Media and Communications, and Politics), of around ten books per package.
3910 Three hundred libraries around the world have to commit to at least six of
3911 the eight packages to enable unlatching. The average cost per book was just
3912 under fifty dollars. The unlatching process took roughly ten months. It
3913 started with a call to publishers for titles, followed by having a library
3914 task force select the titles, getting authors’ permissions, getting the
3915 libraries to pledge, billing the libraries, and finally, unlatching.
3916     </p><p>
3917       The longest part of the whole process is getting libraries to pledge and
3918 commit funds. It takes about five months, as library buy-in has to fit
3919 within acquisition cycles, budget cycles, and library-committee meetings.
3920     </p><p>
3921       Knowledge Unlatched informs and recruits libraries through social media,
3922 mailing lists, listservs, and library associations. Of the three hundred
3923 libraries that participated in the first round, 80 percent are also
3924 participating in the second round, and there are an additional eighty new
3925 libraries taking part. Knowledge Unlatched is also working not just with
3926 individual libraries but also library consortia, which has been getting even
3927 more libraries involved.
3928     </p><p>
3929       Knowledge Unlatched is scaling up, offering 150 new titles in the second
3930 half of 2016. It will also offer backlist titles, and in 2017 will start to
3931 make journals open access too.
3932     </p><p>
3933       Knowledge Unlatched deliberately chose monographs as the initial type of
3934 book to unlatch. Monographs are foundational and important, but also
3935 problematic to keep going in the standard closed publishing model.
3936     </p><p>
3937       The cost for the publisher to get to a first digital copy of a monograph is
3938 $5,000 to $50,000. A good one costs in the $10,000 to $15,000
3939 range. Monographs typically don’t sell a lot of copies. A publisher who in
3940 the past sold three thousand copies now typically sells only three
3941 hundred. That makes unlatching monographs a low risk for publishers. For the
3942 first round, it took five months to get thirteen publishers. For the second
3943 round, it took one month to get twenty-six.
3944     </p><p>
3945       Authors don’t generally make a lot of royalties from monographs.  Royalties
3946 range from zero dollars to 5 to 10 percent of receipts.  The value to the
3947 author is the awareness it brings to them; when their book is being read, it
3948 increases their reputation. Open access through unlatching generates many
3949 more downloads and therefore awareness. (On the Knowledge Unlatched website,
3950 you can find interviews with the twenty-eight round-one authors describing
3951 their experience and the benefits of taking part.)<a href="#ftn.idm1301" class="footnote" name="idm1301"><sup class="footnote">[124]</sup></a>
3952     </p><p>
3953       Library budgets are constantly being squeezed, partly due to the inflation
3954 of journal subscriptions. But even without budget constraints, academic
3955 libraries are moving away from buying physical copies. An academic library
3956 catalog entry is typically a URL to wherever the book is hosted. Or if they
3957 have enough electronic storage space, they may download the digital file
3958 into their digital repository. Only secondarily do they consider getting a
3959 print book, and if they do, they buy it separately from the digital version.
3960     </p><p>
3961       Knowledge Unlatched offers libraries a compelling economic argument. Many of
3962 the participating libraries would have bought a copy of the monograph
3963 anyway, but instead of paying $95 for a print copy or $150 for a digital
3964 multiple-use copy, they pay $50 to unlatch. It costs them less, and it opens
3965 the book to not just the participating libraries, but to the world.
3966     </p><p>
3967       Not only do the economics make sense, but there is very strong alignment
3968 with library mandates. The participating libraries pay less than they would
3969 have in the closed model, and the open-access book is available to all
3970 libraries. While this means nonparticipating libraries could be seen as free
3971 riders, in the library world, wealthy libraries are used to paying more than
3972 poor libraries and accept that part of their money should be spent to
3973 support open access. <span class="quote">”<span class="quote">Free ride</span>”</span> is more like community
3974 responsibility. By the end of March 2016, the round-one books had been
3975 downloaded nearly eighty thousand times in 175 countries.
3976     </p><p>
3977       For publishers, authors, and librarians, the Knowledge Unlatched model for
3978 monographs is a win-win-win.
3979     </p><p>
3980       In the first round, Knowledge Unlatched’s overheads were covered by
3981 grants. In the second round, they aim to demonstrate the model is
3982 sustainable. Libraries and publishers will each pay a 7.5 percent service
3983 charge that will go toward Knowledge Unlatched’s running costs. With plans
3984 to scale up in future rounds, Frances figures they can fully recover costs
3985 when they are unlatching two hundred books at a time. Moving forward,
3986 Knowledge Unlatched is making investments in technology and
3987 processes. Future plans include unlatching journals and older books.
3988     </p><p>
3989       Frances believes that Knowledge Unlatched is tapping into new ways of
3990 valuing academic content. It’s about considering how many people can find,
3991 access, and use your content without pay barriers. Knowledge Unlatched taps
3992 into the new possibilities and behaviors of the digital world. In the
3993 Knowledge Unlatched model, the content-creation process is exactly the same
3994 as it always has been, but the economics are different. For Frances,
3995 Knowledge Unlatched is connected to the past but moving into the future, an
3996 evolution rather than a revolution.
3997     </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>Kapitel 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>
3998         Lumen Learning is a for-profit company helping educational institutions use
3999 open educational resources (OER). Founded in 2013 in the U.S.
4000       </p><p>
4001           <a class="ulink" href="http://lumenlearning.com" target="_top">http://lumenlearning.com</a>
4002         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
4003 services, grant funding
4004       </p><p><span class="strong"><strong>Interview date</strong></span>: December 21, 2015
4005       </p><p><span class="strong"><strong>Interviewees</strong></span>: David Wiley and Kim Thanos,
4006 cofounders
4007       </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}
4008     \textit{
4009         Profile written by Paul Stacey
4010       }
4011     \end{flushright}</td></tr></table></div><p>
4012       Cofounded by open education visionary Dr. David Wiley and
4013 education-technology strategist Kim Thanos, Lumen Learning is dedicated to
4014 improving student success, bringing new ideas to pedagogy, and making
4015 education more affordable by facilitating adoption of open educational
4016 resources. In 2012, David and Kim partnered on a grant-funded project called
4017 the Kaleidoscope Open Course Initiative.<a href="#ftn.idm1325" class="footnote" name="idm1325"><sup class="footnote">[125]</sup></a> It involved a set of fully open general-education courses across
4018 eight colleges predominantly serving at-risk students, with goals to
4019 dramatically reduce textbook costs and collaborate to improve the courses to
4020 help students succeed. David and Kim exceeded those goals: the cost of the
4021 required textbooks, replaced with OER, decreased to zero dollars, and
4022 average student-success rates improved by 5 to 10 percent when compared with
4023 previous years. After a second round of funding, a total of more than
4024 twenty-five institutions participated in and benefited from this project. It
4025 was career changing for David and Kim to see the impact this initiative had
4026 on low-income students. David and Kim sought further funding from the Bill
4027 and Melinda Gates Foundation, who asked them to define a plan to scale their
4028 work in a financially sustainable way. That is when they decided to create
4029 Lumen Learning.
4030     </p><p>
4031       David and Kim went back and forth on whether it should be a nonprofit or
4032 for- profit. A nonprofit would make it a more comfortable fit with the
4033 education sector but meant they’d be constantly fund-raising and seeking
4034 grants from philanthropies.  Also, grants usually require money to be used
4035 in certain ways for specific deliverables. If you learn things along the way
4036 that change how you think the grant money should be used, there often isn’t
4037 a lot of flexibility to do so.
4038     </p><p>
4039       But as a for-profit, they’d have to convince educational institutions to pay
4040 for what Lumen had to offer. On the positive side, they’d have more control
4041 over what to do with the revenue and investment money; they could make
4042 decisions to invest the funds or use them differently based on the situation
4043 and shifting opportunities. In the end, they chose the for-profit status,
4044 with its different model for and approach to sustainability.
4045     </p><p>
4046       Right from the start, David and Kim positioned Lumen Learning as a way to
4047 help institutions engage in open educational resources, or OER. OER are
4048 teaching, learning, and research materials, in all different media, that
4049 reside in the public domain or are released under an open license that
4050 permits free use and repurposing by others.
4051     </p><p>
4052       Originally, Lumen did custom contracts for each institution. This was
4053 complicated and challenging to manage. However, through that process
4054 patterns emerged which allowed them to generalize a set of approaches and
4055 offerings. Today they don’t customize as much as they used to, and instead
4056 they tend to work with customers who can use their off-the-shelf
4057 options. Lumen finds that institutions and faculty are generally very good
4058 at seeing the value Lumen brings and are willing to pay for it. Serving
4059 disadvantaged learner populations has led Lumen to be very pragmatic; they
4060 describe what they offer in quantitative terms—with facts and figures—and in
4061 a way that is very student-focused. Lumen Learning helps colleges and
4062 universities—
4063     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4064           replace expensive textbooks in high-enrollment courses with OER;
4065         </p></li><li class="listitem"><p>
4066           provide enrolled students day one access to Lumen’s fully customizable OER
4067 course materials through the institution’s learning-management system;
4068         </p></li><li class="listitem"><p>
4069           measure improvements in student success with metrics like passing rates,
4070 persistence, and course completion; and
4071         </p></li><li class="listitem"><p>
4072           collaborate with faculty to make ongoing improvements to OER based on
4073 student success research.
4074         </p></li></ul></div><p>
4075       Lumen has developed a suite of open, Creative Commons–licensed courseware in
4076 more than sixty-five subjects. All courses are freely and publicly available
4077 right off their website. They can be copied and used by others as long as
4078 they provide attribution to Lumen Learning following the terms of the
4079 Creative Commons license.
4080     </p><p>
4081       Then there are three types of bundled services that cost money.  One option,
4082 which Lumen calls Candela courseware, offers integration with the
4083 institution’s learning-management system, technical and pedagogical support,
4084 and tracking of effectiveness.  Candela courseware costs institutions ten
4085 dollars per enrolled student.
4086     </p><p>
4087       A second option is Waymaker, which offers the services of Candela but adds
4088 personalized learning technologies, such as study plans, automated messages,
4089 and assessments, and helps instructors find and support the students who
4090 need it most. Waymaker courses cost twenty-five dollars per enrolled
4091 student.
4092     </p><p>
4093       The third and emerging line of business for Lumen is providing guidance and
4094 support for institutions and state systems that are pursuing the development
4095 of complete OER degrees. Often called Z-Degrees, these programs eliminate
4096 textbook costs for students in all courses that make up the degree (both
4097 required and elective)  by replacing commercial textbooks and other
4098 expensive resources with OER.
4099     </p><p>
4100       Lumen generates revenue by charging for their value-added tools and services
4101 on top of their free courses, just as solar-power companies provide the
4102 tools and services that help people use a free resource—sunlight. And
4103 Lumen’s business model focuses on getting the institutions to pay, not the
4104 students. With projects they did prior to Lumen, David and Kim learned that
4105 students who have access to all course materials from day one have greater
4106 success. If students had to pay, Lumen would have to restrict access to
4107 those who paid. Right from the start, their stance was that they would not
4108 put their content behind a paywall. Lumen invests zero dollars in
4109 technologies and processes for restricting access—no digital rights
4110 management, no time bombs. While this has been a challenge from a
4111 business-model perspective, from an open-access perspective, it has
4112 generated immense goodwill in the community.
4113     </p><p>
4114       In most cases, development of their courses is funded by the institution
4115 Lumen has a contract with. When creating new courses, Lumen typically works
4116 with the faculty who are teaching the new course. They’re often part of the
4117 institution paying Lumen, but sometimes Lumen has to expand the team and
4118 contract faculty from other institutions. First, the faculty identifies all
4119 of the course’s learning outcomes. Lumen then searches for, aggregates, and
4120 curates the best OER they can find that addresses those learning needs,
4121 which the faculty reviews.
4122     </p><p>
4123       Sometimes faculty like the existing OER but not the way it is presented. The
4124 open licensing of existing OER allows Lumen to pick and choose from images,
4125 videos, and other media to adapt and customize the course. Lumen creates new
4126 content as they discover gaps in existing OER. Test-bank items and feedback
4127 for students on their progress are areas where new content is frequently
4128 needed.  Once a course is created, Lumen puts it on their platform with all
4129 the attributions and links to the original sources intact, and any of
4130 Lumen’s new content is given an Attribution (CC BY) license.
4131     </p><p>
4132       Using only OER made them experience firsthand how complex it could be to mix
4133 differently licensed work together. A common strategy with OER is to place
4134 the Creative Commons license and attribution information in the website’s
4135 footer, which stays the same for all pages. This doesn’t quite work,
4136 however, when mixing different OER together.
4137     </p><p>
4138       Remixing OER often results in multiple attributions on every page of every
4139 course—text from one place, images from another, and videos from yet
4140 another. Some are licensed as Attribution (CC BY), others as
4141 Attribution-ShareAlike (CC BY-SA). If this information is put within the
4142 text of the course, faculty members sometimes try to edit it and students
4143 find it a distraction. Lumen dealt with this challenge by capturing the
4144 license and attribution information as metadata, and getting it to show up
4145 at the end of each page.
4146     </p><p>
4147       Lumen’s commitment to open licensing and helping low-income students has led
4148 to strong relationships with institutions, open-education enthusiasts, and
4149 grant funders. People in their network generously increase the visibility of
4150 Lumen through presentations, word of mouth, and referrals. Sometimes the
4151 number of general inquiries exceed Lumen’s sales capacity.
4152     </p><p>
4153       To manage demand and ensure the success of projects, their strategy is to be
4154 proactive and focus on what’s going on in higher education in different
4155 regions of the United States, watching out for things happening at the
4156 system level in a way that fits with what Lumen offers. A great example is
4157 the Virginia community college system, which is building out
4158 Z-Degrees. David and Kim say there are nine other U.S. states with similar
4159 system-level activity where Lumen is strategically focusing its
4160 efforts. Where there are projects that would require a lot of resources on
4161 Lumen’s part, they prioritize the ones that would impact the largest number
4162 of students.
4163     </p><p>
4164       As a business, Lumen is committed to openness. There are two core
4165 nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
4166 Commons licenses, for all the materials it creates; and day-one access for
4167 students. Having clear nonnegotiables allows them to then engage with the
4168 education community to solve for other challenges and work with institutions
4169 to identify new business models that achieve institution goals, while
4170 keeping Lumen healthy.
4171     </p><p>
4172       Openness also means that Lumen’s OER must necessarily be nonexclusive and
4173 nonrivalrous. This represents several big challenges for the business model:
4174 Why should you invest in creating something that people will be reluctant to
4175 pay for? How do you ensure that the investment the diverse education
4176 community makes in OER is not exploited? Lumen thinks we all need to be
4177 clear about how we are benefiting from and contributing to the open
4178 community.
4179     </p><p>
4180       In the OER sector, there are examples of corporations, and even
4181 institutions, acting as free riders. Some simply take and use open resources
4182 without paying anything or contributing anything back.  Others give back the
4183 minimum amount so they can save face.  Sustainability will require those
4184 using open resources to give back an amount that seems fair or even give
4185 back something that is generous.
4186     </p><p>
4187       Lumen does track institutions accessing and using their free content. They
4188 proactively contact those institutions, with an estimate of how much their
4189 students are saving and encouraging them to switch to a paid model. Lumen
4190 explains the advantages of the paid model: a more interactive relationship
4191 with Lumen; integration with the institution’s learning-management system; a
4192 guarantee of support for faculty and students; and future sustainability
4193 with funding supporting the evolution and improvement of the OER they are
4194 using.
4195     </p><p>
4196       Lumen works hard to be a good corporate citizen in the OER community. For
4197 David and Kim, a good corporate citizen gives more than they take, adds
4198 unique value, and is very transparent about what they are taking from
4199 community, what they are giving back, and what they are monetizing. Lumen
4200 believes these are the building blocks of a sustainable model and strives
4201 for a correct balance of all these factors.
4202     </p><p>
4203       Licensing all the content they produce with CC BY is a key part of giving
4204 more value than they take. They’ve also worked hard at finding the right
4205 structure for their value-add and how to package it in a way that is
4206 understandable and repeatable.
4207     </p><p>
4208       As of the fall 2016 term, Lumen had eighty-six different open courses,
4209 working relationships with ninety-two institutions, and more than
4210 seventy-five thousand student enrollments. Lumen received early start-up
4211 funding from the Bill and Melinda Gates Foundation, the Hewlett Foundation,
4212 and the Shuttleworth Foundation. Since then, Lumen has also attracted
4213 investment funding. Over the last three years, Lumen has been roughly 60
4214 percent grant funded, 20 percent revenue earned, and 20 percent funded with
4215 angel capital. Going forward, their strategy is to replace grant funding
4216 with revenue.
4217     </p><p>
4218       In creating Lumen Learning, David and Kim say they’ve landed on solutions
4219 they never imagined, and there is still a lot of learning taking place. For
4220 them, open business models are an emerging field where we are all learning
4221 through sharing. Their biggest recommendations for others wanting to pursue
4222 the open model are to make your commitment to open resources public, let
4223 people know where you stand, and don’t back away from it. It really is about
4224 trust.
4225     </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>Kapitel 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>
4226         Jonathan Mann is a singer and songwriter who is most well known as the
4227 <span class="quote">”<span class="quote">Song A Day</span>”</span> guy. Based in the U.S.
4228       </p><p><a class="ulink" href="http://jonathanmann.net" target="_top">http://jonathanmann.net</a> and <a class="ulink" href="http://jonathanmann.bandcamp.com" target="_top">http://jonathanmann.bandcamp.com</a>
4229       </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
4230 services, pay-what-you-want, crowdfunding (subscription-based), charging for
4231 in-person version (speaking engagements and musical performances)
4232       </p><p><span class="strong"><strong>Interview date</strong></span>: February 22, 2016
4233       </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}
4234     \textit{
4235         Profile written by Sarah Hinchliff Pearson
4236       }
4237     \end{flushright}</td></tr></table></div><p>
4238       Jonathan Mann thinks of his business model as
4239 <span class="quote">”<span class="quote">hustling</span>”</span>—seizing nearly every opportunity he sees to make
4240 money. The bulk of his income comes from writing songs under commission for
4241 people and companies, but he has a wide variety of income sources. He has
4242 supporters on the crowdfunding site Patreon. He gets advertising revenue
4243 from YouTube and Bandcamp, where he posts all of his music. He gives paid
4244 speaking engagements about creativity and motivation. He has been hired by
4245 major conferences to write songs summarizing what speakers have said in the
4246 conference sessions.
4247     </p><p>
4248       His entrepreneurial spirit is coupled with a willingness to take action
4249 quickly. A perfect illustration of his ability to act fast happened in 2010,
4250 when he read that Apple was having a conference the following day to address
4251 a snafu related to the iPhone 4. He decided to write and post a song about
4252 the iPhone 4 that day, and the next day he got a call from the public
4253 relations people at Apple wanting to use and promote his video at the Apple
4254 conference. The song then went viral, and the experience landed him in Time
4255 magazine.
4256     </p><p>
4257       Jonathan’s successful <span class="quote">”<span class="quote">hustling</span>”</span> is also about old-fashioned
4258 persistence. He is currently in his eighth straight year of writing one song
4259 each day. He holds the Guinness World Record for consecutive daily
4260 songwriting, and he is widely known as the <span class="quote">”<span class="quote">song-a-day guy.</span>”</span>
4261     </p><p>
4262       He fell into this role by, naturally, seizing a random opportunity a friend
4263 alerted him to seven years ago—an event called Fun-A-Day, where people are
4264 supposed to create a piece of art every day for thirty-one days straight. He
4265 was in need of a new project, so he decided to give it a try by writing and
4266 posting a song each day.  He added a video component to the songs because he
4267 knew people were more likely to watch video online than simply listening to
4268 audio files.
4269     </p><p>
4270       He had a really good time doing the thirty-one-day challenge, so he decided
4271 to see if he could continue it for one year. He never stopped. He has
4272 written and posted a new song literally every day, seven days a week, since
4273 he began the project in 2009. When he isn’t writing songs that he is hired
4274 to write by clients, he writes songs about whatever is on his mind that
4275 day. His songs are catchy and mostly lighthearted, but they often contain at
4276 least an undercurrent of a deeper theme or meaning. Occasionally, they are
4277 extremely personal, like the song he cowrote with his exgirlfriend
4278 announcing their breakup. Rain or shine, in sickness or health, Jonathan
4279 posts and writes a song every day. If he is on a flight or otherwise
4280 incapable of getting Internet access in time to meet the deadline, he will
4281 prepare ahead and have someone else post the song for him.
4282     </p><p>
4283       Over time, the song-a-day gig became the basis of his livelihood.  In the
4284 beginning, he made money one of two ways. The first was by entering a wide
4285 variety of contests and winning a handful. The second was by having the
4286 occasional song and video go some varying degree of viral, which would bring
4287 more eyeballs and mean that there were more people wanting him to write
4288 songs for them. Today he earns most of his money this way.
4289     </p><p>
4290       His website explains his gig as <span class="quote">”<span class="quote">taking any message, from the super
4291 simple to the totally complicated, and conveying that message through a
4292 heartfelt, fun and quirky song.</span>”</span> He charges $500 to create a produced
4293 song and $300 for an acoustic song. He has been hired for product launches,
4294 weddings, conferences, and even Kickstarter campaigns like the one that
4295 funded the production of this book.
4296     </p><p>
4297       Jonathan can’t recall when exactly he first learned about Creative Commons,
4298 but he began applying CC licenses to his songs and videos as soon as he
4299 discovered the option. <span class="quote">”<span class="quote">CC seems like such a no-brainer,</span>”</span>
4300 Jonathan said. <span class="quote">”<span class="quote">I don’t understand how anything else would make
4301 sense. It seems like such an obvious thing that you would want your work to
4302 be able to be shared.</span>”</span>
4303     </p><p>
4304       His songs are essentially marketing for his services, so obviously the
4305 further his songs spread, the better. Using CC licenses helps grease the
4306 wheels, letting people know that Jonathan allows and encourages them to
4307 copy, interact with, and remix his music.  <span class="quote">”<span class="quote">If you let someone cover
4308 your song or remix it or use parts of it, that’s how music is supposed to
4309 work,</span>”</span> Jonathan said. <span class="quote">”<span class="quote">That is how music has worked since the
4310 beginning of time. Our me-me, mine-mine culture has undermined that.</span>”</span>
4311     </p><p>
4312       There are some people who cover his songs fairly regularly, and he would
4313 never shut that down. But he acknowledges there is a lot more he could do to
4314 build community. <span class="quote">”<span class="quote">There is all of this conventional wisdom about how
4315 to build an audience online, and I generally think I don’t do any of
4316 that,</span>”</span> Jonathan said.
4317     </p><p>
4318       He does have a fan community he cultivates on Bandcamp, but it isn’t his
4319 major focus. <span class="quote">”<span class="quote">I do have a core audience that has stuck around for a
4320 really long time, some even longer than I’ve been doing song-a-day,</span>”</span>
4321 he said. <span class="quote">”<span class="quote">There is also a transitional aspect that drop in and get
4322 what they need and then move on.</span>”</span> Focusing less on community building
4323 than other artists makes sense given Jonathan’s primary income source of
4324 writing custom songs for clients.
4325     </p><p>
4326       Jonathan recognizes what comes naturally to him and leverages those
4327 skills. Through the practice of daily songwriting, he realized he has a gift
4328 for distilling complicated subjects into simple concepts and putting them to
4329 music. In his song <span class="quote">”<span class="quote">How to Choose a Master Password,</span>”</span> Jonathan
4330 explained the process of creating a secure password in a silly, simple
4331 song. He was hired to write the song by a client who handed him a long
4332 technical blog post from which to draw the information. Like a good (and
4333 rare) journalist, he translated the technical concepts into something
4334 understandable.
4335     </p><p>
4336       When he is hired by a client to write a song, he first asks them to send a
4337 list of talking points and other information they want to include in the
4338 song. He puts all of that into a text file and starts moving things around,
4339 cutting and pasting until the message starts to come together. The first
4340 thing he tries to do is grok the core message and develop the chorus. Then
4341 he looks for connections or parts he can make rhyme. The entire process
4342 really does resemble good journalism, but of course the final product of his
4343 work is a song rather than news. <span class="quote">”<span class="quote">There is something about being
4344 challenged and forced to take information that doesn’t seem like it should
4345 be sung about or doesn’t seem like it lends itself to a song,</span>”</span> he
4346 said. <span class="quote">”<span class="quote">I find that creative challenge really satisfying. I enjoy
4347 getting lost in that process.</span>”</span>
4348     </p><p>
4349       Jonathan admits that in an ideal world, he would exclusively write the music
4350 he wanted to write, rather than what clients hire him to write. But his
4351 business model is about capitalizing on his strengths as a songwriter, and
4352 he has found a way to keep it interesting for himself.
4353     </p><p>
4354       Jonathan uses nearly every tool possible to make money from his art, but he
4355 does have lines he won’t cross. He won’t write songs about things he
4356 fundamentally does not believe in, and there are times he has turned down
4357 jobs on principle. He also won’t stray too much from his natural
4358 style. <span class="quote">”<span class="quote">My style is silly, so I can’t really accommodate people who
4359 want something super serious,</span>”</span> Jonathan said. <span class="quote">”<span class="quote">I do what I do
4360 very easily, and it’s part of who I am.</span>”</span> Jonathan hasn’t gotten into
4361 writing commercials for the same reasons; he is best at using his own unique
4362 style rather than mimicking others.
4363     </p><p>
4364       Jonathan’s song-a-day commitment exemplifies the power of habit and
4365 grit. Conventional wisdom about creative productivity, including advice in
4366 books like the best-seller The Creative Habit by Twyla Tharp, routinely
4367 emphasizes the importance of ritual and action. No amount of planning can
4368 replace the value of simple practice and just doing. Jonathan Mann’s work is
4369 a living embodiment of these principles.
4370     </p><p>
4371       When he speaks about his work, he talks about how much the song-a-day
4372 process has changed him. Rather than seeing any given piece of work as
4373 precious and getting stuck on trying to make it perfect, he has become
4374 comfortable with just doing. If today’s song is a bust, tomorrow’s song
4375 might be better.
4376     </p><p>
4377       Jonathan seems to have this mentality about his career more generally. He is
4378 constantly experimenting with ways to make a living while sharing his work
4379 as widely as possible, seeing what sticks. While he has major
4380 accomplishments he is proud of, like being in the Guinness World Records or
4381 having his song used by Steve Jobs, he says he never truly feels successful.
4382     </p><p><span class="quote">”<span class="quote">Success feels like it’s over,</span>”</span> he said. <span class="quote">”<span class="quote">To a certain
4383 extent, a creative person is not ever going to feel completely satisfied
4384 because then so much of what drives you would be gone.</span>”</span>
4385     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Kapitel 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>
4386         The Noun Project is a for-profit company offering an online platform to
4387 display visual icons from a global network of designers. Founded in 2010 in
4388 the U.S.
4389       </p><p>
4390           <a class="ulink" href="http://thenounproject.com" target="_top">http://thenounproject.com</a>
4391         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction
4392 fee, charging for custom services
4393       </p><p><span class="strong"><strong>Interview date</strong></span>: October 6, 2015
4394       </p><p><span class="strong"><strong>Interviewee</strong></span>: Edward Boatman, cofounder
4395       </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}
4396     \textit{
4397         Profile written by Paul Stacey
4398       }
4399     \end{flushright}</td></tr></table></div><p>
4400       The Noun Project creates and shares visual language. There are millions who
4401 use Noun Project symbols to simplify communication across borders,
4402 languages, and cultures.
4403     </p><p>
4404       The original idea for the Noun Project came to cofounder Edward Boatman
4405 while he was a student in architecture design school. He’d always done a lot
4406 of sketches and started to draw what used to fascinate him as a child, like
4407 trains, sequoias, and bulldozers.  He began thinking how great it would be
4408 if he had a simple image or small icon of every single object or concept on
4409 the planet.
4410     </p><p>
4411       When Edward went on to work at an architecture firm, he had to make a lot of
4412 presentation boards for clients. But finding high-quality sources for
4413 symbols and icons was difficult. He couldn’t find any website that could
4414 provide them. Perhaps his idea for creating a library of icons could
4415 actually help people in similar situations.
4416     </p><p>
4417       With his partner, Sofya Polyakov, he began collecting symbols for a website
4418 and writing a business plan. Inspiration came from the book Professor and
4419 the Madman, which chronicles the use of crowdsourcing to create the Oxford
4420 English Dictionary in 1870.  Edward began to imagine crowdsourcing icons and
4421 symbols from volunteer designers around the world.
4422     </p><p>
4423       Then Edward got laid off during the recession, which turned out to be a huge
4424 catalyst. He decided to give his idea a go, and in 2010 Edward and Sofya
4425 launched the Noun Project with a Kickstarter campaign, back when Kickstarter
4426 was in its infancy.<a href="#ftn.idm1428" class="footnote" name="idm1428"><sup class="footnote">[126]</sup></a> They thought it’d
4427 be a good way to introduce the global web community to their idea. Their
4428 goal was to raise $1,500, but in twenty days they got over $14,000. They
4429 realized their idea had the potential to be something much bigger.
4430     </p><p>
4431       They created a platform where symbols and icons could be uploaded, and
4432 Edward began recruiting talented designers to contribute their designs, a
4433 process he describes as a relatively easy sell. Lots of designers have old
4434 drawings just gathering <span class="quote">”<span class="quote">digital dust</span>”</span> on their hard
4435 drives. It’s easy to convince them to finally share them with the world.
4436     </p><p>
4437       The Noun Project currently has about seven thousand designers from around
4438 the world. But not all submissions are accepted. The Noun Project’s
4439 quality-review process means that only the best works become part of its
4440 collection. They make sure to provide encouraging, constructive feedback
4441 whenever they reject a piece of work, which maintains and builds the
4442 relationship they have with their global community of designers.
4443     </p><p>
4444       Creative Commons is an integral part of the Noun Project’s business model;
4445 this decision was inspired by Chris Anderson’s book Free: The Future of
4446 Radical Price, which introduced Edward to the idea that you could build a
4447 business model around free content.
4448     </p><p>
4449       Edward knew he wanted to offer a free visual language while still providing
4450 some protection and reward for its contributors. There is a tension between
4451 those two goals, but for Edward, Creative Commons licenses bring this
4452 idealism and business opportunity together elegantly. He chose the
4453 Attribution (CC BY) license, which means people can download the icons for
4454 free and modify them and even use them commercially. The requirement to give
4455 attribution to the original creator ensures that the creator can build a
4456 reputation and get global recognition for their work. And if they simply
4457 want to offer an icon that people can use without having to give credit,
4458 they can use CC0 to put the work into the public domain.
4459     </p><p>
4460       Noun Project’s business model and means of generating revenue have evolved
4461 significantly over time. Their initial plan was to sell T-shirts with the
4462 icons on it, which in retrospect Edward says was a horrible idea. They did
4463 get a lot of email from people saying they loved the icons but asking if
4464 they could pay a fee instead of giving attribution. Ad agencies (among
4465 others) wanted to keep marketing and presentation materials clean and free
4466 of attribution statements. For Edward, <span class="quote">”<span class="quote">That’s when our lightbulb went
4467 off.</span>”</span>
4468     </p><p>
4469       They asked their global network of designers whether they’d be open to
4470 receiving modest remuneration instead of attribution.  Designers saw it as a
4471 win-win. The idea that you could offer your designs for free and have a
4472 global audience and maybe even make some money was pretty exciting for most
4473 designers.
4474     </p><p>
4475       The Noun Project first adopted a model whereby using an icon without giving
4476 attribution would cost $1.99 per icon. The model’s second iteration added a
4477 subscription component, where there would be a monthly fee to access a
4478 certain number of icons—ten, fifty, a hundred, or five hundred. However,
4479 users didn’t like these hard-count options. They preferred to try out many
4480 similar icons to see which worked best before eventually choosing the one
4481 they wanted to use. So the Noun Project moved to an unlimited model, whereby
4482 users have unlimited access to the whole library for a flat monthly
4483 fee. This service is called NounPro and costs $9.99 per month. Edward says
4484 this model is working well—good for customers, good for creators, and good
4485 for the platform.
4486     </p><p>
4487       Customers then began asking for an application-programming interface (API),
4488 which would allow Noun Project icons and symbols to be directly accessed
4489 from within other applications. Edward knew that the icons and symbols would
4490 be valuable in a lot of different contexts and that they couldn’t possibly
4491 know all of them in advance, so they built an API with a lot of
4492 flexibility.  Knowing that most API applications would want to use the icons
4493 without giving attribution, the API was built with the aim of charging for
4494 its use. You can use what’s called the <span class="quote">”<span class="quote">Playground API</span>”</span> for
4495 free to test how it integrates with your application, but full
4496 implementation will require you to purchase the API Pro version.
4497     </p><p>
4498       The Noun Project shares revenue with its international designers.  For
4499 one-off purchases, the revenue is split 70 percent to the designer and 30
4500 percent to Noun Project.
4501     </p><p>
4502       The revenue from premium purchases (the subscription and API options) is
4503 split a little differently. At the end of each month, the total revenue from
4504 subscriptions is divided by Noun Project’s total number of downloads,
4505 resulting in a rate per download—for example, it could be $0.13 per download
4506 for that month. For each download, the revenue is split 40 percent to the
4507 designer and 60 percent to the Noun Project. (For API usage, it’s per use
4508 instead of per download.) Noun Project’s share is higher this time as it’s
4509 providing more service to the user.
4510     </p><p>
4511       The Noun Project tries to be completely transparent about their royalty
4512 structure.<a href="#ftn.idm1445" class="footnote" name="idm1445"><sup class="footnote">[127]</sup></a> They tend to over
4513 communicate with creators about it because building trust is the top
4514 priority.
4515     </p><p>
4516       For most creators, contributing to the Noun Project is not a full-time job
4517 but something they do on the side. Edward categorizes monthly earnings for
4518 creators into three broad categories: enough money to buy beer; enough to
4519 pay the bills; and most successful of all, enough to pay the rent.
4520     </p><p>
4521       Recently the Noun Project launched a new app called Lingo.  Designers can
4522 use Lingo to organize not just their Noun Project icons and symbols but also
4523 their photos, illustrations, UX designs, et cetera. You simply drag any
4524 visual item directly into Lingo to save it. Lingo also works for teams so
4525 people can share visuals with each other and search across their combined
4526 collections. Lingo is free for personal use. A pro version for $9.99 per
4527 month lets you add guests. A team version for $49.95 per month allows up to
4528 twenty-five team members to collaborate, and to view, use, edit, and add new
4529 assets to each other’s collections.  And if you subscribe to NounPro, you
4530 can access Noun Project from within Lingo.
4531     </p><p>
4532       The Noun Project gives a ton of value away for free. A very large percentage
4533 of their roughly one million members have a free account, but there are
4534 still lots of paid accounts coming from digital designers, advertising and
4535 design agencies, educators, and others who need to communicate ideas
4536 visually.
4537     </p><p>
4538       For Edward, <span class="quote">”<span class="quote">creating, sharing, and celebrating the world’s visual
4539 language</span>”</span> is the most important aspect of what they do; it’s their
4540 stated mission. It differentiates them from others who offer graphics,
4541 icons, or clip art.
4542     </p><p>
4543       Noun Project creators agree. When surveyed on why they participate in the
4544 Noun Project, this is how designers rank their reasons: 1)  to support the
4545 Noun Project mission, 2) to promote their own personal brand, and 3) to
4546 generate money. It’s striking to see that money comes third, and mission,
4547 first. If you want to engage a global network of contributors, it’s
4548 important to have a mission beyond making money.
4549     </p><p>
4550       In Edward’s view, Creative Commons is central to their mission of sharing
4551 and social good. Using Creative Commons makes the Noun Project’s mission
4552 genuine and has generated a lot of their initial traction and
4553 credibility. CC comes with a built-in community of users and fans.
4554     </p><p>
4555       Edward told us, <span class="quote">”<span class="quote">Don’t underestimate the power of a passionate
4556 community around your product or your business. They are going to go to bat
4557 for you when you’re getting ripped in the media. If you go down the road of
4558 choosing to work with Creative Commons, you’re taking the first step to
4559 building a great community and tapping into a really awesome community that
4560 comes with it. But you need to continue to foster that community through
4561 other initiatives and continue to nurture it.</span>”</span>
4562     </p><p>
4563       The Noun Project nurtures their creators’ second motivation—promoting a
4564 personal brand—by connecting every icon and symbol to the creator’s name and
4565 profile page; each profile features their full collection. Users can also
4566 search the icons by the creator’s name.
4567     </p><p>
4568       The Noun Project also builds community through Iconathons—hackathons for
4569 icons.<a href="#ftn.idm1459" class="footnote" name="idm1459"><sup class="footnote">[128]</sup></a> In partnership with a sponsoring
4570 organization, the Noun Project comes up with a theme (e.g., sustainable
4571 energy, food bank, guerrilla gardening, human rights) and a list of icons
4572 that are needed, which designers are invited to create at the event.  The
4573 results are vectorized, and added to the Noun Project using CC0 so they can
4574 be used by anyone for free.
4575     </p><p>
4576       Providing a free version of their product that satisfies a lot of their
4577 customers’ needs has actually enabled the Noun Project to build the paid
4578 version, using a service-oriented model. The Noun Project’s success lies in
4579 creating services and content that are a strategic mix of free and paid
4580 while staying true to their mission—creating, sharing, and celebrating the
4581 world’s visual language. Integrating Creative Commons into their model has
4582 been key to that goal.
4583     </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>Kapitel 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>
4584         The Open Data Institute is an independent nonprofit that connects, equips,
4585 and inspires people around the world to innovate with data. Founded in 2012
4586 in the UK.
4587       </p><p>
4588           <a class="ulink" href="http://theodi.org" target="_top">http://theodi.org</a>
4589         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant and government
4590 funding, charging for custom services, donations
4591       </p><p><span class="strong"><strong>Interview date</strong></span>: November 11, 2015
4592       </p><p><span class="strong"><strong>Interviewee</strong></span>: Jeni Tennison, technical
4593 director
4594       </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}
4595     \textit{
4596         Profile written by Paul Stacey
4597       }
4598     \end{flushright}</td></tr></table></div><p>
4599       Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
4600 London-based Open Data Institute (ODI) offers data-related training, events,
4601 consulting services, and research. For ODI, Creative Commons licenses are
4602 central to making their own business model and their customers’ open. CC BY
4603 (Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the
4604 public domain)  all play a critical role in ODI’s mission to help people
4605 around the world innovate with data.
4606     </p><p>
4607       Data underpins planning and decision making across all aspects of
4608 society. Weather data helps farmers know when to plant their crops, flight
4609 time data from airplane companies helps us plan our travel, data on local
4610 housing informs city planning. When this data is not only accurate and
4611 timely, but open and accessible, it opens up new possibilities. Open data
4612 can be a resource businesses use to build new products and services. It can
4613 help governments measure progress, improve efficiency, and target
4614 investments. It can help citizens improve their lives by better
4615 understanding what is happening around them.
4616     </p><p>
4617       The Open Data Institute’s 2012–17 business plan starts out by describing its
4618 vision to establish itself as a world-leading center and to research and be
4619 innovative with the opportunities created by the UK government’s open data
4620 policy. (The government was an early pioneer in open policy and open-data
4621 initiatives.) It goes on to say that the ODI wants to—
4622     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4623           demonstrate the commercial value of open government data and how open-data
4624 policies affect this;
4625         </p></li><li class="listitem"><p>
4626           develop the economic benefits case and business models for open data;
4627         </p></li><li class="listitem"><p>
4628           help UK businesses use open data; and
4629         </p></li><li class="listitem"><p>
4630           show how open data can improve public services.<a href="#ftn.idm1488" class="footnote" name="idm1488"><sup class="footnote">[129]</sup></a>
4631         </p></li></ul></div><p>
4632       ODI is very explicit about how it wants to make open business models, and
4633 defining what this means. Jeni Tennison, ODI’s technical director, puts it
4634 this way: <span class="quote">”<span class="quote">There is a whole ecosystem of open—open-source software,
4635 open government, open-access research—and a whole ecosystem of data. ODI’s
4636 work cuts across both, with an emphasis on where they overlap—with open
4637 data.</span>”</span> ODI’s particular focus is to show open data’s potential for
4638 revenue.
4639     </p><p>
4640       As an independent nonprofit, ODI secured £10 million over five years from
4641 the UK government via Innovate UK, an agency that promotes innovation in
4642 science and technology. For this funding, ODI has to secure matching funds
4643 from other sources, some of which were met through a $4.75-million
4644 investment from the Omidyar Network.
4645     </p><p>
4646       Jeni started out as a developer and technical architect for data.gov.uk, the
4647 UK government’s pioneering open-data initiative.  She helped make data sets
4648 from government departments available as open data. She joined ODI in 2012
4649 when it was just starting up, as one of six people. It now has a staff of
4650 about sixty.
4651     </p><p>
4652       ODI strives to have half its annual budget come from the core UK government
4653 and Omidyar grants, and the other half from project-based research and
4654 commercial work. In Jeni’s view, having this balance of revenue sources
4655 establishes some stability, but also keeps them motivated to go out and
4656 generate these matching funds in response to market needs.
4657     </p><p>
4658       On the commercial side, ODI generates funding through memberships, training,
4659 and advisory services.
4660     </p><p>
4661       You can join the ODI as an individual or commercial member.  Individual
4662 membership is pay-what-you-can, with options ranging from £1 to
4663 £100. Members receive a newsletter and related communications and a discount
4664 on ODI training courses and the annual summit, and they can display an
4665 ODI-supporter badge on their website. Commercial membership is divided into
4666 two tiers: small to medium size enterprises and nonprofits at £720 a year,
4667 and corporations and government organizations at £2,200 a year.  Commercial
4668 members have greater opportunities to connect and collaborate, explore the
4669 benefits of open data, and unlock new business opportunities. (All members
4670 are listed on their website.)<a href="#ftn.idm1498" class="footnote" name="idm1498"><sup class="footnote">[130]</sup></a>
4671     </p><p>
4672       ODI provides standardized open data training courses in which anyone can
4673 enroll. The initial idea was to offer an intensive and academically oriented
4674 diploma in open data, but it quickly became clear there was no market for
4675 that. Instead, they offered a five-day-long public training course, which
4676 has subsequently been reduced to three days; now the most popular course is
4677 one day long. The fee, in addition to the time commitment, can be a barrier
4678 for participation. Jeni says, <span class="quote">”<span class="quote">Most of the people who would be able to
4679 pay don’t know they need it. Most who know they need it can’t pay.</span>”</span>
4680 Public-sector organizations sometimes give vouchers to their employees so
4681 they can attend as a form of professional development.
4682     </p><p>
4683       ODI customizes training for clients as well, for which there is more
4684 demand. Custom training usually emerges through an established relationship
4685 with an organization. The training program is based on a definition of
4686 open-data knowledge as applicable to the organization and on the skills
4687 needed by their high-level executives, management, and technical staff. The
4688 training tends to generate high interest and commitment.
4689     </p><p>
4690       Education about open data is also a part of ODI’s annual summit event, where
4691 curated presentations and speakers showcase the work of ODI and its members
4692 across the entire ecosystem. Tickets to the summit are available to the
4693 public, and hundreds of people and organizations attend and participate. In
4694 2014, there were four thematic tracks and over 750 attendees.
4695     </p><p>
4696       In addition to memberships and training, ODI provides advisory services to
4697 help with technical-data support, technology development, change management,
4698 policies, and other areas. ODI has advised large commercial organizations,
4699 small businesses, and international governments; the focus at the moment is
4700 on government, but ODI is working to shift more toward commercial
4701 organizations.
4702     </p><p>
4703       On the commercial side, the following value propositions seem to resonate:
4704     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4705           Data-driven insights. Businesses need data from outside their business to
4706 get more insight. Businesses can generate value and more effectively pursue
4707 their own goals if they open up their own data too. Big data is a hot topic.
4708         </p></li><li class="listitem"><p>
4709           Open innovation. Many large-scale enterprises are aware they don’t innovate
4710 very well. One way they can innovate is to open up their data. ODI
4711 encourages them to do so even if it exposes problems and challenges. The key
4712 is to invite other people to help while still maintaining organizational
4713 autonomy.
4714         </p></li><li class="listitem"><p>
4715           Corporate social responsibility. While this resonates with businesses, ODI
4716 cautions against having it be the sole reason for making data open. If a
4717 business is just thinking about open data as a way to be transparent and
4718 accountable, they can miss out on efficiencies and opportunities.
4719         </p></li></ul></div><p>
4720       During their early years, ODI wanted to focus solely on the United
4721 Kingdom. But in their first year, large delegations of government visitors
4722 from over fifty countries wanted to learn more about the UK government’s
4723 open-data practices and how ODI saw that translating into economic
4724 value. They were contracted as a service provider to international
4725 governments, which prompted a need to set up international ODI
4726 <span class="quote">”<span class="quote">nodes.</span>”</span>
4727     </p><p>
4728       Nodes are franchises of the ODI at a regional or city level.  Hosted by
4729 existing (for-profit or not-for-profit) organizations, they operate locally
4730 but are part of the global network. Each ODI node adopts the charter, a set
4731 of guiding principles and rules under which ODI operates. They develop and
4732 deliver training, connect people and businesses through membership and
4733 events, and communicate open-data stories from their part of the
4734 world. There are twenty-seven different nodes across nineteen countries. ODI
4735 nodes are charged a small fee to be part of the network and to use the
4736 brand.
4737     </p><p>
4738       ODI also runs programs to help start-ups in the UK and across Europe develop
4739 a sustainable business around open data, offering mentoring, advice,
4740 training, and even office space.<a href="#ftn.idm1518" class="footnote" name="idm1518"><sup class="footnote">[131]</sup></a>
4741     </p><p>
4742       A big part of ODI’s business model revolves around community
4743 building. Memberships, training, summits, consulting services, nodes, and
4744 start-up programs create an ever-growing network of open-data users and
4745 leaders. (In fact, ODI even operates something called an Open Data Leaders
4746 Network.) For ODI, community is key to success. They devote significant time
4747 and effort to build it, not just online but through face-to-face events.
4748     </p><p>
4749       ODI has created an online tool that organizations can use to assess the
4750 legal, practical, technical, and social aspects of their open data. If it is
4751 of high quality, the organization can earn ODI’s Open Data Certificate, a
4752 globally recognized mark that signals that their open data is useful,
4753 reliable, accessible, discoverable, and supported.<a href="#ftn.idm1524" class="footnote" name="idm1524"><sup class="footnote">[132]</sup></a>
4754     </p><p>
4755       Separate from commercial activities, the ODI generates funding through
4756 research grants. Research includes looking at evidence on the impact of open
4757 data, development of open-data tools and standards, and how to deploy open
4758 data at scale.
4759     </p><p>
4760       Creative Commons 4.0 licenses cover database rights and ODI recommends CC
4761 BY, CC BY-SA, and CC0 for data releases. ODI encourages publishers of data
4762 to use Creative Commons licenses rather than creating new <span class="quote">”<span class="quote">open
4763 licenses</span>”</span> of their own.
4764     </p><p>
4765       For ODI, open is at the heart of what they do. They also release any
4766 software code they produce under open-source-software licenses, and
4767 publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
4768 to connect and equip people around the world so they can innovate with
4769 data. Disseminating stories, research, guidance, and code under an open
4770 license is essential for achieving that mission. It also demonstrates that
4771 it is perfectly possible to generate sustainable revenue streams that do not
4772 rely on restrictive licensing of content, data, or code.  People pay to have
4773 ODI experts provide training to them, not for the content of the training;
4774 people pay for the advice ODI gives them, not for the methodologies they
4775 use. Producing open content, data, and source code helps establish
4776 credibility and creates leads for the paid services that they
4777 offer. According to Jeni, <span class="quote">”<span class="quote">The biggest lesson we have learned is that
4778 it is completely possible to be open, get customers, and make money.</span>”</span>
4779     </p><p>
4780       To serve as evidence of a successful open business model and return on
4781 investment, ODI has a public dashboard of key performance indicators. Here
4782 are a few metrics as of April 27, 2016:
4783     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4784           Total amount of cash investments unlocked in direct investments in ODI,
4785 competition funding, direct contracts, and partnerships, and income that ODI
4786 nodes and ODI start-ups have generated since joining the ODI program: £44.5
4787 million
4788         </p></li><li class="listitem"><p>
4789           Total number of active members and nodes across the globe: 1,350
4790         </p></li><li class="listitem"><p>
4791           Total sales since ODI began: £7.44 million
4792         </p></li><li class="listitem"><p>
4793           Total number of unique people reached since ODI began, in person and online:
4794 2.2 million
4795         </p></li><li class="listitem"><p>
4796           Total Open Data Certificates created: 151,000
4797         </p></li><li class="listitem"><p>
4798           Total number of people trained by ODI and its nodes since ODI began:
4799 5,080<a href="#ftn.idm1546" class="footnote" name="idm1546"><sup class="footnote">[133]</sup></a>
4800         </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1488" class="footnote"><p><a href="#idm1488" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1498" class="footnote"><p><a href="#idm1498" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1518" class="footnote"><p><a href="#idm1518" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1524" class="footnote"><p><a href="#idm1524" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1546" class="footnote"><p><a href="#idm1546" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Kapitel 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>
4801         Opendesk is a for-profit company offering an online platform that connects
4802 furniture designers around the world with customers and local makers who
4803 bring the designs to life.  Founded in 2014 in the UK.
4804       </p><p>
4805           <a class="ulink" href="http://www.opendesk.cc" target="_top">http://www.opendesk.cc</a>
4806         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
4807       </p><p><span class="strong"><strong>Interview date</strong></span>: November 4, 2015
4808       </p><p><span class="strong"><strong>Interviewees</strong></span>: Nick Ierodiaconou and Joni
4809 Steiner, cofounders
4810       </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}
4811     \textit{
4812         Profile written by Paul Stacey
4813       }
4814     \end{flushright}</td></tr></table></div><p>
4815       Opendesk is an online platform that connects furniture designers around the
4816 world not just with customers but also with local registered makers who
4817 bring the designs to life. Opendesk and the designer receive a portion of
4818 every sale that is made by a maker.
4819     </p><p>
4820       Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as
4821 architects together. They also made goods. Their first client was Mint
4822 Digital, who had an interest in open licensing. Nick and Joni were exploring
4823 digital fabrication, and Mint’s interest in open licensing got them to
4824 thinking how the open-source world may interact and apply to physical
4825 goods. They sought to design something for their client that was also
4826 reproducible. As they put it, they decided to <span class="quote">”<span class="quote">ship the recipe, but
4827 not the goods.</span>”</span> They created the design using software, put it under
4828 an open license, and had it manufactured locally near the client. This was
4829 the start of the idea for Opendesk. The idea for Wikihouse—another open
4830 project dedicated to accessible housing for all—started as discussions
4831 around the same table. The two projects ultimately went on separate paths,
4832 with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit
4833 company.
4834     </p><p>
4835       When Nick and Joni set out to create Opendesk, there were a lot of questions
4836 about the viability of distributed manufacturing. No one was doing it in a
4837 way that was even close to realistic or competitive. The design community
4838 had the intent, but fulfilling this vision was still a long way away.
4839     </p><p>
4840       And now this sector is emerging, and Nick and Joni are highly interested in
4841 the commercialization aspects of it. As part of coming up with a business
4842 model, they began investigating intellectual property and licensing
4843 options. It was a thorny space, especially for designs. Just what aspect of
4844 a design is copyrightable? What is patentable? How can allowing for digital
4845 sharing and distribution be balanced against the designer’s desire to still
4846 hold ownership? In the end, they decided there was no need to reinvent the
4847 wheel and settled on using Creative Commons.
4848     </p><p>
4849       When designing the Opendesk system, they had two goals. They wanted anyone,
4850 anywhere in the world, to be able to download designs so that they could be
4851 made locally, and they wanted a viable model that benefited designers when
4852 their designs were sold. Coming up with a business model was going to be
4853 complex.
4854     </p><p>
4855       They gave a lot of thought to three angles—the potential for social sharing,
4856 allowing designers to choose their license, and the impact these choices
4857 would have on the business model.
4858     </p><p>
4859       In support of social sharing, Opendesk actively advocates for (but doesn’t
4860 demand) open licensing. And Nick and Joni are agnostic about which Creative
4861 Commons license is used; it’s up to the designer. They can be proprietary or
4862 choose from the full suite of Creative Commons licenses, deciding for
4863 themselves how open or closed they want to be.
4864     </p><p>
4865       For the most part, designers love the idea of sharing content.  They
4866 understand that you get positive feedback when you’re attributed, what Nick
4867 and Joni called <span class="quote">”<span class="quote">reputational glow.</span>”</span> And Opendesk does an
4868 awesome job profiling the designers.<a href="#ftn.idm1572" class="footnote" name="idm1572"><sup class="footnote">[134]</sup></a>
4869     </p><p>
4870       While designers are largely OK with personal sharing, there is a concern
4871 that someone will take the design and manufacture the furniture in bulk,
4872 with the designer not getting any benefits. So most Opendesk designers
4873 choose the Attribution-NonCommercial license (CC BY-NC).
4874     </p><p>
4875       Anyone can download a design and make it themselves, provided it’s for
4876 noncommercial use — and there have been many, many downloads.  Or users can
4877 buy the product from Opendesk, or from a registered maker in Opendesk’s
4878 network, for on-demand personal fabrication.  The network of Opendesk makers
4879 currently is made up of those who do digital fabrication using a
4880 computer-controlled CNC (Computer Numeric Control) machining device that
4881 cuts shapes out of wooden sheets according to the specifications in the
4882 design file.
4883     </p><p>
4884       Makers benefit from being part of Opendesk’s network. Making furniture for
4885 local customers is paid work, and Opendesk generates business for them. Joni
4886 said, <span class="quote">”<span class="quote">Finding a whole network and community of makers was pretty easy
4887 because we built a site where people could write in about their
4888 capabilities. Building the community by learning from the maker community is
4889 how we have moved forward.</span>”</span> Opendesk now has relationships with
4890 hundreds of makers in countries all around the world.<a href="#ftn.idm1579" class="footnote" name="idm1579"><sup class="footnote">[135]</sup></a>
4891     </p><p>
4892       The makers are a critical part of the Opendesk business model.  Their model
4893 builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
4894 website:
4895     </p><p>
4896       When customers buy an Opendesk product directly from a registered maker,
4897 they pay:
4898     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4899           the manufacturing cost as set by the maker (this covers material and labour
4900 costs for the product to be manufactured and any extra assembly costs
4901 charged by the maker)
4902         </p></li><li class="listitem"><p>
4903           a design fee for the designer (a design fee that is paid to the designer
4904 every time their design is used)
4905         </p></li><li class="listitem"><p>
4906           a percentage fee to the Opendesk platform (this supports the infrastructure
4907 and ongoing development of the platform that helps us build out our
4908 marketplace)
4909         </p></li><li class="listitem"><p>
4910           a percentage fee to the channel through which the sale is made (at the
4911 moment this is Opendesk, but in the future we aim to open this up to
4912 third-party sellers who can sell Opendesk products through their own
4913 channels—this covers sales and marketing fees for the relevant channel)
4914         </p></li><li class="listitem"><p>
4915           a local delivery service charge (the delivery is typically charged by the
4916 maker, but in some cases may be paid to a third-party delivery partner)
4917         </p></li><li class="listitem"><p>
4918           charges for any additional services the customer chooses, such as on-site
4919 assembly (additional services are discretionary—in many cases makers will be
4920 happy to quote for assembly on-site and designers may offer bespoke design
4921 options)
4922         </p></li><li class="listitem"><p>
4923           local sales taxes (variable by customer and maker location)<a href="#ftn.idm1599" class="footnote" name="idm1599"><sup class="footnote">[136]</sup></a>
4924         </p></li></ul></div><p>
4925       They then go into detail how makers’ quotes are created:
4926     </p><p>
4927       When a customer wants to buy an Opendesk . . . they are provided with a
4928 transparent breakdown of fees including the manufacturing cost, design fee,
4929 Opendesk platform fee and channel fees. If a customer opts to buy by getting
4930 in touch directly with a registered local maker using a downloaded Opendesk
4931 file, the maker is responsible for ensuring the design fee, Opendesk
4932 platform fee and channel fees are included in any quote at the time of
4933 sale.  Percentage fees are always based on the underlying manufacturing cost
4934 and are typically apportioned as follows:
4935     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4936           manufacturing cost: fabrication, finishing and any other costs as set by the
4937 maker (excluding any services like delivery or on-site assembly)
4938         </p></li><li class="listitem"><p>
4939           design fee: 8 percent of the manufacturing cost
4940         </p></li><li class="listitem"><p>
4941           platform fee: 12 percent of the manufacturing cost
4942         </p></li><li class="listitem"><p>
4943           channel fee: 18 percent of the manufacturing cost
4944         </p></li><li class="listitem"><p>
4945           sales tax: as applicable (depends on product and location)
4946         </p></li></ul></div><p>
4947       Opendesk shares revenue with their community of designers.  According to
4948 Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
4949 percent is more generous, and providing a higher value to the designer.
4950     </p><p>
4951       The Opendesk website features stories of designers and makers.  Denis Fuzii
4952 published the design for the Valovi Chair from his studio in São Paulo. His
4953 designs have been downloaded over five thousand times in ninety-five
4954 countries. I.J. CNC Services is Ian Jinks, a professional maker based in the
4955 United Kingdom. Opendesk now makes up a large proportion of his business.
4956     </p><p>
4957       To manage resources and remain effective, Opendesk has so far focused on a
4958 very narrow niche—primarily office furniture of a certain simple aesthetic,
4959 which uses only one type of material and one manufacturing technique. This
4960 allows them to be more strategic and more disruptive in the market, by
4961 getting things to market quickly with competitive prices. It also reflects
4962 their vision of creating reproducible and functional pieces.
4963     </p><p>
4964       On their website, Opendesk describes what they do as <span class="quote">”<span class="quote">open
4965 making</span>”</span>: <span class="quote">”<span class="quote">Designers get a global distribution channel. Makers
4966 get profitable jobs and new customers. You get designer products without the
4967 designer price tag, a more social, eco-friendly alternative to
4968 mass-production and an affordable way to buy custom-made products.</span>”</span>
4969     </p><p>
4970       Nick and Joni say that customers like the fact that the furniture has a
4971 known provenance. People really like that their furniture was designed by a
4972 certain international designer but was made by a maker in their local
4973 community; it’s a great story to tell. It certainly sets apart Opendesk
4974 furniture from the usual mass-produced items from a store.
4975     </p><p>
4976       Nick and Joni are taking a community-based approach to define and evolve
4977 Opendesk and the <span class="quote">”<span class="quote">open making</span>”</span> business model.  They’re
4978 engaging thought leaders and practitioners to define this new movement. They
4979 have a separate Open Making site, which includes a manifesto, a field guide,
4980 and an invitation to get involved in the Open Making community.<a href="#ftn.idm1624" class="footnote" name="idm1624"><sup class="footnote">[137]</sup></a> People can submit ideas and discuss the principles
4981 and business practices they’d like to see used.
4982     </p><p>
4983       Nick and Joni talked a lot with us about intellectual property (IP) and
4984 commercialization. Many of their designers fear the idea that someone could
4985 take one of their design files and make and sell infinite number of pieces
4986 of furniture with it. As a consequence, most Opendesk designers choose the
4987 Attribution-NonCommercial license (CC BY-NC).
4988     </p><p>
4989       Opendesk established a set of principles for what their community considers
4990 commercial and noncommercial use. Their website states:
4991     </p><p>
4992       It is unambiguously commercial use when anyone:
4993     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4994           charges a fee or makes a profit when making an Opendesk
4995         </p></li><li class="listitem"><p>
4996           sells (or bases a commercial service on) an Opendesk
4997         </p></li></ul></div><p>
4998       It follows from this that noncommercial use is when you make an Opendesk
4999 yourself, with no intention to gain commercial advantage or monetary
5000 compensation. For example, these qualify as noncommercial:
5001     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5002           you are an individual with your own CNC machine, or access to a shared CNC
5003 machine, and will personally cut and make a few pieces of furniture yourself
5004         </p></li><li class="listitem"><p>
5005           you are a student (or teacher) and you use the design files for educational
5006 purposes or training (and do not intend to sell the resulting pieces)
5007         </p></li><li class="listitem"><p>
5008           you work for a charity and get furniture cut by volunteers, or by employees
5009 at a fab lab or maker space
5010         </p></li></ul></div><p>
5011       Whether or not people technically are doing things that implicate IP, Nick
5012 and Joni have found that people tend to comply with the wishes of creators
5013 out of a sense of fairness. They have found that behavioral economics can
5014 replace some of the thorny legal issues. In their business model, Nick and
5015 Joni are trying to suspend the focus on IP and build an open business model
5016 that works for all stakeholders—designers, channels, manufacturers, and
5017 customers. For them, the value Opendesk generates hangs off
5018 <span class="quote">”<span class="quote">open,</span>”</span> not IP.
5019     </p><p>
5020       The mission of Opendesk is about relocalizing manufacturing, which changes
5021 the way we think about how goods are made.  Commercialization is integral to
5022 their mission, and they’ve begun to focus on success metrics that track how
5023 many makers and designers are engaged through Opendesk in revenue-making
5024 work.
5025     </p><p>
5026       As a global platform for local making, Opendesk’s business model has been
5027 built on honesty, transparency, and inclusivity. As Nick and Joni describe
5028 it, they put ideas out there that get traction and then have faith in
5029 people.
5030     </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>Kapitel 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>
5031         OpenStax is a nonprofit that provides free, openly licensed textbooks for
5032 high-enrollment introductory college courses and Advanced Placement
5033 courses. Founded in 2012 in the U.S.
5034       </p><p>
5035           <a class="ulink" href="http://www.openstaxcollege.org" target="_top">http://www.openstaxcollege.org</a>
5036         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding, charging
5037 for custom services, charging for physical copies (textbook sales)
5038       </p><p><span class="strong"><strong>Interview date</strong></span>: December 16, 2015
5039       </p><p><span class="strong"><strong>Interviewee</strong></span>: David Harris,
5040 editor-in-chief
5041       </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}
5042     \textit{
5043         Profile written by Paul Stacey
5044       }
5045     \end{flushright}</td></tr></table></div><p>
5046       OpenStax is an extension of a program called Connexions, which was started
5047 in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of
5048 Electrical and Computer Engineering at Rice University in Houston,
5049 Texas. Frustrated by the limitations of traditional textbooks and courses,
5050 Dr. Baraniuk wanted to provide authors and learners a way to share and
5051 freely adapt educational materials such as courses, books, and
5052 reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
5053 best libraries of customizable educational materials, all licensed with
5054 Creative Commons and available to anyone, anywhere, anytime—for free.
5055     </p><p>
5056       In 2008, while in a senior leadership role at WebAssign and looking at ways
5057 to reduce the risk that came with relying on publishers, David Harris began
5058 investigating open educational resources (OER) and discovered Connexions. A
5059 year and a half later, Connexions received a grant to help grow the use of
5060 OER so that it could meet the needs of students who couldn’t afford
5061 textbooks. David came on board to spearhead this effort.  Connexions became
5062 OpenStax CNX; the program to create open textbooks became OpenStax College,
5063 now simply called OpenStax.
5064     </p><p>
5065       David brought with him a deep understanding of the best practices of
5066 publishing along with where publishers have inefficiencies. In David’s view,
5067 peer review and high standards for quality are critically important if you
5068 want to scale easily. Books have to have logical scope and sequence, they
5069 have to exist as a whole and not in pieces, and they have to be easy to
5070 find. The working hypothesis for the launch of OpenStax was to
5071 professionally produce a turnkey textbook by investing effort up front, with
5072 the expectation that this would lead to rapid growth through easy downstream
5073 adoptions by faculty and students.
5074     </p><p>
5075       In 2012, OpenStax College launched as a nonprofit with the aim of producing
5076 high-quality, peer-reviewed full-color textbooks that would be available for
5077 free for the twenty-five most heavily attended college courses in the
5078 nation. Today they are fast approaching that number. There is data that
5079 proves the success of their original hypothesis on how many students they
5080 could help and how much money they could help save.<a href="#ftn.idm1664" class="footnote" name="idm1664"><sup class="footnote">[138]</sup></a> Professionally produced content scales rapidly. All
5081 with no sales force!
5082     </p><p>
5083       OpenStax textbooks are all Attribution (CC BY) licensed, and each textbook
5084 is available as a PDF, an e-book, or web pages. Those who want a physical
5085 copy can buy one for an affordable price. Given the cost of education and
5086 student debt in North America, free or very low-cost textbooks are very
5087 appealing. OpenStax encourages students to talk to their professor and
5088 librarians about these textbooks and to advocate for their use.
5089     </p><p>
5090       Teachers are invited to try out a single chapter from one of the textbooks
5091 with students. If that goes well, they’re encouraged to adopt the entire
5092 book. They can simply paste a URL into their course syllabus, for free and
5093 unlimited access. And with the CC BY license, teachers are free to delete
5094 chapters, make changes, and customize any book to fit their needs.
5095     </p><p>
5096       Any teacher can post corrections, suggest examples for difficult concepts,
5097 or volunteer as an editor or author. As many teachers also want supplemental
5098 material to accompany a textbook, OpenStax also provides slide
5099 presentations, test banks, answer keys, and so on.
5100     </p><p>
5101       Institutions can stand out by offering students a lower-cost education
5102 through the use of OpenStax textbooks; there’s even a textbook-savings
5103 calculator they can use to see how much students would save. OpenStax keeps
5104 a running list of institutions that have adopted their
5105 textbooks.<a href="#ftn.idm1671" class="footnote" name="idm1671"><sup class="footnote">[139]</sup></a>
5106     </p><p>
5107       Unlike traditional publishers’ monolithic approach of controlling
5108 intellectual property, distribution, and so many other aspects, OpenStax has
5109 adopted a model that embraces open licensing and relies on an extensive
5110 network of partners.
5111     </p><p>
5112       Up-front funding of a professionally produced all-color turnkey textbook is
5113 expensive. For this part of their model, OpenStax relies on
5114 philanthropy. They have initially been funded by the William and Flora
5115 Hewlett Foundation, the Laura and John Arnold Foundation, the Bill and
5116 Melinda Gates Foundation, the 20 Million Minds Foundation, the Maxfield
5117 Foundation, the Calvin K. Kazanjian Foundation, and Rice University. To
5118 develop additional titles and supporting technology is probably still going
5119 to require philanthropic investment.
5120     </p><p>
5121       However, ongoing operations will not rely on foundation grants but instead
5122 on funds received through an ecosystem of over forty partners, whereby a
5123 partner takes core content from OpenStax and adds features that it can
5124 create revenue from. For example, WebAssign, an online homework and
5125 assessment tool, takes the physics book and adds algorithmically generated
5126 physics problems, with problem-specific feedback, detailed solutions, and
5127 tutorial support. WebAssign resources are available to students for a fee.
5128     </p><p>
5129       Another example is Odigia, who has turned OpenStax books into interactive
5130 learning experiences and created additional tools to measure and promote
5131 student engagement. Odigia licenses its learning platform to
5132 institutions. Partners like Odigia and WebAssign give a percentage of the
5133 revenue they earn back to OpenStax, as mission-support fees. OpenStax has
5134 already published revisions of their titles, such as Introduction to
5135 Sociology 2e, using these funds.
5136     </p><p>
5137       In David’s view, this approach lets the market operate at peak
5138 efficiency. OpenStax’s partners don’t have to worry about developing
5139 textbook content, freeing them up from those development costs and letting
5140 them focus on what they do best.  With OpenStax textbooks available at no
5141 cost, they can provide their services at a lower cost—not free, but still
5142 saving students money. OpenStax benefits not only by receiving
5143 mission-support fees but through free publicity and marketing. OpenStax
5144 doesn’t have a sales force; partners are out there showcasing their
5145 materials.
5146     </p><p>
5147       OpenStax’s cost of sales to acquire a single student is very, very low and
5148 is a fraction of what traditional players in the market face. This year,
5149 Tyton Partners is actually evaluating the costs of sales for an OER effort
5150 like OpenStax in comparison with incumbents. David looks forward to sharing
5151 these findings with the community.
5152     </p><p>
5153       While OpenStax books are available online for free, many students still want
5154 a print copy. Through a partnership with a print and courier company,
5155 OpenStax offers a complete solution that scales.  OpenStax sells tens of
5156 thousands of print books. The price of an OpenStax sociology textbook is
5157 about twenty-eight dollars, a fraction of what sociology textbooks usually
5158 cost. OpenStax keeps the prices low but does aim to earn a small margin on
5159 each book sold, which also contributes to ongoing operations.
5160     </p><p>
5161       Campus-based bookstores are part of the OpenStax solution.  OpenStax
5162 collaborates with NACSCORP (the National Association of College Stores
5163 Corporation) to provide print versions of their textbooks in the
5164 stores. While the overall cost of the textbook is significantly less than a
5165 traditional textbook, bookstores can still make a profit on sales. Sometimes
5166 students take the savings they have from the lower-priced book and use it to
5167 buy other things in the bookstore. And OpenStax is trying to break the
5168 expensive behavior of excessive returns by having a no-returns policy. This
5169 is working well, since the sell-through of their print titles is virtually a
5170 hundred percent.
5171     </p><p>
5172       David thinks of the OpenStax model as <span class="quote">”<span class="quote">OER 2.0.</span>”</span> So what is OER
5173 1.0? Historically in the OER field, many OER initiatives have been locally
5174 funded by institutions or government ministries. In David’s view, this
5175 results in content that has high local value but is infrequently adopted
5176 nationally. It’s therefore difficult to show payback over a time scale that
5177 is reasonable.
5178     </p><p>
5179       OER 2.0 is about OER intended to be used and adopted on a national level
5180 right from the start. This requires a bigger investment up front but pays
5181 off through wide geographic adoption. The OER 2.0 process for OpenStax
5182 involves two development models. The first is what David calls the
5183 acquisition model, where OpenStax purchases the rights from a publisher or
5184 author for an already published book and then extensively revises it. The
5185 OpenStax physics textbook, for example, was licensed from an author after
5186 the publisher released the rights back to the authors. The second model is
5187 to develop a book from scratch, a good example being their biology book.
5188     </p><p>
5189       The process is similar for both models. First they look at the scope and
5190 sequence of existing textbooks. They ask questions like what does the
5191 customer need? Where are students having challenges? Then they identify
5192 potential authors and put them through a rigorous evaluation—only one in ten
5193 authors make it through.  OpenStax selects a team of authors who come
5194 together to develop a template for a chapter and collectively write the
5195 first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
5196 books with just a single author as David says it risks the project going
5197 longer than scheduled.) The draft is peer-reviewed with no less than three
5198 reviewers per chapter. A second draft is generated, with artists producing
5199 illustrations and visuals to go along with the text. The book is then
5200 copyedited to ensure grammatical correctness and a singular voice. Finally,
5201 it goes into production and through a final proofread. The whole process is
5202 very time-consuming.
5203     </p><p>
5204       All the people involved in this process are paid. OpenStax does not rely on
5205 volunteers. Writers, reviewers, illustrators, and editors are all paid an
5206 up-front fee—OpenStax does not use a royalty model. A best-selling author
5207 might make more money under the traditional publishing model, but that is
5208 only maybe 5 percent of all authors. From David’s perspective, 95 percent of
5209 all authors do better under the OER 2.0 model, as there is no risk to them
5210 and they earn all the money up front.
5211     </p><p>
5212       David thinks of the Attribution license (CC BY) as the <span class="quote">”<span class="quote">innovation
5213 license.</span>”</span> It’s core to the mission of OpenStax, letting people use
5214 their textbooks in innovative ways without having to ask for permission. It
5215 frees up the whole market and has been central to OpenStax being able to
5216 bring on partners.  OpenStax sees a lot of customization of their
5217 materials. By enabling frictionless remixing, CC BY gives teachers control
5218 and academic freedom.
5219     </p><p>
5220       Using CC BY is also a good example of using strategies that traditional
5221 publishers can’t. Traditional publishers rely on copyright to prevent others
5222 from making copies and heavily invest in digital rights management to ensure
5223 their books aren’t shared.  By using CC BY, OpenStax avoids having to deal
5224 with digital rights management and its costs. OpenStax books can be copied
5225 and shared over and over again. CC BY changes the rules of engagement and
5226 takes advantage of traditional market inefficiencies.
5227     </p><p>
5228       As of September 16, 2016, OpenStax has achieved some impressive
5229 results. From the OpenStax at a Glance fact sheet from their recent press
5230 kit:
5231     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5232           Books published: 23
5233         </p></li><li class="listitem"><p>
5234           Students who have used OpenStax: 1.6 million
5235         </p></li><li class="listitem"><p>
5236           Money saved for students: $155 million
5237         </p></li><li class="listitem"><p>
5238           Money saved for students in the 2016/17 academic year: $77 million
5239         </p></li><li class="listitem"><p>
5240           Schools that have used OpenStax: 2,668 (This number reflects all
5241 institutions using at least one OpenStax textbook. Out of 2,668 schools, 517
5242 are two-year colleges, 835 four-year colleges and universities, and 344
5243 colleges and universities outside the U.S.)
5244         </p></li></ul></div><p>
5245       While OpenStax has to date been focused on the United States, there is
5246 overseas adoption especially in the science, technology, engineering, and
5247 math (STEM) fields. Large scale adoption in the United States is seen as a
5248 necessary precursor to international interest.
5249     </p><p>
5250       OpenStax has primarily focused on introductory-level college courses where
5251 there is high enrollment, but they are starting to think about verticals—a
5252 broad offering for a specific group or need. David thinks it would be
5253 terrific if OpenStax could provide access to free textbooks through the
5254 entire curriculum of a nursing degree, for example.
5255     </p><p>
5256       Finally, for OpenStax success is not just about the adoption of their
5257 textbooks and student savings. There is a human aspect to the work that is
5258 hard to quantify but incredibly important. They get emails from students
5259 saying how OpenStax saved them from making difficult choices like buying
5260 food or a textbook. OpenStax would also like to assess the impact their
5261 books have on learning efficiency, persistence, and completion. By building
5262 an open business model based on Creative Commons, OpenStax is making it
5263 possible for every student who wants access to education to get it.
5264     </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>Kapitel 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>
5265         Amanda Palmer is a musician, artist, and writer. Based in the U.S.
5266       </p><p>
5267           <a class="ulink" href="http://amandapalmer.net" target="_top">http://amandapalmer.net</a>
5268         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
5269 (subscription-based), pay-what-you-want, charging for physical copies (book
5270 and album sales), charg-ing for in-person version (performances), selling
5271 merchandise
5272       </p><p><span class="strong"><strong>Interview date</strong></span>: December 15, 2015
5273       </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}
5274     \textit{
5275         Profile written by Sarah Hinchliff Pearson
5276       }
5277     \end{flushright}</td></tr></table></div><p>
5278       Since the beginning of her career, Amanda Palmer has been on what she calls
5279 a <span class="quote">”<span class="quote">journey with no roadmap,</span>”</span> continually experimenting to find
5280 new ways to sustain her creative work.<a href="#ftn.idm1718" class="footnote" name="idm1718"><sup class="footnote">[140]</sup></a>
5281     </p><p>
5282       In her best-selling book, The Art of Asking, Amanda articulates exactly what
5283 she has been and continues to strive for—<span class="quote">”<span class="quote">the ideal sweet spot
5284 . . . in which the artist can share freely and directly feel the
5285 reverberations of their artistic gifts to the community, and make a living
5286 doing that.</span>”</span>
5287     </p><p>
5288       While she seems to have successfully found that sweet spot for herself,
5289 Amanda is the first to acknowledge there is no silver bullet. She thinks the
5290 digital age is both an exciting and frustrating time for creators. <span class="quote">”<span class="quote">On
5291 the one hand, we have this beautiful shareability,</span>”</span> Amanda
5292 said. <span class="quote">”<span class="quote">On the other, you’ve got a bunch of confused artists wondering
5293 how to make money to buy food so we can make more art.</span>”</span>
5294     </p><p>
5295       Amanda began her artistic career as a street performer. She would dress up
5296 in an antique wedding gown, paint her face white, stand on a stack of milk
5297 crates, and hand out flowers to strangers as part of a silent dramatic
5298 performance. She collected money in a hat. Most people walked by her without
5299 stopping, but an essential few stopped to watch and drop some money into her
5300 hat to show their appreciation. Rather than dwelling on the majority of
5301 people who ignored her, she felt thankful for those who stopped.  <span class="quote">”<span class="quote">All
5302 I needed was . . . some people,</span>”</span> she wrote in her book. <span class="quote">”<span class="quote">Enough
5303 people. Enough to make it worth coming back the next day, enough people to
5304 help me make rent and put food on the table. Enough so I could keep making
5305 art.</span>”</span>
5306     </p><p>
5307       Amanda has come a long way from her street-performing days, but her career
5308 remains dominated by that same sentiment—finding ways to reach <span class="quote">”<span class="quote">her
5309 crowd</span>”</span> and feeling gratitude when she does. With her band the Dresden
5310 Dolls, Amanda tried the traditional path of signing with a record label. It
5311 didn’t take for a variety of reasons, but one of them was that the label had
5312 absolutely no interest in Amanda’s view of success. They wanted hits, but
5313 making music for the masses was never what Amanda and the Dresden Dolls set
5314 out to do.
5315     </p><p>
5316       After leaving the record label in 2008, she began experimenting with
5317 different ways to make a living. She released music directly to the public
5318 without involving a middle man, releasing digital files on a <span class="quote">”<span class="quote">pay what
5319 you want</span>”</span> basis and selling CDs and vinyl. She also made money from
5320 live performances and merchandise sales. Eventually, in 2012 she decided to
5321 try her hand at the sort of crowdfunding we know so well today. Her
5322 Kickstarter project started with a goal of $100,000, and she made $1.2
5323 million. It remains one of the most successful Kickstarter projects of all
5324 time.
5325     </p><p>
5326       Today, Amanda has switched gears away from crowdfunding for specific
5327 projects to instead getting consistent financial support from her fan base
5328 on Patreon, a crowdfunding site that allows artists to get recurring
5329 donations from fans. More than eight thousand people have signed up to
5330 support her so she can create music, art, and any other creative
5331 <span class="quote">”<span class="quote">thing</span>”</span> that she is inspired to make. The recurring pledges are
5332 made on a <span class="quote">”<span class="quote">per thing</span>”</span> basis. All of the content she makes is
5333 made freely available under an Attribution-NonCommercial-ShareAlike license
5334 (CC BY-NC-SA).
5335     </p><p>
5336       Making her music and art available under Creative Commons licensing
5337 undoubtedly limits her options for how she makes a living. But sharing her
5338 work has been part of her model since the beginning of her career, even
5339 before she discovered Creative Commons. Amanda says the Dresden Dolls used
5340 to get ten emails per week from fans asking if they could use their music
5341 for different projects. They said yes to all of the requests, as long as it
5342 wasn’t for a completely for-profit venture. At the time, they used a
5343 short-form agreement written by Amanda herself. <span class="quote">”<span class="quote">I made everyone sign
5344 that contract so at least I wouldn’t be leaving the band vulnerable to
5345 someone later going on and putting our music in a Camel cigarette
5346 ad,</span>”</span> Amanda said. Once she discovered Creative Commons, adopting the
5347 licenses was an easy decision because it gave them a more formal,
5348 standardized way of doing what they had been doing all along. The
5349 NonCommercial licenses were a natural fit.
5350     </p><p>
5351       Amanda embraces the way her fans share and build upon her music.  In The Art
5352 of Asking, she wrote that some of her fans’ unofficial videos using her
5353 music surpass the official videos in number of views on YouTube. Rather than
5354 seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">”<span class="quote">We
5355 got into this because we wanted to share the joy of music,</span>”</span> she said.
5356     </p><p>
5357       This is symbolic of how nearly everything she does in her career is
5358 motivated by a desire to connect with her fans. At the start of her career,
5359 she and the band would throw concerts at house parties. As the gatherings
5360 grew, the line between fans and friends was completely blurred. <span class="quote">”<span class="quote">Not
5361 only did most our early fans know where I lived and where we practiced, but
5362 most of them had also been in my kitchen,</span>”</span> Amanda wrote in The Art of
5363 Asking.
5364     </p><p>
5365       Even though her fan base is now huge and global, she continues to seek this
5366 sort of human connection with her fans. She seeks out face-to-face contact
5367 with her fans every chance she can get. Her hugely successful Kickstarter
5368 featured fifty concerts at house parties for backers. She spends hours in
5369 the signing line after shows. It helps that Amanda has the kind of dynamic,
5370 engaging personality that instantly draws people to her, but a big component
5371 of her ability to connect with people is her willingness to
5372 listen. <span class="quote">”<span class="quote">Listening fast and caring immediately is a skill unto
5373 itself,</span>”</span> Amanda wrote.
5374     </p><p>
5375       Another part of the connection fans feel with Amanda is how much they know
5376 about her life. Rather than trying to craft a public persona or image, she
5377 essentially lives her life as an open book.  She has written openly about
5378 incredibly personal events in her life, and she isn’t afraid to be
5379 vulnerable. Having that kind of trust in her fans—the trust it takes to be
5380 truly honest—begets trust from her fans in return. When she meets fans for
5381 the first time after a show, they can legitimately feel like they know her.
5382     </p><p><span class="quote">”<span class="quote">With social media, we’re so concerned with the picture looking
5383 palatable and consumable that we forget that being human and showing the
5384 flaws and exposing the vulnerability actually create a deeper connection
5385 than just looking fantastic,</span>”</span> Amanda said. <span class="quote">”<span class="quote">Everything in our
5386 culture is telling us otherwise. But my experience has shown me that the
5387 risk of making yourself vulnerable is almost always worth it.</span>”</span>
5388     </p><p>
5389       Not only does she disclose intimate details of her life to them, she sleeps
5390 on their couches, listens to their stories, cries with them. In short, she
5391 treats her fans like friends in nearly every possible way, even when they
5392 are complete strangers. This mentality—that fans are friends—is completely
5393 intertwined with Amanda’s success as an artist. It is also intertwined with
5394 her use of Creative Commons licenses. Because that is what you do with your
5395 friends—you share.
5396     </p><p>
5397       After years of investing time and energy into building trust with her fans,
5398 she has a strong enough relationship with them to ask for support—through
5399 pay-what-you-want donations, Kickstarter, Patreon, or even asking them to
5400 lend a hand at a concert. As Amanda explains it, crowdfunding (which is
5401 really what all of these different things are) is about asking for support
5402 from people who know and trust you. People who feel personally invested in
5403 your success.
5404     </p><p><span class="quote">”<span class="quote">When you openly, radically trust people, they not only take care of
5405 you, they become your allies, your family,</span>”</span> she wrote. There really
5406 is a feeling of solidarity within her core fan base. From the beginning,
5407 Amanda and her band encouraged people to dress up for their shows. They
5408 consciously cultivated a feeling of belonging to their <span class="quote">”<span class="quote">weird little
5409 family.</span>”</span>
5410     </p><p>
5411       This sort of intimacy with fans is not possible or even desirable for every
5412 creator. <span class="quote">”<span class="quote">I don’t take for granted that I happen to be the type of
5413 person who loves cavorting with strangers,</span>”</span> Amanda said. <span class="quote">”<span class="quote">I
5414 recognize that it’s not necessarily everyone’s idea of a good time. Everyone
5415 does it differently. Replicating what I have done won’t work for others if
5416 it isn’t joyful to them. It’s about finding a way to channel energy in a way
5417 that is joyful to you.</span>”</span>
5418     </p><p>
5419       Yet while Amanda joyfully interacts with her fans and involves them in her
5420 work as much as possible, she does keep one job primarily to herself—writing
5421 the music. She loves the creativity with which her fans use and adapt her
5422 work, but she intentionally does not involve them at the first stage of
5423 creating her artistic work. And, of course, the songs and music are what
5424 initially draw people to Amanda Palmer. It is only once she has connected to
5425 people through her music that she can then begin to build ties with them on
5426 a more personal level, both in person and online. In her book, Amanda
5427 describes it as casting a net. It starts with the art and then the bond
5428 strengthens with human connection.
5429     </p><p>
5430       For Amanda, the entire point of being an artist is to establish and maintain
5431 this connection. <span class="quote">”<span class="quote">It sounds so corny,</span>”</span> she said, <span class="quote">”<span class="quote">but my
5432 experience in forty years on this planet has pointed me to an obvious
5433 truth—that connection with human beings feels so much better and more
5434 fulfilling than approaching art through a capitalist lens. There is no more
5435 satisfying end goal than having someone tell you that what you do is
5436 genuinely of value to them.</span>”</span>
5437     </p><p>
5438       As she explains it, when a fan gives her a ten-dollar bill, usually what
5439 they are saying is that the money symbolizes some deeper value the music
5440 provided them. For Amanda, art is not just a product; it’s a
5441 relationship. Viewed from this lens, what Amanda does today is not that
5442 different from what she did as a young street performer. She shares her
5443 music and other artistic gifts.  She shares herself. And then rather than
5444 forcing people to help her, she lets them.
5445     </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>Kapitel 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>
5446         PLOS (Public Library of Science) is a nonprofit that publishes a library of
5447 academic journals and other scientific literature.  Founded in 2000 in the
5448 U.S.
5449       </p><p>
5450           <a class="ulink" href="http://plos.org" target="_top">http://plos.org</a>
5451         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
5452 an author processing charge to be featured in the journal
5453       </p><p><span class="strong"><strong>Interview date</strong></span>: March 7, 2016
5454       </p><p><span class="strong"><strong>Interviewee</strong></span>: Louise Page, publisher
5455       </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}
5456     \textit{
5457         Profile written by Paul Stacey
5458       }
5459     \end{flushright}</td></tr></table></div><p>
5460       The Public Library of Science (PLOS) began in 2000 when three leading
5461 scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
5462 online petition. They were calling for scientists to stop submitting papers
5463 to journals that didn’t make the full text of their papers freely available
5464 immediately or within six months. Although tens of thousands signed the
5465 petition, most did not follow through. In August 2001, Patrick and Michael
5466 announced that they would start their own nonprofit publishing operation to
5467 do just what the petition promised. With start-up grant support from the
5468 Gordon and Betty Moore Foundation, PLOS was launched to provide new
5469 open-access journals for biomedicine, with research articles being released
5470 under Attribution (CC BY) licenses.
5471     </p><p>
5472       Traditionally, academic publishing begins with an author submitting a
5473 manuscript to a publisher. After in-house technical and ethical
5474 considerations, the article is then peer-reviewed to determine if the
5475 quality of the work is acceptable for publishing.  Once accepted, the
5476 publisher takes the article through the process of copyediting, typesetting,
5477 and eventual publishing in a print or online publication. Traditional
5478 journal publishers recover costs and earn profit by charging a subscription
5479 fee to libraries or an access fee to users wanting to read the journal or
5480 article.
5481     </p><p>
5482       For Louise Page, the current publisher of PLOS, this traditional model
5483 results in inequity. Access is restricted to those who can pay. Most
5484 research is funded through government-appointed agencies, that is, with
5485 public funds. It’s unjust that the public who funded the research would be
5486 required to pay again to access the results. Not everyone can afford the
5487 ever-escalating subscription fees publishers charge, especially when library
5488 budgets are being reduced. Restricting access to the results of scientific
5489 research slows the dissemination of this research and advancement of the
5490 field. It was time for a new model.
5491     </p><p>
5492       That new model became known as open access. That is, free and open
5493 availability on the Internet. Open-access research articles are not behind a
5494 paywall and do not require a login. A key benefit of open access is that it
5495 allows people to freely use, copy, and distribute the articles, as they are
5496 primarily published under an Attribution (CC BY) license (which only
5497 requires the user to provide appropriate attribution). And more importantly,
5498 policy makers, clinicians, entrepreneurs, educators, and students around the
5499 world have free and timely access to the latest research immediately on
5500 publication.
5501     </p><p>
5502       However, open access requires rethinking the business model of research
5503 publication. Rather than charge a subscription fee to access the journal,
5504 PLOS decided to turn the model on its head and charge a publication fee,
5505 known as an article-processing charge.  This up-front fee, generally paid by
5506 the funder of the research or the author’s institution, covers the expenses
5507 such as editorial oversight, peer-review management, journal production,
5508 online hosting, and support for discovery. Fees are per article and are
5509 billed upon acceptance for publishing. There are no additional charges based
5510 on word length, figures, or other elements.
5511     </p><p>
5512       Calculating the article-processing charge involves taking all the costs
5513 associated with publishing the journal and determining a cost per article
5514 that collectively recovers costs. For PLOS’s journals in biology, medicine,
5515 genetics, computational biology, neglected tropical diseases, and pathogens,
5516 the article-processing charge ranges from $2,250 to
5517 $2,900. Article-publication charges for PLOS ONE, a journal started in 2006,
5518 are just under $1,500.
5519     </p><p>
5520       PLOS believes that lack of funds should not be a barrier to
5521 publication. Since its inception, PLOS has provided fee support for
5522 individuals and institutions to help authors who can’t afford the
5523 article-processing charges.
5524     </p><p>
5525       Louise identifies marketing as one area of big difference between PLOS and
5526 traditional journal publishers. Traditional journals have to invest heavily
5527 in staff, buildings, and infrastructure to market their journal and convince
5528 customers to subscribe.  Restricting access to subscribers means that tools
5529 for managing access control are necessary. They spend millions of dollars on
5530 access-control systems, staff to manage them, and sales staff.  With PLOS’s
5531 open-access publishing, there’s no need for these massive expenses; the
5532 articles are free, open, and accessible to all upon
5533 publication. Additionally, traditional publishers tend to spend more on
5534 marketing to libraries, who ultimately pay the subscription fees. PLOS
5535 provides a better service for authors by promoting their research directly
5536 to the research community and giving the authors exposure. And this
5537 encourages other authors to submit their work for publication.
5538     </p><p>
5539       For Louise, PLOS would not exist without the Attribution license (CC
5540 BY). This makes it very clear what rights are associated with the content
5541 and provides a safe way for researchers to make their work available while
5542 ensuring they get recognition (appropriate attribution). For PLOS, all of
5543 this aligns with how they think research content should be published and
5544 disseminated.
5545     </p><p>
5546       PLOS also has a broad open-data policy. To get their research paper
5547 published, PLOS authors must also make their data available in a public
5548 repository and provide a data-availability statement.
5549     </p><p>
5550       Business-operation costs associated with the open-access model still largely
5551 follow the existing publishing model. PLOS journals are online only, but the
5552 editorial, peer-review, production, typesetting, and publishing stages are
5553 all the same as for a traditional publisher. The editorial teams must be top
5554 notch. PLOS has to function as well as or better than other premier
5555 journals, as researchers have a choice about where to publish.
5556     </p><p>
5557       Researchers are influenced by journal rankings, which reflect the place of a
5558 journal within its field, the relative difficulty of being published in that
5559 journal, and the prestige associated with it. PLOS journals rank high, even
5560 though they are relatively new.
5561     </p><p>
5562       The promotion and tenure of researchers are partially based how many times
5563 other researchers cite their articles. Louise says when researchers want to
5564 discover and read the work of others in their field, they go to an online
5565 aggregator or search engine, and not typically to a particular journal. The
5566 CC BY licensing of PLOS research articles ensures easy access for readers
5567 and generates more discovery and citations for authors.
5568     </p><p>
5569       Louise believes that open access has been a huge success, progressing from a
5570 movement led by a small cadre of researchers to something that is now
5571 widespread and used in some form by every journal publisher. PLOS has had a
5572 big impact. In 2012 to 2014, they published more open-access articles than
5573 BioMed Central, the original open-access publisher, or anyone else.
5574     </p><p>
5575       PLOS further disrupted the traditional journal-publishing model by
5576 pioneering the concept of a megajournal. The PLOS ONE megajournal, launched
5577 in 2006, is an open-access peer-reviewed academic journal that is much
5578 larger than a traditional journal, publishing thousands of articles per year
5579 and benefiting from economies of scale. PLOS ONE has a broad scope, covering
5580 science and medicine as well as social sciences and the humanities. The
5581 review and editorial process is less subjective. Articles are accepted for
5582 publication based on whether they are technically sound rather than
5583 perceived importance or relevance. This is very important in the current
5584 debate about the integrity and reproducibility of research because negative
5585 or null results can then be published as well, which are generally rejected
5586 by traditional journals. PLOS ONE, like all the PLOS journals, is online
5587 only with no print version. PLOS passes on the financial savings accrued
5588 through economies of scale to researchers and the public by lowering the
5589 article-processing charges, which are below that of other journals. PLOS ONE
5590 is the biggest journal in the world and has really set the bar for
5591 publishing academic journal articles on a large scale. Other publishers see
5592 the value of the PLOS ONE model and are now offering their own
5593 multidisciplinary forums for publishing all sound science.
5594     </p><p>
5595       Louise outlined some other aspects of the research-journal business model
5596 PLOS is experimenting with, describing each as a kind of slider that could
5597 be adjusted to change current practice.
5598     </p><p>
5599       One slider is time to publication. Time to publication may shorten as
5600 journals get better at providing quicker decisions to authors.  However,
5601 there is always a trade-off with scale, as the bigger the volume of
5602 articles, the more time the approval process inevitably takes.
5603     </p><p>
5604       Peer review is another part of the process that could change. It’s possible
5605 to redefine what peer review actually is, when to review, and what
5606 constitutes the final article for publication. Louise talked about the
5607 potential to shift to an open-review process, placing the emphasis on
5608 transparency rather than double-blind reviews. Louise thinks we’re moving
5609 into a direction where it’s actually beneficial for an author to know who is
5610 reviewing their paper and for the reviewer to know their review will be
5611 public. An open-review process can also ensure everyone gets credit; right
5612 now, credit is limited to the publisher and author.
5613     </p><p>
5614       Louise says research with negative outcomes is almost as important as
5615 positive results. If journals published more research with negative
5616 outcomes, we’d learn from what didn’t work. It could also reduce how much
5617 the research wheel gets reinvented around the world.
5618     </p><p>
5619       Another adjustable practice is the sharing of articles at early preprint
5620 stages. Publication of research in a peer-reviewed journal can take a long
5621 time because articles must undergo extensive peer review. The need to
5622 quickly circulate current results within a scientific community has led to a
5623 practice of distributing pre-print documents that have not yet undergone
5624 peer review. Preprints broaden the peer-review process, allowing authors to
5625 receive early feedback from a wide group of peers, which can help revise and
5626 prepare the article for submission.  Offsetting the advantages of preprints
5627 are author concerns over ensuring their primacy of being first to come up
5628 with findings based on their research. Other researches may see findings the
5629 preprint author has not yet thought of. However, preprints help researchers
5630 get their discoveries out early and establish precedence. A big challenge is
5631 that researchers don’t have a lot of time to comment on preprints.
5632     </p><p>
5633       What constitutes a journal article could also change. The idea of a research
5634 article as printed, bound, and in a library stack is outdated. Digital and
5635 online open up new possibilities, such as a living document evolving over
5636 time, inclusion of audio and video, and interactivity, like discussion and
5637 recommendations. Even the size of what gets published could change. With
5638 these changes the current form factor for what constitutes a research
5639 article would undergo transformation.
5640     </p><p>
5641       As journals scale up, and new journals are introduced, more and more
5642 information is being pushed out to readers, making the experience feel like
5643 drinking from a fire hose. To help mitigate this, PLOS aggregates and
5644 curates content from PLOS journals and their network of blogs.<a href="#ftn.idm1796" class="footnote" name="idm1796"><sup class="footnote">[141]</sup></a> It also offers something called Article-Level
5645 Metrics, which helps users assess research most relevant to the field
5646 itself, based on indicators like usage, citations, social bookmarking and
5647 dissemination activity, media and blog coverage, discussions, and
5648 ratings.<a href="#ftn.idm1799" class="footnote" name="idm1799"><sup class="footnote">[142]</sup></a> Louise believes that the
5649 journal model could evolve to provide a more friendly and interactive user
5650 experience, including a way for readers to communicate with authors.
5651     </p><p>
5652       The big picture for PLOS going forward is to combine and adjust these
5653 experimental practices in ways that continue to improve accessibility and
5654 dissemination of research, while ensuring its integrity and reliability. The
5655 ways they interlink are complex.  The process of change and adjustment is
5656 not linear. PLOS sees itself as a very flexible publisher interested in
5657 exploring all the permutations research-publishing can take, with authors
5658 and readers who are open to experimentation.
5659     </p><p>
5660       For PLOS, success is not about revenue. Success is about proving that
5661 scientific research can be communicated rapidly and economically at scale,
5662 for the benefit of researchers and society.  The CC BY license makes it
5663 possible for PLOS to publish in a way that is unfettered, open, and fast,
5664 while ensuring that the authors get credit for their work. More than two
5665 million scientists, scholars, and clinicians visit PLOS every month, with
5666 more than 135,000 quality articles to peruse for free.
5667     </p><p>
5668       Ultimately, for PLOS, its authors, and its readers, success is about making
5669 research discoverable, available, and reproducible for the advancement of
5670 science.
5671     </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>Kapitel 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>
5672         The Rijksmuseum is a Dutch national museum dedicated to art and
5673 history. Founded in 1800 in the Netherlands
5674       </p><p>
5675           <a class="ulink" href="http://www.rijksmuseum.nl" target="_top">http://www.rijksmuseum.nl</a>
5676         </p><p><span class="strong"><strong>Revenue model</strong></span>: grants and government
5677 funding, charging for in-person version (museum admission), selling
5678 merchandise
5679       </p><p><span class="strong"><strong>Interview date</strong></span>: December 11, 2015
5680       </p><p><span class="strong"><strong>Interviewee</strong></span>: Lizzy Jongma, the data
5681 manager of the collections information department
5682       </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}
5683     \textit{
5684         Profile written by Paul Stacey
5685       }
5686     \end{flushright}</td></tr></table></div><p>
5687       The Rijksmuseum, a national museum in the Netherlands dedicated to art and
5688 history, has been housed in its current building since 1885. The monumental
5689 building enjoyed more than 125 years of intensive use before needing a
5690 thorough overhaul. In 2003, the museum was closed for renovations. Asbestos
5691 was found in the roof, and although the museum was scheduled to be closed
5692 for only three to four years, renovations ended up taking ten years. During
5693 this time, the collection was moved to a different part of Amsterdam, which
5694 created a physical distance with the curators. Out of necessity, they
5695 started digitally photographing the collection and creating metadata
5696 (information about each object to put into a database). With the renovations
5697 going on for so long, the museum became largely forgotten by the public. Out
5698 of these circumstances emerged a new and more open model for the museum.
5699     </p><p>
5700       By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager,
5701 staff were fed up with the situation the museum was in.  They also realized
5702 that even with the new and larger space, it still wouldn’t be able to show
5703 very much of the whole collection—eight thousand of over one million works
5704 representing just 1 percent. Staff began exploring ways to express
5705 themselves, to have something to show for all of the work they had been
5706 doing.  The Rijksmuseum is primarily funded by Dutch taxpayers, so was there
5707 a way for the museum provide benefit to the public while it was closed? They
5708 began thinking about sharing Rijksmuseum’s collection using information
5709 technology. And they put up a card-catalog like database of the entire
5710 collection online.
5711     </p><p>
5712       It was effective but a bit boring. It was just data. A hackathon they were
5713 invited to got them to start talking about events like that as having
5714 potential. They liked the idea of inviting people to do cool stuff with
5715 their collection. What about giving online access to digital representations
5716 of the one hundred most important pieces in the Rijksmuseum collection? That
5717 eventually led to why not put the whole collection online?
5718     </p><p>
5719       Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
5720 library, museum, and archive for cultural heritage.<a href="#ftn.idm1822" class="footnote" name="idm1822"><sup class="footnote">[143]</sup></a> As an online portal to museum collections all
5721 across Europe, Europeana had become an important online platform. In October
5722 2010 Creative Commons released CC0 and its public-domain mark as tools
5723 people could use to identify works as free of known copyright. Europeana was
5724 the first major adopter, using CC0 to release metadata about their
5725 collection and the public domain mark for millions of digital works in their
5726 collection. Lizzy says the Rijksmuseum initially found this change in
5727 business practice a bit scary, but at the same time it stimulated even more
5728 discussion on whether the Rijksmuseum should follow suit.
5729     </p><p>
5730       They realized that they don’t <span class="quote">”<span class="quote">own</span>”</span> the collection and couldn’t
5731 realistically monitor and enforce compliance with the restrictive licensing
5732 terms they currently had in place. For example, many copies and versions of
5733 Vermeer’s Milkmaid (part of their collection) were already online, many of
5734 them of very poor quality. They could spend time and money policing its use,
5735 but it would probably be futile and wouldn’t make people stop using their
5736 images online. They ended up thinking it’s an utter waste of time to hunt
5737 down people who use the Rijksmuseum collection. And anyway, restricting
5738 access meant the people they were frustrating the most were schoolkids.
5739     </p><p>
5740       In 2011 the Rijksmuseum began making their digital photos of works known to
5741 be free of copyright available online, using Creative Commons CC0 to place
5742 works in the public domain. A medium-resolution image was offered for free,
5743 but a high-resolution version cost forty euros. People started paying, but
5744 Lizzy says getting the money was frequently a nightmare, especially from
5745 overseas customers. The administrative costs often offset revenue, and
5746 income above costs was relatively low. In addition, having to pay for an
5747 image of a work in the public domain from a collection owned by the Dutch
5748 government (i.e., paid for by the public) was contentious and frustrating
5749 for some. Lizzy says they had lots of fierce debates about what to do.
5750     </p><p>
5751       In 2013 the Rijksmuseum changed its business model. They Creative Commons
5752 licensed their highest-quality images and released them online for
5753 free. Digitization still cost money, however; they decided to define
5754 discrete digitization projects and find sponsors willing to fund each
5755 project. This turned out to be a successful strategy, generating high
5756 interest from sponsors and lower administrative effort for the
5757 Rijksmuseum. They started out making 150,000 high-quality images of their
5758 collection available, with the goal to eventually have the entire collection
5759 online.
5760     </p><p>
5761       Releasing these high-quality images for free reduced the number of
5762 poor-quality images that were proliferating. The high-quality image of
5763 Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
5764 month. On the Internet, images from a source like the Rijksmuseum are more
5765 trusted, and releasing them with a Creative Commons CC0 means they can
5766 easily be found in other platforms. For example, Rijksmuseum images are now
5767 used in thousands of Wikipedia articles, receiving ten to eleven million
5768 views per month. This extends Rijksmuseum’s reach far beyond the scope of
5769 its website. Sharing these images online creates what Lizzy calls the
5770 <span class="quote">”<span class="quote">Mona Lisa effect,</span>”</span> where a work of art becomes so famous that
5771 people want to see it in real life by visiting the actual museum.
5772     </p><p>
5773       Every museum tends to be driven by the number of physical visitors. The
5774 Rijksmuseum is primarily publicly funded, receiving roughly 70 percent of
5775 its operating budget from the government.  But like many museums, it must
5776 generate the rest of the funding through other means. The admission fee has
5777 long been a way to generate revenue generation, including for the
5778 Rijksmuseum.
5779     </p><p>
5780       As museums create a digital presence for themselves and put up digital
5781 representations of their collection online, there’s frequently a worry that
5782 it will lead to a drop in actual physical visits. For the Rijksmuseum, this
5783 has not turned out to be the case. Lizzy told us the Rijksmuseum used to get
5784 about one million visitors a year before closing and now gets more than two
5785 million a year. Making the collection available online has generated
5786 publicity and acts as a form of marketing. The Creative Commons mark
5787 encourages reuse as well. When the image is found on protest leaflets, milk
5788 cartons, and children’s toys, people also see what museum the image comes
5789 from and this increases the museum’s visibility.
5790     </p><p>
5791       In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
5792 a new web presence that would be different from any other museum’s. In
5793 addition to redesigning their main website to be mobile friendly and
5794 responsive to devices like the iPad, the Rijksmuseum also created the
5795 Rijksstudio, where users and artists could use and do various things with
5796 the Rijksmuseum collection.<a href="#ftn.idm1834" class="footnote" name="idm1834"><sup class="footnote">[144]</sup></a>
5797     </p><p>
5798       The Rijksstudio gives users access to over two hundred thousand high-quality
5799 digital representations of masterworks from the collection. Users can zoom
5800 in to any work and even clip small parts of images they like. Rijksstudio is
5801 a bit like Pinterest.  You can <span class="quote">”<span class="quote">like</span>”</span> works and compile your
5802 personal favorites, and you can share them with friends or download them
5803 free of charge. All the images in the Rijksstudio are copyright and royalty
5804 free, and users are encouraged to use them as they like, for private or even
5805 commercial purposes.
5806     </p><p>
5807       Users have created over 276,000 Rijksstudios, generating their own themed
5808 virtual exhibitions on a wide variety of topics ranging from tapestries to
5809 ugly babies and birds. Sets of images have also been created for educational
5810 purposes including use for school exams.
5811     </p><p>
5812       Some contemporary artists who have works in the Rijksmuseum collection
5813 contacted them to ask why their works were not included in the
5814 Rijksstudio. The answer was that contemporary artists’ works are still bound
5815 by copyright. The Rijksmuseum does encourage contemporary artists to use a
5816 Creative Commons license for their works, usually a CC BY-SA license
5817 (Attribution-ShareAlike), or a CC BY-NC (Attribution-NonCommercial) if they
5818 want to preclude commercial use. That way, their works can be made available
5819 to the public, but within limits the artists have specified.
5820     </p><p>
5821       The Rijksmuseum believes that art stimulates entrepreneurial activity. The
5822 line between creative and commercial can be blurry.  As Lizzy says, even
5823 Rembrandt was commercial, making his livelihood from selling his
5824 paintings. The Rijksmuseum encourages entrepreneurial commercial use of the
5825 images in Rijksstudio.  They’ve even partnered with the DIY marketplace Etsy
5826 to inspire people to sell their creations. One great example you can find on
5827 Etsy is a kimono designed by Angie Johnson, who used an image of an
5828 elaborate cabinet along with an oil painting by Jan Asselijn called The
5829 Threatened Swan.<a href="#ftn.idm1842" class="footnote" name="idm1842"><sup class="footnote">[145]</sup></a>
5830     </p><p>
5831       In 2013 the Rijksmuseum organized their first high-profile design
5832 competition, known as the Rijksstudio Award.<a href="#ftn.idm1846" class="footnote" name="idm1846"><sup class="footnote">[146]</sup></a> With the call to action Make Your Own Masterpiece, the competition
5833 invites the public to use Rijksstudio images to make new creative designs. A
5834 jury of renowned designers and curators selects ten finalists and three
5835 winners. The final award comes with a prize of €10,000. The second edition
5836 in 2015 attracted a staggering 892 top-class entries. Some award winners end
5837 up with their work sold through the Rijksmuseum store, such as the 2014
5838 entry featuring makeup based on a specific color scheme of a work of
5839 art.<a href="#ftn.idm1851" class="footnote" name="idm1851"><sup class="footnote">[147]</sup></a> The Rijksmuseum has been thrilled
5840 with the results.  Entries range from the fun to the weird to the
5841 inspirational. The third international edition of the Rijksstudio Award
5842 started in September 2016.
5843     </p><p>
5844       For the next iteration of the Rijksstudio, the Rijksmuseum is considering an
5845 upload tool, for people to upload their own works of art, and enhanced
5846 social elements so users can interact with each other more.
5847     </p><p>
5848       Going with a more open business model generated lots of publicity for the
5849 Rijksmuseum. They were one of the first museums to open up their collection
5850 (that is, give free access) with high-quality images. This strategy, along
5851 with the many improvements to the Rijksmuseum’s website, dramatically
5852 increased visits to their website from thirty-five thousand visits per month
5853 to three hundred thousand.
5854     </p><p>
5855       The Rijksmuseum has been experimenting with other ways to invite the public
5856 to look at and interact with their collection. On an international day
5857 celebrating animals, they ran a successful bird-themed event. The museum put
5858 together a showing of two thousand works that featured birds and invited
5859 bird-watchers to identify the birds depicted. Lizzy notes that while museum
5860 curators know a lot about the works in their collections, they may not know
5861 about certain details in the paintings such as bird species. Over eight
5862 hundred different birds were identified, including a specific species of
5863 crane bird that was unknown to the scientific community at the time of the
5864 painting.
5865     </p><p>
5866       For the Rijksmuseum, adopting an open business model was scary.  They came
5867 up with many worst-case scenarios, imagining all kinds of awful things
5868 people might do with the museum’s works. But Lizzy says those fears did not
5869 come true because <span class="quote">”<span class="quote">ninety-nine percent of people have respect for
5870 great art.</span>”</span> Many museums think they can make a lot of money by
5871 selling things related to their collection. But in Lizzy’s experience,
5872 museums are usually bad at selling things, and sometimes efforts to generate
5873 a small amount of money block something much bigger—the real value that the
5874 collection has. For Lizzy, clinging to small amounts of revenue is being
5875 penny-wise but pound-foolish. For the Rijksmuseum, a key lesson has been to
5876 never lose sight of its vision for the collection. Allowing access to and
5877 use of their collection has generated great promotional value—far more than
5878 the previous practice of charging fees for access and use. Lizzy sums up
5879 their experience: <span class="quote">”<span class="quote">Give away; get something in return.  Generosity
5880 makes people happy to join you and help out.</span>”</span>
5881     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1822" class="footnote"><p><a href="#idm1822" class="para"><sup class="para">[143] </sup></a><a class="ulink" href="http://www.europeana.eu/portal/en" target="_top">http://www.europeana.eu/portal/en</a></p></div><div id="ftn.idm1834" class="footnote"><p><a href="#idm1834" class="para"><sup class="para">[144] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio" target="_top">http://www.rijksmuseum.nl/en/rijksstudio</a></p></div><div id="ftn.idm1842" class="footnote"><p><a href="#idm1842" class="para"><sup class="para">[145] </sup></a><a class="ulink" href="http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe" target="_top">http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe</a></p></div><div id="ftn.idm1846" class="footnote"><p><a href="#idm1846" class="para"><sup class="para">[146] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award</a>; the 2014
5882 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2014" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2014</a>;
5883 the 2015 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1851" class="footnote"><p><a href="#idm1851" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Kapitel 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>
5884         Shareable is an online magazine about sharing. Founded in 2009 in the U.S.
5885       </p><p>
5886           <a class="ulink" href="http://www.shareable.net" target="_top">http://www.shareable.net</a>
5887         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding,
5888 crowdfunding (project-based), donations, sponsorships
5889       </p><p><span class="strong"><strong>Interview date</strong></span>: February 24, 2016
5890       </p><p><span class="strong"><strong>Interviewee</strong></span>: Neal Gorenflo, cofounder and
5891 executive editor
5892       </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}
5893     \textit{
5894         Profile written by Sarah Hinchliff Pearson
5895       }
5896     \end{flushright}</td></tr></table></div><p>
5897       In 2013, Shareable faced an impasse. The nonprofit online publication had
5898 helped start a sharing movement four years prior, but over time, they
5899 watched one part of the movement stray from its ideals. As giants like Uber
5900 and Airbnb gained ground, attention began to center on the <span class="quote">”<span class="quote">sharing
5901 economy</span>”</span> we know now—profit-driven, transactional, and loaded with
5902 venture-capital money. Leaders of corporate start-ups in this domain invited
5903 Shareable to advocate for them. The magazine faced a choice: ride the wave
5904 or stand on principle.
5905     </p><p>
5906       As an organization, Shareable decided to draw a line in the sand.  In 2013,
5907 the cofounder and executive editor Neal Gorenflo wrote an opinion piece in
5908 the PandoDaily that charted Shareable’s new critical stance on the Silicon
5909 Valley version of the sharing economy, while contrasting it with aspects of
5910 the real sharing economy like open-source software, participatory budgeting
5911 (where citizens decide how a public budget is spent), cooperatives, and
5912 more. He wrote, <span class="quote">”<span class="quote">It’s not so much that collaborative consumption is
5913 dead, it’s more that it risks dying as it gets absorbed by the
5914 <span class="quote">’<span class="quote">Borg.</span>’</span></span>”</span>
5915     </p><p>
5916       Neal said their public critique of the corporate sharing economy defined
5917 what Shareable was and is. He does not think the magazine would still be
5918 around had they chosen differently. <span class="quote">”<span class="quote">We would have gotten another type
5919 of audience, but it would have spelled the end of us,</span>”</span> he
5920 said. <span class="quote">”<span class="quote">We are a small, mission-driven organization. We would never
5921 have been able to weather the criticism that Airbnb and Uber are getting
5922 now.</span>”</span>
5923     </p><p>
5924       Interestingly, impassioned supporters are only a small sliver of Shareable’s
5925 total audience. Most are casual readers who come across a Shareable story
5926 because it happens to align with a project or interest they have. But
5927 choosing principles over the possibility of riding the coattails of the
5928 major corporate players in the sharing space saved Shareable’s
5929 credibility. Although they became detached from the corporate sharing
5930 economy, the online magazine became the voice of the <span class="quote">”<span class="quote">real sharing
5931 economy</span>”</span> and continued to grow their audience.
5932     </p><p>
5933       Shareable is a magazine, but the content they publish is a means to
5934 furthering their role as a leader and catalyst of a movement.  Shareable
5935 became a leader in the movement in 2009. <span class="quote">”<span class="quote">At that time, there was a
5936 sharing movement bubbling beneath the surface, but no one was connecting the
5937 dots,</span>”</span> Neal said. <span class="quote">”<span class="quote">We decided to step into that space and take
5938 on that role.</span>”</span> The small team behind the nonprofit publication truly
5939 believed sharing could be central to solving some of the major problems
5940 human beings face—resource inequality, social isolation, and global warming.
5941     </p><p>
5942       They have worked hard to find ways to tell stories that show different
5943 metrics for success. <span class="quote">”<span class="quote">We wanted to change the notion of what
5944 constitutes the good life,</span>”</span> Neal said. While they started out with a
5945 very broad focus on sharing generally, today they emphasize stories about
5946 the physical commons like <span class="quote">”<span class="quote">sharing cities</span>”</span> (i.e., urban areas
5947 managed in a sustainable, cooperative way), as well as digital platforms
5948 that are run democratically. They particularly focus on how-to content that
5949 help their readers make changes in their own lives and communities.
5950     </p><p>
5951       More than half of Shareable’s stories are written by paid journalists that
5952 are contracted by the magazine.  <span class="quote">”<span class="quote">Particularly in content areas that
5953 are a priority for us, we really want to go deep and control the
5954 quality,</span>”</span> Neal said. The rest of the content is either contributed by
5955 guest writers, often for free, or written by other publications from their
5956 network of content publishers. Shareable is a member of the Post Growth
5957 Alliance, which facilitates the sharing of content and audiences among a
5958 large and growing group of mostly nonprofits.  Each organization gets a
5959 chance to present stories to the group, and the organizations can use and
5960 promote each other’s stories.  Much of the content created by the network is
5961 licensed with Creative Commons.
5962     </p><p>
5963       All of Shareable’s original content is published under the Attribution
5964 license (CC BY), meaning it can be used for any purpose as long as credit is
5965 given to Shareable. Creative Commons licensing is aligned with Shareable’s
5966 vision, mission, and identity. That alone explains the organization’s
5967 embrace of the licenses for their content, but Neal also believes CC
5968 licensing helps them increase their reach. <span class="quote">”<span class="quote">By using CC
5969 licensing,</span>”</span> he said, <span class="quote">”<span class="quote">we realized we could reach far more
5970 people through a formal and informal network of republishers or
5971 affiliates. That has definitely been the case. It’s hard for us to measure
5972 the reach of other media properties, but most of the outlets who republish
5973 our work have much bigger audiences than we do.</span>”</span>
5974     </p><p>
5975       In addition to their regular news and commentary online, Shareable has also
5976 experimented with book publishing. In 2012, they worked with a traditional
5977 publisher to release Share or Die: Voices of the Get Lost Generation in an
5978 Age of Crisis. The CC-licensed book was available in print form for purchase
5979 or online for free. To this day, the book—along with their CC-licensed guide
5980 Policies for Shareable Cities—are two of the biggest generators of traffic
5981 on their website.
5982     </p><p>
5983       In 2016, Shareable self-published a book of curated Shareable stories called
5984 How to: Share, Save Money and Have Fun. The book was available for sale, but
5985 a PDF version of the book was available for free. Shareable plans to offer
5986 the book in upcoming fund-raising campaigns.
5987     </p><p>
5988       This recent book is one of many fund-raising experiments Shareable has
5989 conducted in recent years. Currently, Shareable is primarily funded by
5990 grants from foundations, but they are actively moving toward a more
5991 diversified model. They have organizational sponsors and are working to
5992 expand their base of individual donors.  Ideally, they will eventually be a
5993 hundred percent funded by their audience. Neal believes being fully
5994 community-supported will better represent their vision of the world.
5995     </p><p>
5996       For Shareable, success is very much about their impact on the world. This is
5997 true for Neal, but also for everyone who works for Shareable. <span class="quote">”<span class="quote">We
5998 attract passionate people,</span>”</span> Neal said.  At times, that means
5999 employees work so hard they burn out. Neal tries to stress to the Shareable
6000 team that another part of success is having fun and taking care of yourself
6001 while you do something you love. <span class="quote">”<span class="quote">A central part of human beings is
6002 that we long to be on a great adventure with people we love,</span>”</span> he
6003 said.  <span class="quote">”<span class="quote">We are a species who look over the horizon and imagine and
6004 create new worlds, but we also seek the comfort of hearth and home.</span>”</span>
6005     </p><p>
6006       In 2013, Shareable ran its first crowdfunding campaign to launch their
6007 Sharing Cities Network. Neal said at first they were on pace to fail
6008 spectacularly. They called in their advisers in a panic and asked for
6009 help. The advice they received was simple—<span class="quote">”<span class="quote">Sit your ass in a chair and
6010 start making calls.</span>”</span> That’s exactly what they did, and they ended up
6011 reaching their $50,000 goal. Neal said the campaign helped them reach new
6012 people, but the vast majority of backers were people in their existing base.
6013     </p><p>
6014       For Neal, this symbolized how so much of success comes down to
6015 relationships. Over time, Shareable has invested time and energy into the
6016 relationships they have forged with their readers and supporters. They have
6017 also invested resources into building relationships between their readers
6018 and supporters.
6019     </p><p>
6020       Shareable began hosting events in 2010. These events were designed to bring
6021 the sharing community together. But over time they realized they could reach
6022 far more people if they helped their readers to host their own
6023 events. <span class="quote">”<span class="quote">If we wanted to go big on a conference, there was a huge risk
6024 and huge staffing needs, plus only a fraction of our community could travel
6025 to the event,</span>”</span> Neal said. Enabling others to create their own events
6026 around the globe allowed them to scale up their work more effectively and
6027 reach far more people. Shareable has catalyzed three hundred different
6028 events reaching over twenty thousand people since implementing this strategy
6029 three years ago. Going forward, Shareable is focusing the network on
6030 creating and distributing content meant to spur local action. For instance,
6031 Shareable will publish a new CC-licensed book in 2017 filled with ideas for
6032 their network to implement.
6033     </p><p>
6034       Neal says Shareable stumbled upon this strategy, but it seems to perfectly
6035 encapsulate just how the commons is supposed to work.  Rather than a
6036 one-size-fits-all approach, Shareable puts the tools out there for people
6037 take the ideas and adapt them to their own communities.
6038     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Kapitel 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>
6039         Siyavula is a for-profit educational-technology company that creates
6040 textbooks and integrated learning experiences. Founded in 2012 in South
6041 Africa.
6042       </p><p>
6043           <a class="ulink" href="http://www.siyavula.com" target="_top">http://www.siyavula.com</a>
6044         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
6045 services, sponsorships
6046       </p><p><span class="strong"><strong>Interview date</strong></span>: April 5, 2016
6047       </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Horner, CEO
6048       </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}
6049     \textit{
6050         Profile written by Paul Stacey
6051       }
6052     \end{flushright}</td></tr></table></div><p>
6053       Openness is a key principle for Siyavula. They believe that every learner
6054 and teacher should have access to high-quality educational resources, as
6055 this forms the basis for long-term growth and development. Siyavula has been
6056 a pioneer in creating high-quality open textbooks on mathematics and science
6057 subjects for grades 4 to 12 in South Africa.
6058     </p><p>
6059       In terms of creating an open business model that involves Creative Commons,
6060 Siyavula—and its founder, Mark Horner—have been around the block a few
6061 times. Siyavula has significantly shifted directions and strategies to
6062 survive and prosper. Mark says it’s been very organic.
6063     </p><p>
6064       It all started in 2002, when Mark and several other colleagues at the
6065 University of Cape Town in South Africa founded the Free High School Science
6066 Texts project. Most students in South Africa high schools didn’t have access
6067 to high-quality, comprehensive science and math textbooks, so Mark and his
6068 colleagues set out to write them and make them freely available.
6069     </p><p>
6070       As physicists, Mark and his colleagues were advocates of open-source
6071 software. To make the books open and free, they adopted the Free Software
6072 Foundation’s GNU Free Documentation License.<a href="#ftn.idm1924" class="footnote" name="idm1924"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
6073 documents, to author the books. Over a period of five years, the Free High
6074 School Science Texts project produced math and physical-science textbooks
6075 for grades 10 to 12.
6076     </p><p>
6077       In 2007, the Shuttleworth Foundation offered funding support to make the
6078 textbooks available for trial use at more schools.  Surveys before and after
6079 the textbooks were adopted showed there were no substantial criticisms of
6080 the textbooks’ pedagogical content. This pleased both the authors and
6081 Shuttleworth; Mark remains incredibly proud of this accomplishment.
6082     </p><p>
6083       But the development of new textbooks froze at this stage. Mark shifted his
6084 focus to rural schools, which didn’t have textbooks at all, and looked into
6085 the printing and distribution options. A few sponsors came on board but not
6086 enough to meet the need.
6087     </p><p>
6088       In 2007, Shuttleworth and the Open Society Institute convened a group of
6089 open-education activists for a small but lively meeting in Cape Town. One
6090 result was the Cape Town Open Education Declaration, a statement of
6091 principles, strategies, and commitment to help the open-education movement
6092 grow.<a href="#ftn.idm1930" class="footnote" name="idm1930"><sup class="footnote">[149]</sup></a> Shuttleworth also invited Mark to
6093 run a project writing open content for all subjects for K–12 in
6094 English. That project became Siyavula.
6095     </p><p>
6096       They wrote six original textbooks. A small publishing company offered
6097 Shuttleworth the option to buy out the publisher’s existing K–9 content for
6098 every subject in South African schools in both English and Afrikaans. A deal
6099 was struck, and all the acquired content was licensed with Creative Commons,
6100 significantly expanding the collection beyond the six original books.
6101     </p><p>
6102       Mark wanted to build out the remaining curricula collaboratively through
6103 communities of practice—that is, with fellow educators and writers. Although
6104 sharing is fundamental to teaching, there can be a few challenges when you
6105 create educational resources collectively. One concern is legal. It is
6106 standard practice in education to copy diagrams and snippets of text, but of
6107 course this doesn’t always comply with copyright law. Another concern is
6108 transparency. Sharing what you’ve authored means everyone can see it and
6109 opens you up to criticism. To alleviate these concerns, Mark adopted a
6110 team-based approach to authoring and insisted the curricula be based
6111 entirely on resources with Creative Commons licenses, thereby ensuring they
6112 were safe to share and free from legal repercussions.
6113     </p><p>
6114       Not only did Mark want the resources to be shareable, he wanted all teachers
6115 to be able to remix and edit the content. Mark and his team had to come up
6116 with an open editable format and provide tools for editing. They ended up
6117 putting all the books they’d acquired and authored on a platform called
6118 Connexions.<a href="#ftn.idm1936" class="footnote" name="idm1936"><sup class="footnote">[150]</sup></a> Siyavula trained many
6119 teachers to use Connexions, but it proved to be too complex and the
6120 textbooks were rarely edited.
6121     </p><p>
6122       Then the Shuttleworth Foundation decided to completely restructure its work
6123 as a foundation into a fellowship model (for reasons completely unrelated to
6124 Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
6125 an independent entity and took ownership over it as a Shuttleworth fellow.
6126     </p><p>
6127       Mark and his team experimented with several different strategies.  They
6128 tried creating an authoring and hosting platform called Full Marks so that
6129 teachers could share assessment items. They tried creating a service called
6130 Open Press, where teachers could ask for open educational resources to be
6131 aggregated into a package and printed for them. These services never really
6132 panned out.
6133     </p><p>
6134       Then the South African government approached Siyavula with an interest in
6135 printing out the original six Free High School Science Texts (math and
6136 physical-science textbooks for grades 10 to 12)  for all high school
6137 students in South Africa. Although at this point Siyavula was a bit
6138 discouraged by open educational resources, they saw this as a big
6139 opportunity.
6140     </p><p>
6141       They began to conceive of the six books as having massive marketing
6142 potential for Siyavula. Printing Siyavula books for every kid in South
6143 Africa would give their brand huge exposure and could drive vast amounts of
6144 traffic to their website. In addition to print books, Siyavula could also
6145 make the books available on their website, making it possible for learners
6146 to access them using any device—computer, tablet, or mobile phone.
6147     </p><p>
6148       Mark and his team began imagining what they could develop beyond what was in
6149 the textbooks as a service they charge for. One key thing you can’t do well
6150 in a printed textbook is demonstrate solutions. Typically, a one-line answer
6151 is given at the end of the book but nothing on the process for arriving at
6152 that solution.  Mark and his team developed practice items and detailed
6153 solutions, giving learners plenty of opportunity to test out what they’ve
6154 learned. Furthermore, an algorithm could adapt these practice items to the
6155 individual needs of each learner. They called this service Intelligent
6156 Practice and embedded links to it in the open textbooks.
6157     </p><p>
6158       The costs for using Intelligent Practice were set very low, making it
6159 accessible even to those with limited financial means. Siyavula was going
6160 for large volumes and wide-scale use rather than an expensive product
6161 targeting only the high end of the market.
6162     </p><p>
6163       The government distributed the books to 1.5 million students, but there was
6164 an unexpected wrinkle: the books were delivered late.  Rather than wait,
6165 schools who could afford it provided students with a different textbook. The
6166 Siyavula books were eventually distributed, but with well-off schools mainly
6167 using a different book, the primary market for Siyavula’s Intelligent
6168 Practice service inadvertently became low-income learners.
6169     </p><p>
6170       Siyavula’s site did see a dramatic increase in traffic. They got five
6171 hundred thousand visitors per month to their math site and the same number
6172 to their science site. Two-fifths of the traffic was reading on a
6173 <span class="quote">”<span class="quote">feature phone</span>”</span> (a nonsmartphone with no apps). People on basic
6174 phones were reading math and science on a two-inch screen at all hours of
6175 the day. To Mark, it was quite amazing and spoke to a need they were
6176 servicing.
6177     </p><p>
6178       At first, the Intelligent Practice services could only be paid using a
6179 credit card. This proved problematic, especially for those in the low-income
6180 demographic, as credit cards were not prevalent.  Mark says Siyavula got a
6181 harsh business-model lesson early on. As he describes it, it’s not just
6182 about product, but how you sell it, who the market is, what the price is,
6183 and what the barriers to entry are.
6184     </p><p>
6185       Mark describes this as the first version of Siyavula’s business model: open
6186 textbooks serving as marketing material and driving traffic to your site,
6187 where you can offer a related service and convert some people into a paid
6188 customer.
6189     </p><p>
6190       For Mark a key decision for Siyavula’s business was to focus on how they can
6191 add value on top of their basic service. They’ll charge only if they are
6192 adding unique value. The actual content of the textbook isn’t unique at all,
6193 so Siyavula sees no value in locking it down and charging for it. Mark
6194 contrasts this with traditional publishers who charge over and over again
6195 for the same content without adding value.
6196     </p><p>
6197       Version two of Siyavula’s business model was a big, ambitious idea—scale
6198 up. They also decided to sell the Intelligent Practice service to schools
6199 directly. Schools can subscribe on a per-student, per-subject basis. A
6200 single subscription gives a learner access to a single subject, including
6201 practice content from every grade available for that subject. Lower
6202 subscription rates are provided when there are over two hundred students,
6203 and big schools have a price cap. A 40 percent discount is offered to
6204 schools where both the science and math departments subscribe.
6205     </p><p>
6206       Teachers get a dashboard that allows them to monitor the progress of an
6207 entire class or view an individual learner’s results. They can see the
6208 questions that learners are working on, identify areas of difficulty, and be
6209 more strategic in their teaching. Students also have their own personalized
6210 dashboard, where they can view the sections they’ve practiced, how many
6211 points they’ve earned, and how their performance is improving.
6212     </p><p>
6213       Based on the success of this effort, Siyavula decided to substantially
6214 increase the production of open educational resources so they could provide
6215 the Intelligent Practice service for a wider range of books. Grades 10 to 12
6216 math and science books were reworked each year, and new books created for
6217 grades 4 to 6 and later grades 7 to 9.
6218     </p><p>
6219       In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula
6220 produced a series of natural sciences and technology workbooks for grades 4
6221 to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1955" class="footnote" name="idm1955"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
6222 teacher’s guides and other resources.
6223     </p><p>
6224       Through this experience, Siyavula learned they could get sponsors to help
6225 fund openly licensed textbooks. It helped that Siyavula had by this time
6226 nailed the production model. It cost roughly $150,000 to produce a book in
6227 two languages. Sponsors liked the social-benefit aspect of textbooks
6228 unlocked via a Creative Commons license. They also liked the exposure their
6229 brand got. For roughly $150,000, their logo would be visible on books
6230 distributed to over one million students.
6231     </p><p>
6232       The Siyavula books that are reviewed, approved, and branded by the
6233 government are freely and openly available on Siyavula’s website under an
6234 Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
6235 cannot be modified. Non-government-branded books are available under an
6236 Attribution license (CC BY), allowing others to modify and redistribute the
6237 books.
6238     </p><p>
6239       Although the South African government paid to print and distribute hard
6240 copies of the books to schoolkids, Siyavula itself received no funding from
6241 the government. Siyavula initially tried to convince the government to
6242 provide them with five rand per book (about US35¢). With those funds, Mark
6243 says that Siyavula could have run its entire operation, built a
6244 community-based model for producing more books, and provide Intelligent
6245 Practice for free to every child in the country. But after a lengthy
6246 negotiation, the government said no.
6247     </p><p>
6248       Using Siyavula books generated huge savings for the government.  Providing
6249 students with a traditionally published grade 12 science or math textbook
6250 costs around 250 rand per book (about US$18).  Providing the Siyavula
6251 version cost around 36 rand (about $2.60), a savings of over 200 rand per
6252 book. But none of those savings were passed on to Siyavula. In retrospect,
6253 Mark thinks this may have turned out in their favor as it allowed them to
6254 remain independent from the government.
6255     </p><p>
6256       Just as Siyavula was planning to scale up the production of open textbooks
6257 even more, the South African government changed its textbook policy. To save
6258 costs, the government declared there would be only one authorized textbook
6259 for each grade and each subject. There was no guarantee that Siyavula’s
6260 would be chosen.  This scared away potential sponsors.
6261     </p><p>
6262       Rather than producing more textbooks, Siyavula focused on improving its
6263 Intelligent Practice technology for its existing books. Mark calls this
6264 version three of Siyavula’s business model—focusing on the technology that
6265 provides the revenue-generating service and generating more users of this
6266 service. Version three got a significant boost in 2014 with an investment by
6267 the Omidyar Network (the philanthropic venture started by eBay founder
6268 Pierre Omidyar and his spouse), and continues to be the model Siyavula uses
6269 today.
6270     </p><p>
6271       Mark says sales are way up, and they are really nailing Intelligent
6272 Practice. Schools continue to use their open textbooks. The
6273 government-announced policy that there would be only one textbook per
6274 subject turned out to be highly contentious and is in limbo.
6275     </p><p>
6276       Siyavula is exploring a range of enhancements to their business model. These
6277 include charging a small amount for assessment services provided over the
6278 phone, diversifying their market to all English-speaking countries in
6279 Africa, and setting up a consortium that makes Intelligent Practice free to
6280 all kids by selling the nonpersonal data Intelligent Practice collects.
6281     </p><p>
6282       Siyavula is a for-profit business but one with a social mission.  Their
6283 shareholders’ agreement lists lots of requirements around openness for
6284 Siyavula, including stipulations that content always be put under an open
6285 license and that they can’t charge for something that people volunteered to
6286 do for them. They believe each individual should have access to the
6287 resources and support they need to achieve the education they
6288 deserve. Having educational resources openly licensed with Creative Commons
6289 means they can fulfill their social mission, on top of which they can build
6290 revenue-generating services to sustain the ongoing operation of Siyavula. In
6291 terms of open business models, Mark and Siyavula may have been around the
6292 block a few times, but both he and the company are stronger for it.
6293     </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>Kapitel 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>
6294         SparkFun is an online electronics retailer specializing in open
6295 hardware. Founded in 2003 in the U.S.
6296       </p><p>
6297           <a class="ulink" href="http://www.sparkfun.com" target="_top">http://www.sparkfun.com</a>
6298         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
6299 copies (electronics sales)
6300       </p><p><span class="strong"><strong>Interview date</strong></span>: February 29, 2016
6301       </p><p><span class="strong"><strong>Interviewee</strong></span>: Nathan Seidle, founder
6302       </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}
6303     \textit{
6304         Profile written by Sarah Hinchliff Pearson
6305       }
6306     \end{flushright}</td></tr></table></div><p>
6307       SparkFun founder and former CEO Nathan Seidle has a picture of himself
6308 holding up a clone of a SparkFun product in an electronics market in China,
6309 with a huge grin on his face. He was traveling in China when he came across
6310 their LilyPad wearable technology being made by someone else. His reaction
6311 was glee.
6312     </p><p><span class="quote">”<span class="quote">Being copied is the greatest earmark of flattery and success,</span>”</span>
6313 Nathan said. <span class="quote">”<span class="quote">I thought it was so cool that they were selling to a
6314 market we were never going to get access to otherwise. It was evidence of
6315 our impact on the world.</span>”</span>
6316     </p><p>
6317       This worldview runs through everything SparkFun does. SparkFun is an
6318 electronics manufacturer. The company sells its products directly to the
6319 public online, and it bundles them with educational tools to sell to schools
6320 and teachers. SparkFun applies Creative Commons licenses to all of its
6321 schematics, images, tutorial content, and curricula, so anyone can make
6322 their products on their own. Being copied is part of the design.
6323     </p><p>
6324       Nathan believes open licensing is good for the world. <span class="quote">”<span class="quote">It touches on
6325 our natural human instinct to share,</span>”</span> he said.  But he also strongly
6326 believes it makes SparkFun better at what they do. They encourage copying,
6327 and their products are copied at a very fast rate, often within ten to
6328 twelve weeks of release.  This forces the company to compete on something
6329 other than product design, or what most commonly consider their intellectual
6330 property.
6331     </p><p><span class="quote">”<span class="quote">We compete on business principles,</span>”</span> Nathan said.
6332 <span class="quote">”<span class="quote">Claiming your territory with intellectual property allows you to get
6333 comfy and rest on your laurels. It gives you a safety net. We took away that
6334 safety net.</span>”</span>
6335     </p><p>
6336       The result is an intense company-wide focus on product development and
6337 improvement. <span class="quote">”<span class="quote">Our products are so much better than they were five
6338 years ago,</span>”</span> Nathan said. <span class="quote">”<span class="quote">We used to just sell products. Now
6339 it’s a product plus a video, a seventeen-page hookup guide, and example
6340 firmware on three different platforms to get you up and running faster. We
6341 have gotten better because we had to in order to compete. As painful as it
6342 is for us, it’s better for the customers.</span>”</span>
6343     </p><p>
6344       SparkFun parts are available on eBay for lower prices. But people come
6345 directly to SparkFun because SparkFun makes their lives easier. The example
6346 code works; there is a service number to call; they ship replacement parts
6347 the day they get a service call. They invest heavily in service and
6348 support. <span class="quote">”<span class="quote">I don’t believe businesses should be competing with IP
6349 [intellectual property] barriers,</span>”</span> Nathan said. <span class="quote">”<span class="quote">This is the
6350 stuff they should be competing on.</span>”</span>
6351     </p><p>
6352       SparkFun’s company history began in Nathan’s college dorm room. He spent a
6353 lot of time experimenting with and building electronics, and he realized
6354 there was a void in the market. <span class="quote">”<span class="quote">If you wanted to place an order for
6355 something,</span>”</span> he said, <span class="quote">”<span class="quote">you first had to search far and wide to
6356 find it, and then you had to call or fax someone.</span>”</span> In 2003, during
6357 his third year of college, he registered <a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a>
6358 and started reselling products out of his bedroom. After he graduated, he
6359 started making and selling his own products.
6360     </p><p>
6361       Once he started designing his own products, he began putting the software
6362 and schematics online to help with technical support.  After doing some
6363 research on licensing options, he chose Creative Commons licenses because he
6364 was drawn to the <span class="quote">”<span class="quote">human-readable deeds</span>”</span> that explain the
6365 licensing terms in simple terms.  SparkFun still uses CC licenses for all of
6366 the schematics and firmware for the products they create.
6367     </p><p>
6368       The company has grown from a solo project to a corporation with 140
6369 employees. In 2015, SparkFun earned $33 million in revenue.  Selling
6370 components and widgets to hobbyists, professionals, and artists remains a
6371 major part of SparkFun’s business. They sell their own products, but they
6372 also partner with Arduino (also profiled in this book) by manufacturing
6373 boards for resale using Arduino’s brand.
6374     </p><p>
6375       SparkFun also has an educational department dedicated to creating a hands-on
6376 curriculum to teach students about electronics using prototyping
6377 parts. Because SparkFun has always been dedicated to enabling others to
6378 re-create and fix their products on their own, the more recent focus on
6379 introducing young people to technology is a natural extension of their core
6380 business.
6381     </p><p><span class="quote">”<span class="quote">We have the burden and opportunity to educate the next generation of
6382 technical citizens,</span>”</span> Nathan said. <span class="quote">”<span class="quote">Our goal is to affect the
6383 lives of three hundred and fifty thousand high school students by
6384 2020.</span>”</span>
6385     </p><p>
6386       The Creative Commons license underlying all of SparkFun’s products is
6387 central to this mission. The license not only signals a willingness to
6388 share, but it also expresses a desire for others to get in and tinker with
6389 their products, both to learn and to make their products better. SparkFun
6390 uses the Attribution-ShareAlike license (CC BY-SA), which is a
6391 <span class="quote">”<span class="quote">copyleft</span>”</span> license that allows people to do anything with the
6392 content as long as they provide credit and make any adaptations available
6393 under the same licensing terms.
6394     </p><p>
6395       From the beginning, Nathan has tried to create a work environment at
6396 SparkFun that he himself would want to work in. The result is what appears
6397 to be a pretty fun workplace. The U.S. company is based in Boulder,
6398 Colorado. They have an eighty-thousand-square-foot facility (approximately
6399 seventy-four-hundred square meters), where they design and manufacture their
6400 products. They offer public tours of the space several times a week, and
6401 they open their doors to the public for a competition once a year.
6402     </p><p>
6403       The public event, called the Autonomous Vehicle Competition, brings in a
6404 thousand to two thousand customers and other technology enthusiasts from
6405 around the area to race their own self-created bots against each other,
6406 participate in training workshops, and socialize. From a business
6407 perspective, Nathan says it’s a terrible idea. But they don’t hold the event
6408 for business reasons. <span class="quote">”<span class="quote">The reason we do it is because I get to travel
6409 and have interactions with our customers all the time, but most of our
6410 employees don’t,</span>”</span> he said. <span class="quote">”<span class="quote">This event gives our employees the
6411 opportunity to get face-to-face contact with our customers.</span>”</span> The
6412 event infuses their work with a human element, which makes it more
6413 meaningful.
6414     </p><p>
6415       Nathan has worked hard to imbue a deeper meaning into the work SparkFun
6416 does. The company is, of course, focused on being fiscally responsible, but
6417 they are ultimately driven by something other than money. <span class="quote">”<span class="quote">Profit is
6418 not the goal; it is the outcome of a well-executed plan,</span>”</span> Nathan
6419 said. <span class="quote">”<span class="quote">We focus on having a bigger impact on the world.</span>”</span> Nathan
6420 believes they get some of the brightest and most amazing employees because
6421 they aren’t singularly focused on the bottom line.
6422     </p><p>
6423       The company is committed to transparency and shares all of its financials
6424 with its employees. They also generally strive to avoid being another
6425 soulless corporation. They actively try to reveal the humans behind the
6426 company, and they work to ensure people coming to their site don’t find only
6427 unchanging content.
6428     </p><p>
6429       SparkFun’s customer base is largely made up of industrious electronics
6430 enthusiasts. They have customers who are regularly involved in the company’s
6431 customer support, independently responding to questions in forums and
6432 product-comment sections.  Customers also bring product ideas to the
6433 company. SparkFun regularly sifts through suggestions from customers and
6434 tries to build on them where they can. <span class="quote">”<span class="quote">From the beginning, we have
6435 been listening to the community,</span>”</span> Nathan said.  <span class="quote">”<span class="quote">Customers
6436 would identify a pain point, and we would design something to address
6437 it.</span>”</span>
6438     </p><p>
6439       However, this sort of customer engagement does not always translate to
6440 people actively contributing to SparkFun’s projects.  The company has a
6441 public repository of software code for each of its devices online. On a
6442 particularly active project, there will only be about two dozen people
6443 contributing significant improvements. The vast majority of projects are
6444 relatively untouched by the public. <span class="quote">”<span class="quote">There is a theory that if you
6445 open-source it, they will come,</span>”</span> Nathan said. <span class="quote">”<span class="quote">That’s not
6446 really true.</span>”</span>
6447     </p><p>
6448       Rather than focusing on cocreation with their customers, SparkFun instead
6449 focuses on enabling people to copy, tinker, and improve products on their
6450 own. They heavily invest in tutorials and other material designed to help
6451 people understand how the products work so they can fix and improve things
6452 independently. <span class="quote">”<span class="quote">What gives me joy is when people take open-source
6453 layouts and then build their own circuit boards from our designs,</span>”</span>
6454 Nathan said.
6455     </p><p>
6456       Obviously, opening up the design of their products is a necessary step if
6457 their goal is to empower the public. Nathan also firmly believes it makes
6458 them more money because it requires them to focus on how to provide maximum
6459 value. Rather than designing a new product and protecting it in order to
6460 extract as much money as possible from it, they release the keys necessary
6461 for others to build it themselves and then spend company time and resources
6462 on innovation and service. From a short-term perspective, SparkFun may lose
6463 a few dollars when others copy their products. But in the long run, it makes
6464 them a more nimble, innovative business. In other words, it makes them the
6465 kind of company they set out to be.
6466     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Kapitel 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>
6467         TeachAIDS is a nonprofit that creates educational materials designed to
6468 teach people around the world about HIV and AIDS.  Founded in 2005 in the
6469 U.S.
6470       </p><p>
6471           <a class="ulink" href="http://teachaids.org" target="_top">http://teachaids.org</a>
6472         </p><p><span class="strong"><strong>Revenue model</strong></span>: sponsorships
6473       </p><p><span class="strong"><strong>Interview date</strong></span>: March 24, 2016
6474       </p><p><span class="strong"><strong>Interviewees</strong></span>: Piya Sorcar, the CEO, and
6475 Shuman Ghosemajumder, the chair
6476       </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}
6477     \textit{
6478         Profile written by Sarah Hinchliff Pearson
6479       }
6480     \end{flushright}</td></tr></table></div><p>
6481       TeachAIDS is an unconventional media company with a conventional revenue
6482 model. Like most media companies, they are subsidized by
6483 advertising. Corporations pay to have their logos appear on the educational
6484 materials TeachAIDS distributes.
6485     </p><p>
6486       But unlike most media companies, Teach-AIDS is a nonprofit organization with
6487 a purely social mission. TeachAIDS is dedicated to educating the global
6488 population about HIV and AIDS, particularly in parts of the world where
6489 education efforts have been historically unsuccessful. Their educational
6490 content is conveyed through interactive software, using methods based on the
6491 latest research about how people learn. TeachAIDS serves content in more
6492 than eighty countries around the world. In each instance, the content is
6493 translated to the local language and adjusted to conform to local norms and
6494 customs. All content is free and made available under a Creative Commons
6495 license.
6496     </p><p>
6497       TeachAIDS is a labor of love for founder and CEO Piya Sorcar, who earns a
6498 salary of one dollar per year from the nonprofit. The project grew out of
6499 research she was doing while pursuing her doctorate at Stanford
6500 University. She was reading reports about India, noting it would be the next
6501 hot zone of people living with HIV. Despite international and national
6502 entities pouring in hundreds of millions of dollars on HIV-prevention
6503 efforts, the reports showed knowledge levels were still low. People were
6504 unaware of whether the virus could be transmitted through coughing and
6505 sneezing, for instance. Supported by an interdisciplinary team of experts at
6506 Stanford, Piya conducted similar studies, which corroborated the previous
6507 research. They found that the primary cause of the limited understanding was
6508 that HIV, and issues relating to it, were often considered too taboo to
6509 discuss comprehensively. The other major problem was that most of the
6510 education on this topic was being taught through television advertising,
6511 billboards, and other mass-media campaigns, which meant people were only
6512 receiving bits and pieces of information.
6513     </p><p>
6514       In late 2005, Piya and her team used research-based design to create new
6515 educational materials and worked with local partners in India to help
6516 distribute them. As soon as the animated software was posted online, Piya’s
6517 team started receiving requests from individuals and governments who were
6518 interested in bringing this model to more countries. <span class="quote">”<span class="quote">We realized
6519 fairly quickly that educating large populations about a topic that was
6520 considered taboo would be challenging. We began by identifying optimal local
6521 partners and worked toward creating an effective, culturally appropriate
6522 education,</span>”</span> Piya said.
6523     </p><p>
6524       Very shortly after the initial release, Piya’s team decided to spin the
6525 endeavor into an independent nonprofit out of Stanford University. They also
6526 decided to use Creative Commons licenses on the materials.
6527     </p><p>
6528       Given their educational mission, TeachAIDS had an obvious interest in seeing
6529 the materials as widely shared as possible. But they also needed to preserve
6530 the integrity of the medical information in the content. They chose the
6531 Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which essentially
6532 gives the public the right to distribute only verbatim copies of the
6533 content, and for noncommercial purposes. <span class="quote">”<span class="quote">We wanted attribution for
6534 TeachAIDS, and we couldn’t stand by derivatives without vetting
6535 them,</span>”</span> the cofounder and chair Shuman Ghosemajumder said.  <span class="quote">”<span class="quote">It
6536 was almost a no-brainer to go with a CC license because it was a
6537 plug-and-play solution to this exact problem. It has allowed us to scale our
6538 materials safely and quickly worldwide while preserving our content and
6539 protecting us at the same time.</span>”</span>
6540     </p><p>
6541       Choosing a license that does not allow adaptation of the content was an
6542 outgrowth of the careful precision with which TeachAIDS crafts their
6543 content. The organization invests heavily in research and testing to
6544 determine the best method of conveying the information. <span class="quote">”<span class="quote">Creating
6545 high-quality content is what matters most to us,</span>”</span> Piya
6546 said. <span class="quote">”<span class="quote">Research drives everything we do.</span>”</span>
6547     </p><p>
6548       One important finding was that people accept the message best when it comes
6549 from familiar voices they trust and admire. To achieve this, TeachAIDS
6550 researches cultural icons that would best resonate with their target
6551 audiences and recruits them to donate their likenesses and voices for use in
6552 the animated software. The celebrities involved vary for each localized
6553 version of the materials.
6554     </p><p>
6555       Localization is probably the single-most important aspect of the way
6556 TeachAIDS creates its content. While each regional version builds from the
6557 same core scientific materials, they pour a lot of resources into
6558 customizing the content for a particular population. Because they use a CC
6559 license that does not allow the public to adapt the content, TeachAIDS
6560 retains careful control over the localization process. The content is
6561 translated into the local language, but there are also changes in substance
6562 and format to reflect cultural differences. This process results in minor
6563 changes, like choosing different idioms based on the local language, and
6564 significant changes, like creating gendered versions for places where people
6565 are more likely to accept information from someone of the same gender.
6566     </p><p>
6567       The localization process relies heavily on volunteers. Their volunteer base
6568 is deeply committed to the cause, and the organization has had better luck
6569 controlling the quality of the materials when they tap volunteers instead of
6570 using paid translators. For quality control, TeachAIDS has three separate
6571 volunteer teams translate the materials from English to the local language
6572 and customize the content based on local customs and norms. Those three
6573 versions are then analyzed and combined into a single master
6574 translation. TeachAIDS has additional teams of volunteers then translate
6575 that version back into English to see how well it lines up with the original
6576 materials. They repeat this process until they reach a translated version
6577 that meets their standards. For the Tibetan version, they went through this
6578 cycle eleven times.
6579     </p><p>
6580       TeachAIDS employs full-time employees, contractors, and volunteers, all in
6581 different capacities and organizational configurations. They are careful to
6582 use people from diverse backgrounds to create the materials, including
6583 teachers, students, and doctors, as well as individuals experienced in
6584 working in the NGO space. This diversity and breadth of knowledge help
6585 ensure their materials resonate with people from all walks of life.
6586 Additionally, TeachAIDS works closely with film writers and directors to
6587 help keep the concepts entertaining and easy to understand. The inclusive,
6588 but highly controlled, creative process is undertaken entirely by people who
6589 are specifically brought on to help with a particular project, rather than
6590 ongoing staff. The final product they create is designed to require zero
6591 training for people to implement in practice. <span class="quote">”<span class="quote">In our research, we
6592 found we can’t depend on people passing on the information correctly, even
6593 if they have the best of intentions,</span>”</span> Piya said.  <span class="quote">”<span class="quote">We need
6594 materials where you can push play and they will work.</span>”</span>
6595     </p><p>
6596       Piya’s team was able to produce all of these versions over several years
6597 with a head count that never exceeded eight full-time employees. The
6598 organization is able to reduce costs by relying heavily on volunteers and
6599 in-kind donations. Nevertheless, the nonprofit needed a sustainable revenue
6600 model to subsidize content creation and physical distribution of the
6601 materials. Charging even a low price was simply not an
6602 option. <span class="quote">”<span class="quote">Educators from various nonprofits around the world were just
6603 creating their own materials using whatever they could find for free
6604 online,</span>”</span> Shuman said. <span class="quote">”<span class="quote">The only way to persuade them to use our
6605 highly effective model was to make it completely free.</span>”</span>
6606     </p><p>
6607       Like many content creators offering their work for free, they settled on
6608 advertising as a funding model. But they were extremely careful not to let
6609 the advertising compromise their credibility or undermine the heavy
6610 investment they put into creating quality content. Sponsors of the content
6611 have no ability to influence the substance of the content, and they cannot
6612 even create advertising content. Sponsors only get the right to have their
6613 logo appear before and after the educational content. All of the content
6614 remains branded as TeachAIDS.
6615     </p><p>
6616       TeachAIDS is careful not to seek funding to cover the costs of a specific
6617 project. Instead, sponsorships are structured as unrestricted donations to
6618 the nonprofit. This gives the nonprofit more stability, but even more
6619 importantly, it enables them to subsidize projects being localized for an
6620 area with no sponsors.  <span class="quote">”<span class="quote">If we just created versions based on where we
6621 could get sponsorships, we would only have materials for wealthier
6622 countries,</span>”</span> Shuman said.
6623     </p><p>
6624       As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">”<span class="quote">When we go into a new
6625 country, various companies hear about us and reach out to us,</span>”</span> Piya
6626 said. <span class="quote">”<span class="quote">We don’t have to do much to find or attract them.</span>”</span> They
6627 believe the sponsorships are easy to sell because they offer so much value
6628 to sponsors. TeachAIDS sponsorships give corporations the chance to reach
6629 new eyeballs with their brand, but at a much lower cost than other
6630 advertising channels. The audience for TeachAIDS content also tends to skew
6631 young, which is often a desirable demographic for brands. Unlike traditional
6632 advertising, the content is not time-sensitive, so an investment in a
6633 sponsorship can benefit a brand for many years to come.
6634     </p><p>
6635       Importantly, the value to corporate sponsors goes beyond commercial
6636 considerations. As a nonprofit with a clearly articulated social mission,
6637 corporate sponsorships are donations to a cause. <span class="quote">”<span class="quote">This is something
6638 companies can be proud of internally,</span>”</span> Shuman said. Some companies
6639 have even built publicity campaigns around the fact that they have sponsored
6640 these initiatives.
6641     </p><p>
6642       The core mission of TeachAIDS—ensuring global access to life-saving
6643 education—is at the root of everything the organization does. It underpins
6644 the work; it motivates the funders. The CC license on the materials they
6645 create furthers that mission, allowing them to safely and quickly scale
6646 their materials worldwide. <span class="quote">”<span class="quote">The Creative Commons license has been a
6647 game changer for TeachAIDS,</span>”</span> Piya said.
6648     </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Kapitel 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>
6649         Tribe of Noise is a for-profit online music platform serving the film, TV,
6650 video, gaming, and in-store-media industries. Founded in 2008 in the
6651 Netherlands.
6652       </p><p>
6653           <a class="ulink" href="http://www.tribeofnoise.com" target="_top">http://www.tribeofnoise.com</a>
6654         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
6655       </p><p><span class="strong"><strong>Interview date</strong></span>: January 26, 2016
6656       </p><p><span class="strong"><strong>Interviewee</strong></span>: Hessel van Oorschot,
6657 cofounder
6658       </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}
6659     \textit{
6660         Profile written by Paul Stacey
6661       }
6662     \end{flushright}</td></tr></table></div><p>
6663       In the early 2000s, Hessel van Oorschot was an entrepreneur running a
6664 business where he coached other midsize entrepreneurs how to create an
6665 online business. He also coauthored a number of workbooks for small- to
6666 medium-size enterprises to use to optimize their business for the
6667 Web. Through this early work, Hessel became familiar with the principles of
6668 open licensing, including the use of open-source software and Creative
6669 Commons.
6670     </p><p>
6671       In 2005, Hessel and Sandra Brandenburg launched a niche video-production
6672 initiative. Almost immediately, they ran into issues around finding and
6673 licensing music tracks. All they could find was standard, cold
6674 stock-music. They thought of looking up websites where you could license
6675 music directly from the musician without going through record labels or
6676 agents. But in 2005, the ability to directly license music from a rights
6677 holder was not readily available.
6678     </p><p>
6679       They hired two lawyers to investigate further, and while they uncovered five
6680 or six examples, Hessel found the business models lacking. The lawyers
6681 expressed interest in being their legal team should they decide to pursue
6682 this as an entrepreneurial opportunity. Hessel says, <span class="quote">”<span class="quote">When lawyers are
6683 interested in a venture like this, you might have something special.</span>”</span>
6684 So after some more research, in early 2008, Hessel and Sandra decided to
6685 build a platform.
6686     </p><p>
6687       Building a platform posed a real chicken-and-egg problem. The platform had
6688 to build an online community of music-rights holders and, at the same time,
6689 provide the community with information and ideas about how the new economy
6690 works. Community willingness to try new music business models requires a
6691 trust relationship.
6692     </p><p>
6693       In July 2008, Tribe of Noise opened its virtual doors with a couple hundred
6694 musicians willing to use the CC BY-SA license (Attribution-ShareAlike) for a
6695 limited part of their repertoire.  The two entrepreneurs wanted to take the
6696 pain away for media makers who wanted to license music and solve the
6697 problems the two had personally experienced finding this music.
6698     </p><p>
6699       As they were growing the community, Hessel got a phone call from a company
6700 that made in-store music playlists asking if they had enough music licensed
6701 with Creative Commons that they could use.  Stores need quality,
6702 good-listening music but not necessarily hits, a bit like a radio show
6703 without the DJ. This opened a new opportunity for Tribe of Noise. They
6704 started their In-store Music Service, using music (licensed with CC BY-SA)
6705 uploaded by the Tribe of Noise community of musicians.<a href="#ftn.idm2090" class="footnote" name="idm2090"><sup class="footnote">[152]</sup></a>
6706     </p><p>
6707       In most countries, artists, authors, and musicians join a collecting society
6708 that manages the licensing and helps collect the royalties. Copyright
6709 collecting societies in the European Union usually hold monopolies in their
6710 respective national markets. In addition, they require their members to
6711 transfer exclusive administration rights to them of all of their works.
6712 This complicates the picture for Tribe of Noise, who wants to represent
6713 artists, or at least a portion of their repertoire.  Hessel and his legal
6714 team reached out to collecting societies, starting with those in the
6715 Netherlands. What would be the best legal way forward that would respect the
6716 wishes of composers and musicians who’d be interested in trying out new
6717 models like the In-store Music Service? Collecting societies at first were
6718 hesitant and said no, but Tribe of Noise persisted arguing that they
6719 primarily work with unknown artists and provide them exposure in parts of
6720 the world where they don’t get airtime normally and a source of revenue—and
6721 this convinced them that it was OK. However, Hessel says, <span class="quote">”<span class="quote">We are
6722 still fighting for a good cause every single day.</span>”</span>
6723     </p><p>
6724       Instead of building a large sales force, Tribe of Noise partnered with big
6725 organizations who have lots of clients and can act as a kind of Tribe of
6726 Noise reseller. The largest telecom network in the Netherlands, for example,
6727 sells Tribe’s In-store Music Service subscriptions to their business
6728 clients, which include fashion retailers and fitness centers. They have a
6729 similar deal with the leading trade association representing hotels and
6730 restaurants in the country. Hessel hopes to <span class="quote">”<span class="quote">copy and paste</span>”</span>
6731 this service into other countries where collecting societies understand what
6732 you can do with Creative Commons. Outside of the Netherlands, early
6733 adoptions have happened in Scandinavia, Belgium, and the U.S.
6734     </p><p>
6735       Tribe of Noise doesn’t pay the musicians up front; they get paid when their
6736 music ends up in Tribe of Noise’s in-store music channels. The musicians’
6737 share is 42.5 percent. It’s not uncommon in a traditional model for the
6738 artist to get only 5 to 10 percent, so a share of over 40 percent is a
6739 significantly better deal.  Here’s how they give an example on their
6740 website:
6741     </p><p>
6742       A few of your songs [licensed with CC BY-SA], for example five in total, are
6743 selected for a bespoke in-store music channel broadcasting at a large
6744 retailer with 1,000 stores nationwide. In this case the overall playlist
6745 contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
6746 agreed with this retailer is US$12 per month per play-out. So if 42.5% is
6747 shared with the Tribe musicians in this playlist and your share is 1.43%,
6748 you end up with US$12 * 1000 stores * 0.425 * 0.0143 = US$73 per
6749 month.<a href="#ftn.idm2099" class="footnote" name="idm2099"><sup class="footnote">[153]</sup></a>
6750     </p><p>
6751       Tribe of Noise has another model that does not involve Creative Commons. In
6752 a survey with members, most said they liked the exposure using Creative
6753 Commons gets them and the way it lets them reach out to others to share and
6754 remix. However, they had a bit of a mental struggle with Creative Commons
6755 licenses being perpetual.  A lot of musicians have the mind-set that one day
6756 one of their songs may become an overnight hit. If that happened the CC
6757 BY-SA license would preclude them getting rich off the sale of that song.
6758     </p><p>
6759       Hessel’s legal team took this feedback and created a second model and
6760 separate area of the platform called Tribe of Noise Pro. Songs uploaded to
6761 Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
6762 instead created a <span class="quote">”<span class="quote">nonexclusive exploitation</span>”</span> contract, similar
6763 to a Creative Commons license but allowing musicians to opt out whenever
6764 they want. When you opt out, Tribe of Noise agrees to take your music off
6765 the Tribe of Noise platform within one to two months. This lets the musician
6766 reuse their song for a better deal.
6767     </p><p>
6768       Tribe of Noise Pro is primarily geared toward media makers who are looking
6769 for music. If they buy a license from this catalog, they don’t have to state
6770 the name of the creator; they just license the song for a specific
6771 amount. This is a big plus for media makers.  And musicians can pull their
6772 repertoire at any time. Hessel sees this as a more direct and clean deal.
6773     </p><p>
6774       Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and
6775 the community area of Tribe of Noises. There aren’t that many artists who
6776 upload only to Tribe of Noise Pro, which has a smaller repertoire of music
6777 than the community area.
6778     </p><p>
6779       Hessel sees the two as complementary. Both are needed for the model to
6780 work. With a whole generation of musicians interested in the sharing
6781 economy, the community area of Tribe of Noise is where they can build trust,
6782 create exposure, and generate money. And after that, musicians may become
6783 more interested in exploring other models like Tribe of Noise Pro.
6784     </p><p>
6785       Every musician who joins Tribe of Noise gets their own home page and free
6786 unlimited Web space to upload as much of their own music as they like. Tribe
6787 of Noise is also a social network; fellow musicians and professionals can
6788 vote for, comment on, and like your music. Community managers interact with
6789 and support members, and music supervisors pick and choose from the uploaded
6790 songs for in-store play or to promote them to media producers. Members
6791 really like having people working for the platform who truly engage with
6792 them.
6793     </p><p>
6794       Another way Tribe of Noise creates community and interest is with contests,
6795 which are organized in partnership with Tribe of Noise clients. The client
6796 specifies what they want, and any member can submit a song. Contests usually
6797 involve prizes, exposure, and money. In addition to building member
6798 engagement, contests help members learn how to work with clients: listening
6799 to them, understanding what they want, and creating a song to meet that
6800 need.
6801     </p><p>
6802       Tribe of Noise now has twenty-seven thousand members from 192 countries, and
6803 many are exploring do-it-yourself models for generating revenue. Some came
6804 from music labels and publishers, having gone through the traditional way of
6805 music licensing and now seeing if this new model makes sense for
6806 them. Others are young musicians, who grew up with a DIY mentality and see
6807 little reason to sign with a third party or hand over some of the
6808 control. Still a small but growing group of Tribe members are pursuing a
6809 hybrid model by licensing some of their songs under CC BY-SA and opting in
6810 others with collecting societies like ASCAP or BMI.
6811     </p><p>
6812       It’s not uncommon for performance-rights organizations, record labels, or
6813 music publishers to sign contracts with musicians based on exclusivity. Such
6814 an arrangement prevents those musicians from uploading their music to Tribe
6815 of Noise. In the United States, you can have a collecting society handle
6816 only some of your tracks, whereas in many countries in Europe, a collecting
6817 society prefers to represent your entire repertoire (although the European
6818 Commission is making some changes). Tribe of Noise deals with this issue all
6819 the time and gives you a warning whenever you upload a song. If collecting
6820 societies are willing to be open and flexible and do the most they can for
6821 their members, then they can consider organizations like Tribe of Noise as a
6822 nice add-on, generating more exposure and revenue for the musicians they
6823 represent. So far, Tribe of Noise has been able to make all this work
6824 without litigation.
6825     </p><p>
6826       For Hessel the key to Tribe of Noise’s success is trust. The fact that
6827 Creative Commons licenses work the same way all over the world and have been
6828 translated into all languages really helps build that trust. Tribe of Noise
6829 believes in creating a model where they work together with musicians. They
6830 can only do that if they have a live and kicking community, with people who
6831 think that the Tribe of Noise team has their best interests in
6832 mind. Creative Commons makes it possible to create a new business model for
6833 music, a model that’s based on trust.
6834     </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>Kapitel 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>
6835         The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia
6836 and its sister projects. Founded in 2003 in the U.S.
6837       </p><p>
6838           <a class="ulink" href="http://wikimediafoundation.org" target="_top">http://wikimediafoundation.org</a>
6839         </p><p><span class="strong"><strong>Revenue model</strong></span>: donations
6840       </p><p><span class="strong"><strong>Interview date</strong></span>: December 18, 2015
6841       </p><p><span class="strong"><strong>Interviewees</strong></span>: Luis Villa, former Chief
6842 Officer of Community Engagement, and Stephen LaPorte, legal counsel
6843       </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}
6844     \textit{
6845         Profile written by Sarah Hinchliff Pearson
6846       }
6847     \end{flushright}</td></tr></table></div><p>
6848       Nearly every person with an online presence knows Wikipedia.
6849     </p><p>
6850       In many ways, it is the preeminent open project: The online encyclopedia is
6851 created entirely by volunteers. Anyone in the world can edit the
6852 articles. All of the content is available for free to anyone online. All of
6853 the content is released under a Creative Commons license that enables people
6854 to reuse and adapt it for any purpose.
6855     </p><p>
6856       As of December 2016, there were more than forty-two million articles in the
6857 295 language editions of the online encyclopedia, according to—what
6858 else?—the Wikipedia article about Wikipedia.
6859     </p><p>
6860       The Wikimedia Foundation is a U.S.-based nonprofit organization that owns
6861 the Wikipedia domain name and hosts the site, along with many other related
6862 sites like Wikidata and Wikimedia Commons. The foundation employs about two
6863 hundred and eighty people, who all work to support the projects it
6864 hosts. But the true heart of Wikipedia and its sister projects is its
6865 community. The numbers of people in the community are variable, but about
6866 seventy-five thousand volunteers edit and improve Wikipedia articles every
6867 month. Volunteers are organized in a variety of ways across the globe,
6868 including formal Wikimedia chapters (mostly national), groups focused on a
6869 particular theme, user groups, and many thousands who are not connected to a
6870 particular organization.
6871     </p><p>
6872       As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">”<span class="quote">There is a common
6873 saying that Wikipedia works in practice but not in theory.</span>”</span> While it
6874 undoubtedly has its challenges and flaws, Wikipedia and its sister projects
6875 are a striking testament to the power of human collaboration.
6876     </p><p>
6877       Because of its extraordinary breadth and scope, it does feel a bit like a
6878 unicorn. Indeed, there is nothing else like Wikipedia.  Still, much of what
6879 makes the projects successful—community, transparency, a strong mission,
6880 trust—are consistent with what it takes to be successfully Made with
6881 Creative Commons more generally. With Wikipedia, everything just happens at
6882 an unprecedented scale.
6883     </p><p>
6884       The story of Wikipedia has been told many times. For our purposes, it is
6885 enough to know the experiment started in 2001 at a small scale, inspired by
6886 the crazy notion that perhaps a truly open, collaborative project could
6887 create something meaningful. At this point, Wikipedia is so ubiquitous and
6888 ingrained in our digital lives that the fact of its existence seems less
6889 remarkable. But outside of software, Wikipedia is perhaps the single most
6890 stunning example of successful community cocreation. Every day, seven
6891 thousand new articles are created on Wikipedia, and nearly fifteen thousand
6892 edits are made every hour.
6893     </p><p>
6894       The nature of the content the community creates is ideal for asynchronous
6895 cocreation. <span class="quote">”<span class="quote">An encyclopedia is something where incremental community
6896 improvement really works,</span>”</span> Luis Villa, former Chief Officer of
6897 Community Engagement, told us. The rules and processes that govern
6898 cocreation on Wikipedia and its sister projects are all community-driven and
6899 vary by language edition. There are entire books written on the intricacies
6900 of their systems, but generally speaking, there are very few exceptions to
6901 the rule that anyone can edit any article, even without an account on their
6902 system. The extensive peer-review process includes elaborate systems to
6903 resolve disputes, methods for managing particularly controversial subject
6904 areas, talk pages explaining decisions, and much, much more. The Wikimedia
6905 Foundation’s decision to leave governance of the projects to the community
6906 is very deliberate. <span class="quote">”<span class="quote">We look at the things that the community can do
6907 well, and we want to let them do those things,</span>”</span> Stephen told
6908 us. Instead, the foundation focuses its time and resources on what the
6909 community cannot do as effectively, like the software engineering that
6910 supports the technical infrastructure of the sites. In 2015-16, about half
6911 of the foundation’s budget went to direct support for the Wikimedia sites.
6912     </p><p>
6913       Some of that is directed at servers and general IT support, but the
6914 foundation also invests a significant amount on architecture designed to
6915 help the site function as effectively as possible.  <span class="quote">”<span class="quote">There is a
6916 constantly evolving system to keep the balance in place to avoid Wikipedia
6917 becoming the world’s biggest graffiti wall,</span>”</span> Luis said. Depending on
6918 how you measure it, somewhere between 90 to 98 percent of edits to Wikipedia
6919 are positive. Some portion of that success is attributable to the tools
6920 Wikimedia has in place to try to incentivize good actors.  <span class="quote">”<span class="quote">The secret
6921 to having any healthy community is bringing back the right people,</span>”</span>
6922 Luis said. <span class="quote">”<span class="quote">Vandals tend to get bored and go away. That is partially
6923 our model working, and partially just human nature.</span>”</span> Most of the
6924 time, people want to do the right thing.
6925     </p><p>
6926       Wikipedia not only relies on good behavior within its community and on its
6927 sites, but also by everyone else once the content leaves Wikipedia. All of
6928 the text of Wikipedia is available under an Attribution-ShareAlike license
6929 (CC BY-SA), which means it can be used for any purpose and modified so long
6930 as credit is given and anything new is shared back with the public under the
6931 same license. In theory, that means anyone can copy the content and start a
6932 new Wikipedia. But as Stephen explained, <span class="quote">”<span class="quote">Being open has only made
6933 Wikipedia bigger and stronger. The desire to protect is not always what is
6934 best for everyone.</span>”</span>
6935     </p><p>
6936       Of course, the primary reason no one has successfully co-opted Wikipedia is
6937 that copycat efforts do not have the Wikipedia community to sustain what
6938 they do. Wikipedia is not simply a source of up-to-the-minute content on
6939 every given topic—it is also a global patchwork of humans working together
6940 in a million different ways, in a million different capacities, for a
6941 million different reasons. While many have tried to guess what makes
6942 Wikipedia work as well it does, the fact is there is no single
6943 explanation. <span class="quote">”<span class="quote">In a movement as large as ours, there is an incredible
6944 diversity of motivations,</span>”</span> Stephen said. For example, there is one
6945 editor of the English Wikipedia edition who has corrected a single
6946 grammatical error in articles more than forty-eight thousand
6947 times.<a href="#ftn.idm2145" class="footnote" name="idm2145"><sup class="footnote">[154]</sup></a> Only a fraction of Wikipedia
6948 users are also editors.  But editing is not the only way to contribute to
6949 Wikipedia.  <span class="quote">”<span class="quote">Some donate text, some donate images, some donate
6950 financially,</span>”</span> Stephen told us. <span class="quote">”<span class="quote">They are all
6951 contributors.</span>”</span>
6952     </p><p>
6953       But the vast majority of us who use Wikipedia are not contributors; we are
6954 passive readers. The Wikimedia Foundation survives primarily on individual
6955 donations, with about $15 as the average. Because Wikipedia is one of the
6956 ten most popular websites in terms of total page views, donations from a
6957 small portion of that audience can translate into a lot of money. In the
6958 2015-16 fiscal year, they received more than $77 million from more than five
6959 million donors.
6960     </p><p>
6961       The foundation has a fund-raising team that works year-round to raise money,
6962 but the bulk of their revenue comes in during the December campaign in
6963 Australia, Canada, Ireland, New Zealand, the United Kingdom, and the United
6964 States. They engage in extensive user testing and research to maximize the
6965 reach of their fund-raising campaigns. Their basic fund-raising message is
6966 simple: We provide our readers and the world immense value, so give
6967 back. Every little bit helps. With enough eyeballs, they are right.
6968     </p><p>
6969       The vision of the Wikimedia Foundation is a world in which every single
6970 human being can freely share in the sum of all knowledge.  They work to
6971 realize this vision by empowering people around the globe to create
6972 educational content made freely available under an open license or in the
6973 public domain. Stephen and Luis said the mission, which is rooted in the
6974 same philosophy behind Creative Commons, drives everything the foundation
6975 does.
6976     </p><p>
6977       The philosophy behind the endeavor also enables the foundation to be
6978 financially sustainable. It instills trust in their readership, which is
6979 critical for a revenue strategy that relies on reader donations. It also
6980 instills trust in their community.
6981     </p><p>
6982       Any given edit on Wikipedia could be motivated by nearly an infinite number
6983 of reasons. But the social mission of the project is what binds the global
6984 community together. <span class="quote">”<span class="quote">Wikipedia is an example of how a mission can
6985 motivate an entire movement,</span>”</span> Stephen told us.
6986     </p><p>
6987       Of course, what results from that movement is one of the Internet’s great
6988 public resources. <span class="quote">”<span class="quote">The Internet has a lot of businesses and stores,
6989 but it is missing the digital equivalent of parks and open public
6990 spaces,</span>”</span> Stephen said.  <span class="quote">”<span class="quote">Wikipedia has found a way to be that
6991 open public space.</span>”</span>
6992     </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2145" class="footnote"><p><a href="#idm2145" class="para"><sup class="para">[154] </sup></a><a class="ulink" href="http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/" target="_top">http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/</a></p></div></div></div></div>\chapter*{<title>Bibliography</title>}\addcontentsline{toc}{chapter}{<title>Bibliography</title>}<p>
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7103     Harris, Malcom, ed. Share or Die: Voices of the Get Lost Generation in the
7104 Age of Crisis. With Neal Gorenflo. Gabriola Island, BC: New Society, 2012.
7105   </p><p>
7106     Hermida, Alfred. Tell Everyone: Why We Share and Why It Matters.  Toronto:
7107 Doubleday Canada, 2014.
7108   </p><p>
7109     Hyde, Lewis. Common as Air: Revolution, Art, and Ownership. New York:
7110 Farrar, Straus and Giroux, 2010.
7111   </p><p>
7112     ———. The Gift: Creativity and the Artist in the Modern World. 2nd Vintage
7113 Books edition. New York: Vintage Books, 2007.
7114   </p><p>
7115     Kelley, Tom, and David Kelley. Creative Confidence: Unleashing the Potential
7116 within Us All. New York: Crown, 2013.
7117   </p><p>
7118     Kelly, Marjorie. Owning Our Future: The Emerging Ownership Revolution;
7119 Journeys to a Generative Economy. San Francisco: Berrett-Koehler, 2012.
7120   </p><p>
7121     Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and Get
7122 Discovered. New York: Workman, 2014.
7123   </p><p>
7124     ———. Steal Like an Artist: 10 Things Nobody Told You about Being
7125 Creative. New York: Workman, 2012.
7126   </p><p>
7127     Kramer, Bryan. Shareology: How Sharing Is Powering the Human Economy. New
7128 York: Morgan James, 2016.
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7130     Lee, David. <span class="quote">”<span class="quote">Inside Medium: An Attempt to Bring Civility to the
7131 Internet.</span>”</span> BBC News, March 3, 2016.  <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>
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7133     Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid
7134 Economy. New York: Penguin Press, 2008.
7135   </p><p>
7136     Menzies, Heather. Reclaiming the Commons for the Common Good: A Memoir and
7137 Manifesto. Gabriola Island, BC: New Society, 2014.
7138   </p><p>
7139     Mason, Paul. Postcapitalism: A Guide to Our Future. New York: Farrar, Straus
7140 and Giroux, 2015.
7141   </p><p>
7142     New York Times Customer Insight Group. The Psychology of Sharing: Why Do
7143 People Share Online? New York: New York Times Customer Insight Group, 2011.
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7145   </p><p>
7146     Osterwalder, Alex, and Yves Pigneur. Business Model Generation.  Hoboken,
7147 NJ: John Wiley and Sons, 2010. A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
7148   </p><p>
7149     Osterwalder, Alex, Yves Pigneur, Greg Bernarda, and Adam Smith.  Value
7150 Proposition Design. Hoboken, NJ: John Wiley and Sons, 2014. A preview of the
7151 book is available at <a class="ulink" href="http://strategyzer.com/books/value-proposition-design" target="_top">http://strategyzer.com/books/value-proposition-design</a>.
7152   </p><p>
7153     Palmer, Amanda. The Art of Asking: Or How I Learned to Stop Worrying and Let
7154 People Help. New York: Grand Central, 2014.
7155   </p><p>
7156     Pekel, Joris. Democratising the Rijksmuseum: Why Did the Rijksmuseum Make
7157 Available Their Highest Quality Material without Restrictions, and What Are
7158 the Results? The Hague, Netherlands: Europeana Foundation, 2014.  <a class="ulink" href="http://pro.europeana.eu/publication/democratising-the-rijksmuseum" target="_top">http://pro.europeana.eu/publication/democratising-the-rijksmuseum</a>
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7161     Ramos, José Maria, ed. The City as Commons: A Policy Reader.  Melbourne,
7162 Australia: Commons Transition Coalition, 2016.  <a class="ulink" href="http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader" target="_top">http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader</a>
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7165     Raymond, Eric S. The Cathedral and the Bazaar: Musings on Linux and Open
7166 Source by an Accidental Revolutionary. Rev. ed. Sebastopol, CA: O’Reilly
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7169     Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous
7170 Innovation to Create Radically Successful Businesses. New York: Crown
7171 Business, 2011.
7172   </p><p>
7173     Rifkin, Jeremy. The Zero Marginal Cost Society: The Internet of Things, the
7174 Collaborative Commons, and the Eclipse of Capitalism.  New York: Palgrave
7175 Macmillan, 2014.
7176   </p><p>
7177     Rowe, Jonathan. Our Common Wealth. San Francisco: Berrett-Koehler, 2013.
7178   </p><p>
7179     Rushkoff, Douglas. Throwing Rocks at the Google Bus: How Growth Became the
7180 Enemy of Prosperity. New York: Portfolio, 2016.
7181   </p><p>
7182     Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets. New
7183 York: Farrar, Straus and Giroux, 2012.
7184   </p><p>
7185     Shirky, Clay. Cognitive Surplus: How Technology Makes Consumers into
7186 Collaborators. London, England: Penguin Books, 2010.
7187   </p><p>
7188     Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York: OR
7189 Books, 2015.
7190   </p><p>
7191     Stephany, Alex. The Business of Sharing: Making in the New Sharing
7192 Economy. New York: Palgrave Macmillan, 2015.
7193   </p><p>
7194     Stepper, John. Working Out Loud: For a Better Career and Life. New York:
7195 Ikigai Press, 2015.
7196   </p><p>
7197     Sull, Donald, and Kathleen M. Eisenhardt. Simple Rules: How to Thrive in a
7198 Complex World. Boston: Houghton Mifflin Harcourt, 2015.
7199   </p><p>
7200     Sundararajan, Arun. The Sharing Economy: The End of Employment and the Rise
7201 of Crowd-Based Capitalism. Cambridge, MA: MIT Press, 2016.
7202   </p><p>
7203     Surowiecki, James. The Wisdom of Crowds. New York: Anchor Books, 2005.
7204   </p><p>
7205     Tapscott, Don, and Alex Tapscott. Blockchain Revolution: How the Technology
7206 Behind Bitcoin Is Changing Money, Business, and the World. Toronto:
7207 Portfolio, 2016.
7208   </p><p>
7209     Tharp, Twyla. The Creative Habit: Learn It and Use It for Life. With Mark
7210 Reiter. New York: Simon and Schuster, 2006.
7211   </p><p>
7212     Tkacz, Nathaniel. Wikipedia and the Politics of Openness. Chicago:
7213 University of Chicago Press, 2015.
7214   </p><p>
7215     Van Abel, Bass, Lucas Evers, Roel Klaassen, and Peter Troxler, eds.  Open
7216 Design Now: Why Design Cannot Remain Exclusive. Amsterdam: BIS Publishers,
7217 with Creative Commons Netherlands; Premsela, the Netherlands Institute for
7218 Design and Fashion; and the Waag Society, 2011. <a class="ulink" href="http://opendesignnow.org" target="_top">http://opendesignnow.org</a> (licensed under CC BY-NC-SA).
7219   </p><p>
7220     Van den Hoff, Ronald. Mastering the Global Transition on Our Way to Society
7221 3.0. Utrecht, the Netherlands: Society 3.0 Foundation, 2014.  <a class="ulink" href="http://society30.com/get-the-book/" target="_top">http://society30.com/get-the-book/</a> (licensed under CC BY-NC-ND).
7222   </p><p>
7223     Von Hippel, Eric. Democratizing Innovation. London: MIT Press, 2005.  <a class="ulink" href="http://web.mit.edu/evhippel/www/democ1.htm" target="_top">http://web.mit.edu/evhippel/www/democ1.htm</a> (licensed under CC
7224 BY-NC-ND).
7225   </p><p>
7226     Whitehurst, Jim. The Open Organization: Igniting Passion and
7227 Performance. Boston: Harvard Business Review Press, 2015.
7228   </p>\chapter*{<title>Acknowledgments</title>}\addcontentsline{toc}{chapter}{<title>Acknowledgments</title>}<p>
7229     We extend special thanks to Creative Commons CEO Ryan Merkley, the Creative
7230 Commons Board, and all of our Creative Commons colleagues for
7231 enthusiastically supporting our work. Special gratitude to the William and
7232 Flora Hewlett Foundation for the initial seed funding that got us started on
7233 this project.
7234   </p><p>
7235     Huge appreciation to all the Made with Creative Commons interviewees for
7236 sharing their stories with us. You make the commons come alive.  Thanks for
7237 the inspiration.
7238   </p><p>
7239     We interviewed more than the twenty-four organizations profiled in this
7240 book. We extend special thanks to Gooru, OERu, Sage Bionetworks, and Medium
7241 for sharing their stories with us. While not featured as case studies in
7242 this book, you all are equally interesting, and we encourage our readers to
7243 visit your sites and explore your work.
7244   </p><p>
7245     This book was made possible by the generous support of 1,687 Kickstarter
7246 backers listed below. We especially acknowledge our many Kickstarter
7247 co-editors who read early drafts of our work and provided invaluable
7248 feedback. Heartfelt thanks to all of you.
7249   </p><p>
7250     Co-editor Kickstarter backers (alphabetically by first name): Abraham
7251 Taherivand, Alan Graham, Alfredo Louro, Anatoly Volynets, Aurora Thornton,
7252 Austin Tolentino, Ben Sheridan, Benedikt Foit, Benjamin Costantini, Bernd
7253 Nurnberger, Bernhard Seefeld, Bethanye Blount, Bradford Benn, Bryan Mock,
7254 Carmen Garcia Wiedenhoeft, Carolyn Hinchliff, Casey Milford, Cat Cooper,
7255 Chip McIntosh, Chris Thorne, Chris Weber, Chutika Udomsinn, Claire Wardle,
7256 Claudia Cristiani, Cody Allard, Colleen Cressman, Craig Thomler, Creative
7257 Commons Uruguay, Curt McNamara, Dan Parson, Daniel Dominguez, Daniel Morado,
7258 Darius Irvin, Dave Taillefer, David Lewis, David Mikula, David Varnes, David
7259 Wiley, Deborah Nas, Diderik van Wingerden, Dirk Kiefer, Dom Lane, Domi
7260 Enders, Douglas Van Houweling, Dylan Field, Einar Joergensen, Elad Wieder,
7261 Elie Calhoun, Erika Reid, Evtim Papushev, Fauxton Software, Felix
7262 Maximiliano Obes, Ferdies Food Lab, Gatien de Broucker, Gaurav Kapil, Gavin
7263 Romig-Koch, George Baier IV, George De Bruin, Gianpaolo Rando, Glenn Otis
7264 Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan,
7265 Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie
7266 Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M
7267 Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
7268 Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
7269 Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
7270 Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
7271 Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie
7272 Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen,
7273 Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos
7274 Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi
7275 Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley,
7276 MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black,
7277 Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
7278 Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike
7279 Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall
7280 McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman,
7281 Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
7282 Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny
7283 Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv
7284 Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones,
7285 Robert Thompson, Ronald van den Hoff, Rusi Popov, Ryan Merkley, S Searle,
7286 Salomon Riedo, Samuel A. Rebelsky, Samuel Tait, Sarah McGovern, Scott
7287 Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio,
7288 Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun,
7289 Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent,
7290 Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
7291 Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh,
7292 William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque,
7293 Yancey Strickler
7294   </p><p>
7295     All other Kickstarter backers (alphabetically by first name): A.  Lee, Aaron
7296 C. Rathbun, Aaron Stubbs, Aaron Suggs, Abdul Razak Manaf, Abraham
7297 Taherivand, Adam Croom, Adam Finer, Adam Hansen, Adam Morris, Adam Procter,
7298 Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam Zimmerman,
7299 Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain
7300 Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert
7301 O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
7302 Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown,
7303 Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar,
7304 Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre
7305 Rafalovitch, Alexey Volkow, Alexi Wheeler, Alexis Sevault, Alfredo Louro,
7306 Ali Sternburg, Alicia Gibb &amp; Lunchbox Electronics, Alison Link, Alison
7307 Pentecost, Alistair Boettiger, Alistair Walder, Alix Bernier, Allan
7308 Callaghan, Allen Riddell, Allison Breland Crotwell, Allison Jane Smith,
7309 Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
7310 Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
7311 Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
7312 Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas
7313 Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew
7314 Hearse, Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew
7315 Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve, Andy
7316 Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan, Anne-Marie Scott,
7317 Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton
7318 Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
7319 publishing, April Johnson, Aria F.  Chernik, Ariane Allan, Ariel Katz,
7320 Arithmomaniac, Arnaud Tessier, Arnim Sommer, Ashima Bawa, Ashley Elsdon,
7321 Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin
7322 Hartzheim, Austin Tolentino, Avner Shanan, Axel Pettersson, Axel
7323 Stieglbauer, Ay Okpokam, Barb Bartkowiak, Barbara Lindsey, Barry Dayton,
7324 Bastian Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben
7325 Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini,
7326 Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
7327 Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth
7328 Tillinghast, Bethanye Blount, Bill Bonwitt, Bill Browne, Bill Keaggy, Bill
7329 Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker,
7330 Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
7331 Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak,
7332 Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden Hassett, Bradford
7333 Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
7334 Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
7335 Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian
7336 S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke
7337 Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin, Bryan
7338 Mock, Bryant Durrell, Bryce Barbato, Buzz Technology Limited, Byung-Geun
7339 Jeon, C. Glen Williams, C. L. Couch, Cable Green, Callum Gare, Cameron
7340 Callahan, Cameron Colby Thomson, Cameron Mulder, Camille Bissuel / Nylnook,
7341 Candace Robertson, Carl Morris, Carl Perry, Carl Rigney, Carles Mateu,
7342 Carlos Correa Loyola, Carlos Solis, Carmen Garcia Wiedenhoeft, Carol Long,
7343 Carol marquardsen, Caroline Calomme, Caroline Mailloux, Carolyn Hinchliff,
7344 Carolyn Rude, Carrie Cousins, Carrie Watkins, Casey Hunt, Casey Milford,
7345 Casey Powell Shorthouse, Cat Cooper, Cecilie Maria, Cedric Howe, Cefn Hoile,
7346 @ShrimpingIt, Celia Muller, Ces Keller, Chad Anderson, Charles Butler,
7347 Charles Carstensen, Charles Chi Thoi Le, Charles Kobbe, Charles S. Tritt,
7348 Charles Stanhope, Charlotte Ong-Wisener, Chealsye Bowley, Chelle Destefano,
7349 Chenpang Chou, Cheryl Corte, Cheryl Todd, Chip Dickerson, Chip McIntosh,
7350 Chris Bannister, Chris Betcher, Chris Coleman, Chris Conway, Chris Foote
7351 (Spike), Chris Hurst, Chris Mitchell, Chris Muscat Azzopardi, Chris
7352 Niewiarowski, Chris Opperwall, Chris Stieha, Chris Thorne, Chris Weber,
7353 Chris Woolfrey, Chris Zabriskie, Christi Reid, Christian Holzberger,
7354 Christian Schubert, Christian Sheehy, Christian Thibault, Christian Villum,
7355 Christian Wachter, Christina Bennett, Christine Henry, Christine Rico,
7356 Christopher Burrows, Christopher Chan, Christopher Clay, Christopher Harris,
7357 Christopher Opiah, Christopher Swenson, Christos Keramitsis, Chuck Roslof,
7358 Chutika Udomsinn, Claire Wardle, Clare Forrest, Claudia Cristiani, Claudio
7359 Gallo, Claudio Ruiz, Clayton Dewey, Clement Delort, Cliff Church, Clint
7360 Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
7361 Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
7362 Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
7363 Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney,
7364 Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini,
7365 Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei,
7366 Dagmar M. Meyer, Dan Mcalister, Dan Mohr, Dan Parson, Dana Freeman, Dana
7367 Ospina, Dani Leviss, Daniel Bustamante, Daniel Demmel, Daniel Dominguez,
7368 Daniel Dultz, Daniel Gallant, Daniel Kossmann, Daniel Kruse, Daniel Morado,
7369 Daniel Morgan, Daniel Pimley, Daniel Sabo, Daniel Sobey, Daniel Stein,
7370 Daniel Wildt, Daniele Prati, Danielle Moss, Danny Mendoza, Dario
7371 Taraborelli, Darius Irvin, Darius Whelan, Darla Anderson, Dasha Brezinova,
7372 Dave Ainscough, Dave Bull, Dave Crosby, Dave Eagle, Dave Moskovitz, Dave
7373 Neeteson, Dave Taillefer, Dave Witzel, David Bailey, David Cheung, David
7374 Eriksson, David Gallagher, David H. Bronke, David Hartley, David Hellam,
7375 David Hood, David Hunter, David jlaietta, David Lewis, David Mason, David
7376 Mcconville, David Mikula, David Nelson, David Orban, David Parry, David
7377 Spira, David T.  Kindler, David Varnes, David Wiley, David Wormley, Deborah
7378 Nas, Denis Jean, dennis straub, Dennis Whittle, Denver Gingerich, Derek
7379 Slater, Devon Cooke, Diana Pasek-Atkinson, Diane Johnston Graves, Diane
7380 K. Kovacs, Diane Trout, Diderik van Wingerden, Diego Cuevas, Diego De La
7381 Cruz, Dimitrie Grigorescu, Dina Marie Rodriguez, Dinah Fabela, Dirk Haun,
7382 Dirk Kiefer, Dirk Loop, DJ Fusion - FuseBox Radio Broadcast, Dom jurkewitz,
7383 Dom Lane, Domi Enders, Domingo Gallardo, Dominic de Haas, Dominique
7384 Karadjian, Dongpo Deng, Donnovan Knight, Door de Flines, Doug Fitzpatrick,
7385 Doug Hoover, Douglas Craver, Douglas Van Camp, Douglas Van Houweling,
7386 Dr. Braddlee, Drew Spencer, Duncan Sample, Durand D’souza, Dylan Field, E C
7387 Humphries, Eamon Caddigan, Earleen Smith, Eden Sarid, Eden Spodek, Eduardo
7388 Belinchon, Eduardo Castro, Edwin Vandam, Einar Joergensen, Ejnar Brendsdal,
7389 Elad Wieder, Elar Haljas, Elena Valhalla, Eli Doran, Elias Bouchi, Elie
7390 Calhoun, Elizabeth Holloway, Ellen Buecher, Ellen Kaye- Cheveldayoff, Elli
7391 Verhulst, Elroy Fernandes, Emery Hurst Mikel, Emily Catedral, Enrique
7392 Mandujano R., Eric Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric
7393 Hellman, Eric Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard,
7394 Erika Reid, Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan
7395 Bousse, Erwin Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan
7396 Tangman, Evonne Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton
7397 Software, Felix Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix
7398 Schmidt, Felix Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe
7399 Rodrigues, Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer,
7400 Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
7401 Games, Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois
7402 Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
7403 Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
7404 Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
7405 Gary Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de
7406 Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George
7407 Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman,
7408 Geronimo de la Lama, Gianpaolo Rando, Gil Stendig, Gino Cingolani Trucco,
7409 Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives
7410 Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman,
7411 Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg
7412 Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
7413 Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho
7414 Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
7415 Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de
7416 Raad, Hans Vd Horst, Harold van Ingen, Harold Watson, Harry Chapman, Harry
7417 Kaczka, Harry Torque, Hayden Glass, Hayley Rosenblum, Heather Leson, Helen
7418 Crisp, Helen Michaud, Helen Qubain, Helle Rekdal Schønemann, Henrique Flach
7419 Latorre Moreno, Henry Finn, Henry Kaiser, Henry Lahore, Henry Steingieser,
7420 Hermann Paar, Hillary Miller, Hironori Kuriaki, Holly Dykes, Holly Lyne,
7421 Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
7422 Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider,
7423 Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah
7424 Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek
7425 Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
7426 Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach,
7427 James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James
7428 Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol,
7429 Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park,
7430 Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason
7431 E. Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy
7432 Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
7433 Jean-Philippe Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff
7434 De Cagna, Jeff Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff
7435 Rasalla, Jeff Ski Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen
7436 Garcia, Jens Erat, Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell,
7437 Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
7438 Jessica Dickinson Goodman, Jessica Litman, Jessica Mackay, Jessy Kate
7439 Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
7440 O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
7441 Allum, Joachim Brandon LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim
7442 Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
7443 Sandfort, Joe Cardillo, Joe Carpita, Joe Moross, Joerg Fricke, Johan Adda,
7444 Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
7445 Bevan, John C Patterson, John Crumrine, John Dimatos, John Feyler, John
7446 Huntsman, John Manoogian III, John Muller, John Ober, John Paul Blodgett,
7447 John Pearce, John Shale, John Sharp, John Simpson, John Sumser, John Weeks,
7448 John Wilbanks, John Worland, Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon
7449 Andersen, Jon Cohrs, Jon Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith,
7450 Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
7451 Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
7452 Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
7453 Sullivan, Joseph Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP
7454 Rangaswami, Juan Carlos Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo
7455 Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
7456 Julia Devonshire, Julian Fietkau, Julie Harboe, Julien Brossoit, Julien
7457 Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
7458 Grimes, Justin Jones, Justin Szlasa, Justin Walsh, JustinChung.com, K. J.
7459 Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
7460 Kara Monroe, Karen Pe, Karl Jahn, Karl Jonsson, Karl Nelson, Kasia
7461 Zygmuntowicz, Kat Lim, Kate Chapman, Kate Stewart, Kathleen Beck, Kathleen
7462 Hanrahan, Kathryn Abuzzahab, Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie
7463 Lynn Daniels, Katie Meek, Katie Teague, Katrina Hennessy, Katriona Main,
7464 Kavan Antani, Keith Adams, Keith Berndtson, MD, Keith Luebke, Kellie
7465 Higginbottom, Ken Friis Larsen, Ken Haase, Ken Torbeck, Kendel Ratley,
7466 Kendra Byrne, Kerry Hicks, Kevin Brown, Kevin Coates, Kevin Flynn, Kevin
7467 Rumon, Kevin Shannon, Kevin Taylor, Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane
7468 l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
7469 Rennert, Kris Kasianovitz, Kristian Lundquist, Kristin Buxton, Kristina
7470 Popova, Kristofer Bratt, Kristoffer Steen, Kumar McMillan, Kurt Whittemore,
7471 Kyle Pinches, Kyle Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry
7472 Garfield, Larry Singer, Lars Josephsen, Lars Klaeboe, Laura Anne Brown,
7473 Laura Billings, Laura Ferejohn, Lauren Pedersen, Laurence Gonsalves, Laurent
7474 Muchacho, Laurie Racine, Laurie Reynolds, Lawrence M. Schoen, Leandro
7475 Pangilinan, Leigh Verlandson, Lenka Gondolova, Leonardo Bueno Postacchini,
7476 leonardo menegola, Lesley Mitchell, Leslie Krumholz, Leticia Britos
7477 Cavagnaro, Levi Bostian, Leyla Acaroglu, Liisa Ummelas, Lilly Kashmir
7478 Marques, Lior Mazliah, Lisa Bjerke, Lisa Brewster, Lisa Canning, Lisa
7479 Cronin, Lisa Di Valentino, Lisandro Gaertner, Livia Leskovec, Liynn
7480 Worldlaw, Liz Berg, Liz White, Logan Cox, Loki Carbis, Lora Lynn, Lorna
7481 Prescott, Lou Yufan, Louie Amphlett, Louis-David Benyayer, Louise Denman,
7482 Luca Corsato, Luca Lesinigo, Luca Palli, Luca Pianigiani, Luca S.G. de
7483 Marinis, Lucas Lopez, Lukas Mathis, Luke Chamberlin, Luke Chesser, Luke
7484 Woodbury, Lulu Tang, Lydia Pintscher, M Alexander Jurkat, Maarten Sander,
7485 Macie J Klosowski, Magnus Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh,
7486 Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
7487 Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich, Marc Harpster, Marc
7488 Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
7489 Leeuwe, Marcel Hill, Marcia Hofmann, Marcin Olender, Marco Massarotto, Marco
7490 Montanari, Marco Morales, Marcos Medionegro, Marcus Bitzl, Marcus Norrgren,
7491 Margaret Gary, Mari Moreshead, Maria Liberman, Marielle Hsu, Marino
7492 Hernandez, Mario Lurig, Mario R. Hemsley, MD, Marissa Demers, Mark Chandler,
7493 Mark Cohen, Mark De Solla Price, Mark Gabby, Mark Gray, Mark Koudritsky,
7494 Mark Kupfer, Mark Lednor, Mark McGuire, Mark Moleda, Mark Mullen, Mark
7495 Murphy, Mark Perot, Mark Reeder, Mark Spickett, Mark Vincent Adams, Mark
7496 Waks, Mark Zuccarell II, Markus Deimann, Markus Jaritz, Markus Luethi,
7497 Marshal Miller, Marshall Warner, Martijn Arets, Martin Beaudoin, Martin
7498 Decky, Martin DeMello, Martin Humpolec, Martin Mayr, Martin Peck, Martin
7499 Sanchez, Martino Loco, Martti Remmelgas, Martyn Eggleton, Martyn Lewis, Mary
7500 Ellen Davis, Mary Heacock, Mary Hess, Mary Mi, Masahiro Takagi, Mason Du,
7501 Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
7502 Kruk, Matija Nalis, Matt Alcock, Matt Black, Matt Broach, Matt Hall, Matt
7503 Haughey, Matt Lee, Matt Plec, Matt Skoss, Matt Thompson, Matt Vance, Matt
7504 Wagstaff, Matteo Cocco, Matthew Bendert, Matthew Bergholt, Matthew Darlison,
7505 Matthew Epler, Matthew Hawken, Matthew Heimbecker, Matthew Orstad, Matthew
7506 Peterworth, Matthew Sheehy, Matthew Tucker, Adaptive Handy Apps, LLC,
7507 Mattias Axell, Max Green, Max Kossatz, Max lupo, Max Temkin, Max van
7508 Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
7509 Finlayson, Melissa Aho, Melissa Sterry, Melle Funambuline, Menachem
7510 Goldstein, Micah Bridges, Michael Ailberto, Michael Anderson, Michael
7511 Andersson Skane, Michael C. Stewart, Michael Carroll, Michael Cavette,
7512 Michael Crees, Michael David Johas Teener, Michael Dennis Moore, Michael
7513 Freundt Karlsen, Michael Harries, Michael Hawel, Michael Lewis, Michael May,
7514 Michael Murphy, Michael Murvine, Michael Perkins, Michael Sauers, Michael
7515 St.Onge, Michael Stanford, Michael Stanley, Michael Underwood, Michael
7516 Weiss, Michael Wright, Michael-Andreas Kuttner, Michaela Voigt, Michal
7517 Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
7518 You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike Chelen, Mike Habicher,
7519 Mike Maloney, Mike Masnick, Mike McDaniel, Mike Pouraryan, Mike Sheldon,
7520 Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
7521 Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko
7522 <span class="quote">”<span class="quote">Macro</span>”</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
7523 Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, Moritz
7524 Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
7525 Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, Nah Wee Yang,
7526 Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey, Nathan Miller,
7527 Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele Wollert,
7528 Neuchee Chang, Niall McDonagh, Niall Twohig, Nic McPhee, Nicholas Bentley,
7529 Nicholas Koran, Nicholas Norfolk, Nicholas Potter, Nick Bell, Nick Coghlan,
7530 Nick Isaacs, Nick M. Daly, Nick Vance, Nickolay Vedernikov, Nicky
7531 Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole Hickman, Niek
7532 Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola Chernev,
7533 Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-Fein, Noah
7534 Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
7535 Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle Ahnve, Omar
7536 Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
7537 Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
7538 Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat
7539 Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf,
7540 Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, Patrick
7541 McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik
7542 Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey,
7543 Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul
7544 Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
7545 Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
7546 Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
7547 Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter
7548 O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
7549 Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip
7550 Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer,
7551 Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels,
7552 Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill,
7553 Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer,
7554 Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani,
7555 Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
7556 Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
7557 Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich
7558 McCue, Richard <span class="quote">”<span class="quote">TalkToMeGuy</span>”</span> Olson, Richard Best, Richard
7559 Blumberg, Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly,
7560 Richard Littauer, Richard Sobey, Richard White, Richard Winchell, Rik
7561 ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley,
7562 Rob Bertholf, Rob Emanuele, Rob McAuliffe, Rob McKaughan, Rob Tillie, Rob
7563 Utter, Rob Vincent, Robert Gaffney, Robert Jones, Robert Kelly, Robert
7564 Lawlis, Robert McDonald, Robert Orzanna, Robert Paterson Hunter, Robert
7565 R. Daniel Jr., Robert Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto
7566 Selvaggio, Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon,
7567 Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
7568 Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald
7569 Bissell, Ronald van den Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay,
7570 Ross Pruden, Ross Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert
7571 Hitzenberger, Rusi Popov, Russ Antonucci, Russ Spollin, Russell Brand, Rute
7572 Correia, Ruth Ann Carpenter, Ruth White, Ryan Mentock, Ryan Merkley, Ryan
7573 Price, Ryan Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin
7574 Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin,
7575 Samantha-Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel
7576 A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
7577 Cersosimo, Samuel Tait, Sandra Fauconnier, Sandra Markus, Sandy Bjar, Sandy
7578 ONeil, Sang-Phil Ju, Sanjay Basu, Santiago Garcia, Sara Armstrong, Sara
7579 Lucca, Sara Rodriguez Marin, Sarah Brand, Sarah Cove, Sarah Curran, Sarah
7580 Gold, Sarah McGovern, Sarah Smith, Sarinee Achavanuntakul, Sasha Moss, Sasha
7581 VanHoven, Saul Gasca, Scott Abbott, Scott Akerman, Scott Beattie, Scott
7582 Bruinooge, Scott Conroy, Scott Gillespie, Scott Williams, Sean Anderson,
7583 Sean Johnson, Sean Lim, Sean Wickett, Seb Schmoller, Sebastiaan Bekker,
7584 Sebastiaan ter Burg, Sebastian Makowiecki, Sebastian Meyer, Sebastian
7585 Schweizer, Sebastian Sigloch, Sebastien Huchet, Seokwon Yang, Sergey
7586 Chernyshev, Sergey Storchay, Sergio Cardoso, Seth Drebitko, Seth Gover, Seth
7587 Lepore, Shannon Turner, Sharon Clapp, Shauna Redmond, Shawn Gaston, Shawn
7588 Martin, Shay Knohl, Shelby Hatfield, Sheldon (Vila) Widuch, Sheona Thomson,
7589 Si Jie, Sicco van Sas, Siena Oristaglio, Simon Glover, Simon John King,
7590 Simon Klose, Simon Law, Simon Linder, Simon Moffitt, Solomon Kahn, Solomon
7591 Simon, Soujanna Sarkar, Stanislav Trifonov, Stefan Dumont, Stefan Jansson,
7592 Stefan Langer, Stefan Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan
7593 Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
7594 Stephen Pearce, Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson,
7595 Steve Battle, Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve
7596 Ingram, Steve Kroy, Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven
7597 Knudsen, Steven Melvin, Stig-Jørund B. Ö.  Arnesen, Stuart Drewer, Stuart
7598 Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
7599 Susan R Grossman, Suzie Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle,
7600 Sylvain Chery, Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz,
7601 T. L. Mason, Tanbir Baeg, Tanya Hart, Tara Tiger Brown, Tara Westover, Tarmo
7602 Toikkanen, Tasha Turner Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan,
7603 Teresa Gonczy, Terry Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo,
7604 Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
7605 Chang, Thomas Hartman, Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds,
7606 Thomas Thrush, Thomas Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim
7607 Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
7608 Timothy Arfsten, Timothy Hinchliff, Timothy Vollmer, Tina Coffman, Tisza
7609 Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
7610 Bamford, Tom Caswell, Tom Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom
7611 Merkli, Tom Merritt, Tom Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti,
7612 Tommy Dahlen, Tony Ciak, Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin,
7613 Tracey Henton, Tracey James, Traci Long DeForge, Trent Yarwood, Trevor
7614 Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
7615 Tyler Occhiogrosso, Udo Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum,
7616 Vaughan jenkins, Veethika Mishra, Vic King, Vickie Goode, Victor DePina,
7617 Victor Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture, Vikas
7618 Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
7619 Gentilini, Virginia Kopelman, Vitor Menezes, Vivian Marthell, Wayne
7620 Mackintosh, Wendy Keenan, Werner Wiethege, Wesley Derbyshire, Widar Hellwig,
7621 Willa Köerner, William Bettridge-Radford, William Jefferson, William
7622 Marshall, William Peter Nash, William Ray, William Robins, Willow Rosenberg,
7623 Winie Evers, Wolfgang Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier
7624 Moisant, Xueqi Li, Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian
7625 Sun, Yves Deruisseau, Zach Chandler, Zak Zebrowski, Zane Amiralis and Joshua
7626 de Haan, ZeMarmot Open Movie
7627   </p></div></body></html>