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   1 <html><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8"><title>Gemacht mit Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets Vsnapshot"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="de" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Gemacht mit 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     Dieses Buch erscheint unter einer CC-BY-SA-Lizenz. Das bedeutet, Sie können
   3 es für jeden, einschließlich komerziellen Zweck kopieren, weiterverbreiten,
   4 neuzusammensetzen, verwandeln und auf dem Werk aufbauen, solange Sie
   5 entsprechend den Urheber nennen, einen Link zur Lizenz zur Verfügung stellen
   6 und angeben, ob Änderungen vorgenommen wurden. Wenn Sie das Werk
   7 neuzusammensetzten, verwandeln, oder auf ihm aufbauen, müssen Sie Ihre
   8 Beiträge unter der gleichen Lizenz wie die des Originals
   9 verbreiten. Lizenzdetails: <a class="ulink" href="http://creativecommons.org/licenses/by-sa/4.0/" target="_top">http://creativecommons.org/licenses/by-sa/4.0/</a>
  10   </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>Ich weiß nicht viel über Sachbuchjournalismus. . . Die Art und Weise, wie
  11 ich über diese Dinge denke, und was ich tun kann, ist. . . Essays wie dieser
  12 sind Gelegenheiten, jemanden zu beobachten, der einigermaßen intelligent,
  13 aber auch einigermaßen durchschnittlich ist, der viel aufmerksamer ist und
  14 viel länger über alle möglichen Dinge nachdenkt, als die meisten von uns im
  15 täglichen Leben die Gelegenheit dazu haben.</p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
  16     \textit{  David Foster Wallace }
  17     \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Inhaltsverzeichnis</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Vorwort</a></span></dt><dt><span class="preface"><a href="#introduction">Introduction</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. The Big Picture</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. Wie man mit Creative Commons hergestellt wird</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. Creative Commons Lizenz</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>Abbildungsverzeichnis</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>Vorwort</h1></div></div></div><p>
  18     Vor drei Jahren, kurz nachdem ich als CEO von Creative Commons eingestellt
  19 worden war, traf ich mich mit Cory Doctorow in der Hotelbar des Gladstone
  20 Hotels in Toronto. Als einer der bekanntesten Befürworter von CC - einer,
  21 der auch eine erfolgreiche Karriere als Schriftsteller gemacht hat und seine
  22 Arbeit mit CC teilt - sagte ich ihm, dass ich denke, dass CC eine Rolle bei
  23 der Definition und Förderung offener Geschäftsmodelle spielt. Er widersprach
  24 mir freundlich und nannte das Streben nach tragfähigen Geschäftsmodellen
  25 durch CC <span class="quote">„<span class="quote"> ein Ablenkungsmanöver</span>“</span>
  26   </p><p>
  27     Er lag im gewisser Weise komplett richtig - Diejenigen, die Dinge unter
  28 Creative Commons veröffentlichen, haben Hintergedanken, wie Paul Stacey in
  29 diesem Buch erklärt: <span class="quote">„<span class="quote">Unabhängig von der rechtlichen Situation, haben
  30 sie alle eine gesellschaftliche Mission. Der Hauptdaseinsgrund ist, die Welt
  31 zu verbessern und nicht zu profitieren. Geld ist Mittel zum sozialen Zweck
  32 und kein Selbstzweck.</span>“</span>
  33   </p><p>
  34     In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites Cory’s
  35 words from his book Information Doesn’t Want to Be Free: <span class="quote">„<span class="quote">Entering the
  36 arts because you want to get rich is like buying lottery tickets because you
  37 want to get rich. It might work, but it almost certainly won’t. Though, of
  38 course, someone always wins the lottery.</span>“</span>
  39   </p><p>
  40     Today, copyright is like a lottery ticket—everyone has one, and almost
  41 nobody wins. What they don’t tell you is that if you choose to share your
  42 work, the returns can be significant and long-lasting.  This book is filled
  43 with stories of those who take much greater risks than the two dollars we
  44 pay for a lottery ticket, and instead reap the rewards that come from
  45 pursuing their passions and living their values.
  46   </p><p>
  47     So it’s not about the money. Also: it is. Finding the means to continue to
  48 create and share often requires some amount of income.  Max Temkin of Cards
  49 Against Humanity says it best in their case study: <span class="quote">„<span class="quote">We don’t make
  50 jokes and games to make money—we make money so we can make more jokes and
  51 games.</span>“</span>
  52   </p><p>
  53     Creative Commons’ focus is on building a vibrant, usable commons, powered by
  54 collaboration and gratitude. Enabling communities of collaboration is at the
  55 heart of our strategy. With that in mind, Creative Commons began this book
  56 project. Led by Paul and Sarah, the project set out to define and advance
  57 the best open business models.  Paul and Sarah were the ideal authors to
  58 write Made with Creative Commons.
  59   </p><p>
  60     Paul dreams of a future where new models of creativity and innovation
  61 overpower the inequality and scarcity that today define the worst parts of
  62 capitalism. He is driven by the power of human connections between
  63 communities of creators. He takes a longer view than most, and it’s made him
  64 a better educator, an insightful researcher, and also a skilled gardener. He
  65 has a calm, cool voice that conveys a passion that inspires his colleagues
  66 and community.
  67   </p><p>
  68     Sarah is the best kind of lawyer—a true advocate who believes in the good of
  69 people, and the power of collective acts to change the world. Over the past
  70 year I’ve seen Sarah struggle with the heartbreak that comes from investing
  71 so much into a political campaign that didn’t end as she’d hoped. Today,
  72 she’s more determined than ever to live with her values right out on her
  73 sleeve. I can always count on Sarah to push Creative Commons to focus on our
  74 impact—to make the main thing the main thing. She’s practical,
  75 detail-oriented, and clever. There’s no one on my team that I enjoy debating
  76 more.
  77   </p><p>
  78     As coauthors, Paul and Sarah complement each other perfectly. They
  79 researched, analyzed, argued, and worked as a team, sometimes together and
  80 sometimes independently. They dove into the research and writing with
  81 passion and curiosity, and a deep respect for what goes into building the
  82 commons and sharing with the world. They remained open to new ideas,
  83 including the possibility that their initial theories would need refinement
  84 or might be completely wrong.  That’s courageous, and it has made for a
  85 better book that is insightful, honest, and useful.
  86   </p><p>
  87     From the beginning, CC wanted to develop this project with the principles
  88 and values of open collaboration. The book was funded, developed,
  89 researched, and written in the open. It is being shared openly under a CC
  90 BY-SA license for anyone to use, remix, or adapt with attribution. It is, in
  91 itself, an example of an open business model.
  92   </p><p>
  93     For 31 days in August of 2015, Sarah took point to organize and execute a
  94 Kickstarter campaign to generate the core funding for the book. The
  95 remainder was provided by CC’s generous donors and supporters. In the end,
  96 it became one of the most successful book projects on Kickstarter, smashing
  97 through two stretch goals and engaging over 1,600 donors—the majority of
  98 them new supporters of Creative Commons.
  99   </p><p>
 100     Paul and Sarah worked openly throughout the project, publishing the plans,
 101 drafts, case studies, and analysis, early and often, and they engaged
 102 communities all over the world to help write this book. As their opinions
 103 diverged and their interests came into focus, they divided their voices and
 104 decided to keep them separate in the final product. Working in this way
 105 requires both humility and self-confidence, and without question it has made
 106 Made with Creative Commons a better project.
 107   </p><p>
 108     Those who work and share in the commons are not typical creators.  They are
 109 part of something greater than themselves, and what they offer us all is a
 110 profound gift. What they receive in return is gratitude and a community.
 111   </p><p>
 112     Jonathan Mann, who is profiled in this book, writes a song a day.  When I
 113 reached out to ask him to write a song for our Kickstarter (and to offer
 114 himself up as a Kickstarter benefit), he agreed immediately. Why would he
 115 agree to do that? Because the commons has collaboration at its core, and
 116 community as a key value, and because the CC licenses have helped so many to
 117 share in the ways that they choose with a global audience.
 118   </p><p>
 119     Sarah writes, <span class="quote">„<span class="quote">Endeavors that are Made with Creative Commons thrive
 120 when community is built around what they do. This may mean a community
 121 collaborating together to create something new, or it may simply be a
 122 collection of like-minded people who get to know each other and rally around
 123 common interests or beliefs. To a certain extent, simply being Made with
 124 Creative Commons automatically brings with it some element of community, by
 125 helping connect you to like-minded others who recognize and are drawn to the
 126 values symbolized by using CC.</span>“</span> Amanda Palmer, the other musician
 127 profiled in the book, would surely add this from her case study:
 128 <span class="quote">„<span class="quote">There is no more satisfying end goal than having someone tell you
 129 that what you do is genuinely of value to them.</span>“</span>
 130   </p><p>
 131     This is not a typical business book. For those looking for a recipe or a
 132 roadmap, you might be disappointed. But for those looking to pursue a social
 133 end, to build something great through collaboration, or to join a powerful
 134 and growing global community, they’re sure to be satisfied. Made with
 135 Creative Commons offers a world-changing set of clearly articulated values
 136 and principles, some essential tools for exploring your own business
 137 opportunities, and two dozen doses of pure inspiration.
 138   </p><p>
 139     In a 1996 Stanford Law Review article <span class="quote">„<span class="quote">The Zones of
 140 Cyberspace</span>“</span>, CC founder Lawrence Lessig wrote, <span class="quote">„<span class="quote">Cyberspace is a
 141 place. People live there. They experience all the sorts of things that they
 142 experience in real space, there. For some, they experience more. They
 143 experience this not as isolated individuals, playing some high tech computer
 144 game; they experience it in groups, in communities, among strangers, among
 145 people they come to know, and sometimes like.</span>“</span>
 146   </p><p>
 147     I’m incredibly proud that Creative Commons is able to publish this book for
 148 the many communities that we have come to know and like.  I’m grateful to
 149 Paul and Sarah for their creativity and insights, and to the global
 150 communities that have helped us bring it to you.  As CC board member
 151 Johnathan Nightingale often says, <span class="quote">„<span class="quote">It’s all made of people.</span>“</span>
 152   </p><p>
 153     That’s the true value of things that are Made with Creative Commons.
 154   </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}
 155     \textit{ Ryan Merkley, CEO, Creative Commons}
 156     \end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="introduction"></a>Introduction</h1></div></div></div><p>
 157     This book shows the world how sharing can be good for business—but with a
 158 twist.
 159   </p><p>
 160     We began the project intending to explore how creators, organizations, and
 161 businesses make money to sustain what they do when they share their work
 162 using Creative Commons licenses. Our goal was not to identify a formula for
 163 business models that use Creative Commons but instead gather fresh ideas and
 164 dynamic examples that spark new, innovative models and help others follow
 165 suit by building on what already works. At the onset, we framed our
 166 investigation in familiar business terms. We created a blank <span class="quote">„<span class="quote">open
 167 business model canvas,</span>“</span> an interactive online tool that would help
 168 people design and analyze their business model.
 169   </p><p>
 170     Through the generous funding of Kickstarter backers, we set about this
 171 project first by identifying and selecting a diverse group of creators,
 172 organizations, and businesses who use Creative Commons in an integral
 173 way—what we call being Made with Creative Commons. We interviewed them and
 174 wrote up their stories. We analyzed what we heard and dug deep into the
 175 literature.
 176   </p><p>
 177     But as we did our research, something interesting happened. Our initial way
 178 of framing the work did not match the stories we were hearing.
 179   </p><p>
 180     Those we interviewed were not typical businesses selling to consumers and
 181 seeking to maximize profits and the bottom line.  Instead, they were sharing
 182 to make the world a better place, creating relationships and community
 183 around the works being shared, and generating revenue not for unlimited
 184 growth but to sustain the operation.
 185   </p><p>
 186     They often didn’t like hearing what they do described as an open business
 187 model. Their endeavor was something more than that.  Something
 188 different. Something that generates not just economic value but social and
 189 cultural value. Something that involves human connection. Being Made with
 190 Creative Commons is not <span class="quote">„<span class="quote">business as usual.</span>“</span>
 191   </p><p>
 192     We had to rethink the way we conceived of this project. And it didn’t happen
 193 overnight. From the fall of 2015 through 2016, we documented our thoughts in
 194 blog posts on Medium and with regular updates to our Kickstarter backers. We
 195 shared drafts of case studies and analysis with our Kickstarter cocreators,
 196 who provided invaluable edits, feedback, and advice. Our thinking changed
 197 dramatically over the course of a year and a half.
 198   </p><p>
 199     Throughout the process, the two of us have often had very different ways of
 200 understanding and describing what we were learning. Learning from each other
 201 has been one of the great joys of this work, and, we hope, something that
 202 has made the final product much richer than it ever could have been if
 203 either of us undertook this project alone.  We have preserved our voices
 204 throughout, and you’ll be able to sense our different but complementary
 205 approaches as you read through our different sections.
 206   </p><p>
 207     While we recommend that you read the book from start to finish, each section
 208 reads more or less independently. The book is structured into two main
 209 parts.
 210   </p><p>
 211     Part one, the overview, begins with a big-picture framework written by
 212 Paul. He provides some historical context for the digital commons,
 213 describing the three ways society has managed resources and shared
 214 wealth—the commons, the market, and the state. He advocates for thinking
 215 beyond business and market terms and eloquently makes the case for sharing
 216 and enlarging the digital commons.
 217   </p><p>
 218     The overview continues with Sarah’s chapter, as she considers what it means
 219 to be successfully Made with Creative Commons. While making money is one
 220 piece of the pie, there is also a set of public-minded values and the kind
 221 of human connections that make sharing truly meaningful. This section
 222 outlines the ways the creators, organizations, and businesses we interviewed
 223 bring in revenue, how they further the public interest and live out their
 224 values, and how they foster connections with the people with whom they
 225 share.
 226   </p><p>
 227     And to end part one, we have a short section that explains the different
 228 Creative Commons licenses. We talk about the misconception that the more
 229 restrictive licenses—the ones that are closest to the all-rights-reserved
 230 model of traditional copyright—are the only ways to make money.
 231   </p><p>
 232     Part two of the book is made up of the twenty-four stories of the creators,
 233 businesses, and organizations we interviewed. While both of us participated
 234 in the interviews, we divided up the writing of these profiles.
 235   </p><p>
 236     Of course, we are pleased to make the book available using a Creative
 237 Commons Attribution-ShareAlike license. Please copy, distribute, translate,
 238 localize, and build upon this work.
 239   </p><p>
 240     Writing this book has transformed and inspired us. The way we now look at
 241 and think about what it means to be Made with Creative Commons has
 242 irrevocably changed. We hope this book inspires you and your enterprise to
 243 use Creative Commons and in so doing contribute to the transformation of our
 244 economy and world for the better.
 245   </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}
 246     \textit{ Paul and Sarah }
 247     \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Teil I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Inhaltsverzeichnis</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. Wie man mit Creative Commons hergestellt wird</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. Creative Commons Lizenz</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>Inhaltsverzeichnis</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">Die Anfang von 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}
 248     \textit{ Paul Stacey}
 249     \end{flushright}</td></tr></table></div><p>
 250       Jonathan Rowe eloquently describes the commons as <span class="quote">„<span class="quote">the air and oceans,
 251 the web of species, wilderness and flowing water—all are parts of the
 252 commons. So are language and knowledge, sidewalks and public squares, the
 253 stories of childhood and the processes of democracy. Some parts of the
 254 commons are gifts of nature, others the product of human endeavor. Some are
 255 new, such as the Internet; others are as ancient as soil and
 256 calligraphy.</span>“</span><a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
 257     </p><p>
 258       In Made with Creative Commons, we focus on our current era of digital
 259 commons, a commons of human-produced works. This commons cuts across a broad
 260 range of areas including cultural heritage, education, research, technology,
 261 art, design, literature, entertainment, business, and data. Human-produced
 262 works in all these areas are increasingly digital. The Internet is a kind of
 263 global, digital commons. The individuals, organizations, and businesses we
 264 profile in our case studies use Creative Commons to share their resources
 265 online over the Internet.
 266     </p><p>
 267       The commons is not just about shared resources, however. It’s also about the
 268 social practices and values that manage them. A resource is a noun, but to
 269 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
 270 profile are all engaged with commoning. Their use of Creative Commons
 271 involves them in the social practice of commoning, managing resources in a
 272 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
 273 costs and benefits of the enterprise with those of the community. Special
 274 regard is given to equitable access, use, and sustainability.
 275     </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>
 276         Historically, there have been three ways to manage resources and share
 277 wealth: the commons (managed collectively), the state (i.e., the
 278 government), and the market—with the last two being the dominant forms
 279 today.<a href="#ftn.idm122" class="footnote" name="idm122"><sup class="footnote">[4]</sup></a>
 280       </p><p>
 281         The organizations and businesses in our case studies are unique in the way
 282 they participate in the commons while still engaging with the market and/or
 283 state. The extent of engagement with market or state varies. Some operate
 284 primarily as a commons with minimal or no reliance on the market or
 285 state.<a href="#ftn.idm125" class="footnote" name="idm125"><sup class="footnote">[5]</sup></a> Others are very much a part of
 286 the market or state, depending on them for financial sustainability. All
 287 operate as hybrids, blending the norms of the commons with those of the
 288 market or state.
 289       </p><p>
 290         Fig. <a class="xref" href="#fig-1" title="Abbildung 1.1. Enterprise engagement with commons, state and market.">1.1</a> is a depiction of how
 291 an enterprise can have varying levels of engagement with commons, state, and
 292 market.
 293       </p><p>
 294         Some of our case studies are simply commons and market enterprises with
 295 little or no engagement with the state. A depiction of those case studies
 296 would show the state sphere as tiny or even absent. Other case studies are
 297 primarily market-based with only a small engagement with the commons. A
 298 depiction of those case studies would show the market sphere as large and
 299 the commons sphere as small. The extent to which an enterprise sees itself
 300 as being primarily of one type or another affects the balance of norms by
 301 which they operate.
 302       </p><p>
 303         All our case studies generate money as a means of livelihood and
 304 sustainability. Money is primarily of the market. Finding ways to generate
 305 revenue while holding true to the core values of the commons (usually
 306 expressed in mission statements) is challenging. To manage interaction and
 307 engagement between the commons and the market requires a deft touch, a
 308 strong sense of values, and the ability to blend the best of both.
 309       </p><p>
 310         The state has an important role to play in fostering the use and adoption of
 311 the commons. State programs and funding can deliberately contribute to and
 312 build the commons. Beyond money, laws and regulations regarding property,
 313 copyright, business, and finance can all be designed to foster the commons.
 314       </p><div class="figure"><a name="fig-1"></a><p class="title"><b>Abbildung 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>
 315         It’s helpful to understand how the commons, market, and state manage
 316 resources differently, and not just for those who consider themselves
 317 primarily as a commons. For businesses or governmental organizations who
 318 want to engage in and use the commons, knowing how the commons operates will
 319 help them understand how best to do so. Participating in and using the
 320 commons the same way you do the market or state is not a strategy for
 321 success.
 322       </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>
 323         As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
 324 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
 325 biophysical characteristics of common resources, the community’s actors and
 326 the interactions that take place between them, rules-in-use, and
 327 outcomes. That framework has been simplified and generalized to apply to the
 328 commons, the market, and the state for this chapter.
 329       </p><p>
 330         To compare and contrast the ways in which the commons, market, and state
 331 work, let’s consider four aspects of resource management: resource
 332 characteristics, the people involved and the process they use, the norms and
 333 rules they develop to govern use, and finally actual resource use along with
 334 outcomes of that use (see Fig. <a class="xref" href="#fig-2" title="Abbildung 1.2. Four aspects of resource management">1.2</a>).
 335       </p><div class="figure"><a name="fig-2"></a><p class="title"><b>Abbildung 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>
 336           Resources have particular characteristics or attributes that affect the way
 337 they can be used. Some resources are natural; others are human
 338 produced. And—significantly for today’s commons—resources can be physical or
 339 digital, which affects a resource’s inherent potential.
 340         </p><p>
 341           Physical resources exist in limited supply. If I have a physical resource
 342 and give it to you, I no longer have it.  When a resource is removed and
 343 used, the supply becomes scarce or depleted. Scarcity can result in
 344 competing rivalry for the resource. Made with Creative Commons enterprises
 345 are usually digitally based but some of our case studies also produce
 346 resources in physical form. The costs of producing and distributing a
 347 physical good usually require them to engage with the market.
 348         </p><p>
 349           Physical resources are depletable, exclusive, and rivalrous.  Digital
 350 resources, on the other hand, are nondepletable, nonexclusive, and
 351 nonrivalrous. If I share a digital resource with you, we both have the
 352 resource. Giving it to you does not mean I no longer have it. Digital
 353 resources can be infinitely stored, copied, and distributed without becoming
 354 depleted, and at close to zero cost. Abundance rather than scarcity is an
 355 inherent characteristic of digital resources.
 356         </p><p>
 357           The nondepletable, nonexclusive, and nonrivalrous nature of digital
 358 resources means the rules and norms for managing them can (and ought to) be
 359 different from how physical resources are managed. However, this is not
 360 always the case. Digital resources are frequently made artificially
 361 scarce. Placing digital resources in the commons makes them free and
 362 abundant.
 363         </p><p>
 364           Our case studies frequently manage hybrid resources, which start out as
 365 digital with the possibility of being made into a physical resource. The
 366 digital file of a book can be printed on paper and made into a physical
 367 book. A computer-rendered design for furniture can be physically
 368 manufactured in wood.  This conversion from digital to physical invariably
 369 has costs.  Often the digital resources are managed in a free and open way,
 370 but money is charged to convert a digital resource into a physical one.
 371         </p><p>
 372           Beyond this idea of physical versus digital, the commons, market, and state
 373 conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Abbildung 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities
 374 for sale—from which value is extracted. The state sees resources as public
 375 goods that provide value to state citizens. The commons sees resources as
 376 common goods, providing a common wealth extending beyond state boundaries,
 377 to be passed on in undiminished or enhanced form to future generations.
 378         </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>
 379           In the commons, the market, and the state, different people and processes
 380 are used to manage resources. The processes used define both who has a say
 381 and how a resource is managed.
 382         </p><p>
 383           In the state, a government of elected officials is responsible for managing
 384 resources on behalf of the public. The citizens who produce and use those
 385 resources are not directly involved; instead, that responsibility is given
 386 over to the government.  State ministries and departments staffed with
 387 public servants set budgets, implement programs, and manage resources based
 388 on government priorities and procedures.
 389         </p><p>
 390           In the market, the people involved are producers, buyers, sellers, and
 391 consumers. Businesses act as intermediaries between those who produce
 392 resources and those who consume or use them. Market processes seek to
 393 extract as much monetary value from resources as possible. In the market,
 394 resources are managed as commodities, frequently mass-produced, and sold to
 395 consumers on the basis of a cash transaction.
 396         </p><p>
 397           In contrast to the state and market, resources in a commons are managed more
 398 directly by the people involved.<a href="#ftn.idm170" class="footnote" name="idm170"><sup class="footnote">[7]</sup></a>
 399 Creators of human produced resources can put them in the commons by personal
 400 choice. No permission from state or market is required. Anyone can
 401 participate in the commons and determine for themselves the extent to which
 402 they want to be involved—as a contributor, user, or manager. The people
 403 involved include not only those who create and use resources but those
 404 affected by outcome of use. Who you are affects your say, actions you can
 405 take, and extent of decision making. In the commons, the community as a
 406 whole manages the resources.  Resources put into the commons using Creative
 407 Commons require users to give the original creator credit. Knowing the
 408 person behind a resource makes the commons less anonymous and more personal.
 409         </p><div class="figure"><a name="fig-3"></a><p class="title"><b>Abbildung 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>
 410           The social interactions between people, and the processes used by the state,
 411 market, and commons, evolve social norms and rules. These norms and rules
 412 define permissions, allocate entitlements, and resolve disputes.
 413         </p><p>
 414           State authority is governed by national constitutions. Norms related to
 415 priorities and decision making are defined by elected officials and
 416 parliamentary procedures. State rules are expressed through policies,
 417 regulations, and laws. The state influences the norms and rules of the
 418 market and commons through the rules it passes.
 419         </p><p>
 420           Market norms are influenced by economics and competition for scarce
 421 resources. Market rules follow property, business, and financial laws
 422 defined by the state.
 423         </p><p>
 424           As with the market, a commons can be influenced by state policies,
 425 regulations, and laws. But the norms and rules of a commons are largely
 426 defined by the community. They weigh individual costs and benefits against
 427 the costs and benefits to the whole community. Consideration is given not
 428 just to economic efficiency but also to equity and
 429 sustainability.<a href="#ftn.idm185" class="footnote" name="idm185"><sup class="footnote">[8]</sup></a>
 430         </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>Goals</h3></div></div></div><p>
 431           The combination of the aspects we’ve discussed so far—the resource’s
 432 inherent characteristics, people and processes, and norms and rules—shape
 433 how resources are used. Use is also influenced by the different goals the
 434 state, market, and commons have.
 435         </p><p>
 436           In the market, the focus is on maximizing the utility of a resource. What we
 437 pay for the goods we consume is seen as an objective measure of the utility
 438 they provide. The goal then becomes maximizing total monetary value in the
 439 economy.<a href="#ftn.idm191" class="footnote" name="idm191"><sup class="footnote">[9]</sup></a> Units consumed translates to
 440 sales, revenue, profit, and growth, and these are all ways to measure goals
 441 of the market.
 442         </p><p>
 443           The state aims to use and manage resources in a way that balances the
 444 economy with the social and cultural needs of its citizens. Health care,
 445 education, jobs, the environment, transportation, security, heritage, and
 446 justice are all facets of a healthy society, and the state applies its
 447 resources toward these aims. State goals are reflected in quality of life
 448 measures.
 449         </p><p>
 450           In the commons, the goal is maximizing access, equity, distribution,
 451 participation, innovation, and sustainability.  You can measure success by
 452 looking at how many people access and use a resource; how users are
 453 distributed across gender, income, and location; if a community to extend
 454 and enhance the resources is being formed; and if the resources are being
 455 used in innovative ways for personal and social good.
 456         </p><p>
 457           As hybrid combinations of the commons with the market or state, the success
 458 and sustainability of all our case study enterprises depends on their
 459 ability to strategically utilize and balance these different aspects of
 460 managing resources.
 461         </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>
 462         Using the commons to manage resources is part of a long historical
 463 continuum. However, in contemporary society, the market and the state
 464 dominate the discourse on how resources are best managed. Rarely is the
 465 commons even considered as an option. The commons has largely disappeared
 466 from consciousness and consideration. There are no news reports or speeches
 467 about the commons.
 468       </p><p>
 469         But the more than 1.1 billion resources licensed with Creative Commons
 470 around the world are indications of a grassroots move toward the
 471 commons. The commons is making a resurgence. To understand the resilience of
 472 the commons and its current renewal, it’s helpful to know something of its
 473 history.
 474       </p><p>
 475         For centuries, indigenous people and preindustrialized societies managed
 476 resources, including water, food, firewood, irrigation, fish, wild game, and
 477 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
 478 rulers influenced the commons but by no means controlled it. Direct social
 479 participation in a commons was the primary way in which resources were
 480 managed and needs met. (Fig. <a class="xref" href="#fig-4" title="Abbildung 1.4. In preindustrialized society.">1.4</a>
 481 illustrates the commons in relation to the state and the market.)
 482       </p><div class="figure"><a name="fig-4"></a><p class="title"><b>Abbildung 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>
 483         This is followed by a long history of the state (a monarchy or ruler) taking
 484 over the commons for their own purposes. This is called enclosure of the
 485 commons.<a href="#ftn.idm213" class="footnote" name="idm213"><sup class="footnote">[11]</sup></a> In olden days,
 486 <span class="quote">„<span class="quote">commoners</span>“</span> were evicted from the land, fences and hedges
 487 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
 488 state and the state became the primary means by which resources were
 489 managed. (See Fig. <a class="xref" href="#fig-5" title="Abbildung 1.5. The commons is gradually superseded by the state.">1.5</a>).
 490       </p><p>
 491         Holdings of land, water, and game were distributed to ruling family and
 492 political appointees. Commoners displaced from the land migrated to
 493 cities. With the emergence of the industrial revolution, land and resources
 494 became commodities sold to businesses to support production. Monarchies
 495 evolved into elected parliaments. Commoners became labourers earning money
 496 operating the machinery of industry. Financial, business, and property laws
 497 were revised by governments to support markets, growth, and
 498 productivity. Over time ready access to market produced goods resulted in a
 499 rising standard of living, improved health, and education. Fig. <a class="xref" href="#fig-6" title="Abbildung 1.6. How the market, the state and the commons look today.">1.6</a> shows how today the market is the
 500 primary means by which resources are managed.
 501       </p><div class="figure"><a name="fig-5"></a><p class="title"><b>Abbildung 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>
 502         However, the world today is going through turbulent times. The benefits of
 503 the market have been offset by unequal distribution and overexploitation.
 504       </p><p>
 505         Overexploitation was the topic of Garrett Hardin’s influential essay
 506 <span class="quote">„<span class="quote">The Tragedy of the Commons,</span>“</span> published in Science in
 507 1968. Hardin argues that everyone in a commons seeks to maximize personal
 508 gain and will continue to do so even when the limits of the commons are
 509 reached. The commons is then tragically depleted to the point where it can
 510 no longer support anyone. Hardin’s essay became widely accepted as an
 511 economic truism and a justification for private property and free markets.
 512       </p><p>
 513         However, there is one serious flaw with Hardin’s <span class="quote">„<span class="quote">The Tragedy of the
 514 Commons</span>“</span>—it’s fiction. Hardin did not actually study how real commons
 515 work. Elinor Ostrom won the 2009 Nobel Prize in economics for her work
 516 studying different commons all around the world. Ostrom’s work shows that
 517 natural resource commons can be successfully managed by local communities
 518 without any regulation by central authorities or without privatization.
 519 Government and privatization are not the only two choices. There is a third
 520 way: management by the people, where those that are directly impacted are
 521 directly involved. With natural resources, there is a regional locality. The
 522 people in the region are the most familiar with the natural resource, have
 523 the most direct relationship and history with it, and are therefore best
 524 situated to manage it. Ostrom’s approach to the governance of natural
 525 resources broke with convention; she recognized the importance of the
 526 commons as an alternative to the market or state for solving problems of
 527 collective action.<a href="#ftn.idm233" class="footnote" name="idm233"><sup class="footnote">[13]</sup></a>
 528       </p><p>
 529         Hardin failed to consider the actual social dynamic of the commons. His
 530 model assumed that people in the commons act autonomously, out of pure
 531 self-interest, without interaction or consideration of others. But as Ostrom
 532 found, in reality, managing common resources together forms a community and
 533 encourages discourse. This naturally generates norms and rules that help
 534 people work collectively and ensure a sustainable commons. Paradoxically,
 535 while Hardin’s essay is called The Tragedy of the Commons it might more
 536 accurately be titled The Tragedy of the Market.
 537       </p><p>
 538         Hardin’s story is based on the premise of depletable resources.  Economists
 539 have focused almost exclusively on scarcity-based markets. Very little is
 540 known about how abundance works.<a href="#ftn.idm238" class="footnote" name="idm238"><sup class="footnote">[14]</sup></a> The
 541 emergence of information technology and the Internet has led to an explosion
 542 in digital resources and new means of sharing and distribution. Digital
 543 resources can never be depleted. An absence of a theory or model for how
 544 abundance works, however, has led the market to make digital resources
 545 artificially scarce and makes it possible for the usual market norms and
 546 rules to be applied.
 547       </p><p>
 548         When it comes to use of state funds to create digital goods, however, there
 549 is really no justification for artificial scarcity. The norm for state
 550 funded digital works should be that they are freely and openly available to
 551 the public that paid for them.
 552       </p><div class="figure"><a name="fig-6"></a><p class="title"><b>Abbildung 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>
 553         In the early days of computing, programmers and developers learned from each
 554 other by sharing software. In the 1980s, the free-software movement codified
 555 this practice of sharing into a set of principles and freedoms:
 556       </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
 557             The freedom to run a software program as you wish, for any purpose.
 558           </p></li><li class="listitem"><p>
 559             The freedom to study how a software program works (because access to the
 560 source code has been freely given), and change it so it does your computing
 561 as you wish.
 562           </p></li><li class="listitem"><p>
 563             The freedom to redistribute copies.
 564           </p></li><li class="listitem"><p>
 565             The freedom to distribute copies of your modified versions to
 566 others.<a href="#ftn.idm261" class="footnote" name="idm261"><sup class="footnote">[15]</sup></a>
 567           </p></li></ul></div><p>
 568         These principles and freedoms constitute a set of norms and rules that
 569 typify a digital commons.
 570       </p><p>
 571         In the late 1990s, to make the sharing of source code and collaboration more
 572 appealing to companies, the open-source-software initiative converted these
 573 principles into licenses and standards for managing access to and
 574 distribution of software. The benefits of open source—such as reliability,
 575 scalability, and quality verified by independent peer review—became widely
 576 recognized and accepted. Customers liked the way open source gave them
 577 control without being locked into a closed, proprietary technology. Free and
 578 open-source software also generated a network effect where the value of a
 579 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
 580 much to the fact that nobody has a proprietary lock on core Internet
 581 protocols.
 582       </p><p>
 583         While open-source software functions as a commons, many businesses and
 584 markets did build up around it. Business models based on the licenses and
 585 standards of open-source software evolved alongside organizations that
 586 managed software code on principles of abundance rather than scarcity. Eric
 587 Raymond’s essay <span class="quote">„<span class="quote">The Magic Cauldron</span>“</span> does a great job of
 588 analyzing the economics and business models associated with open-source
 589 software.<a href="#ftn.idm272" class="footnote" name="idm272"><sup class="footnote">[17]</sup></a> These models can provide
 590 examples of sustainable approaches for those Made with Creative Commons.
 591       </p><p>
 592         It isn’t just about an abundant availability of digital assets but also
 593 about abundance of participation. The growth of personal computing,
 594 information technology, and the Internet made it possible for mass
 595 participation in producing creative works and distributing them. Photos,
 596 books, music, and many other forms of digital content could now be readily
 597 created and distributed by almost anyone. Despite this potential for
 598 abundance, by default these digital works are governed by copyright
 599 laws. Under copyright, a digital work is the property of the creator, and by
 600 law others are excluded from accessing and using it without the creator’s
 601 permission.
 602       </p><p>
 603         But people like to share. One of the ways we define ourselves is by sharing
 604 valuable and entertaining content. Doing so grows and nourishes
 605 relationships, seeks to change opinions, encourages action, and informs
 606 others about who we are and what we care about. Sharing lets us feel more
 607 involved with the world.<a href="#ftn.idm278" class="footnote" name="idm278"><sup class="footnote">[18]</sup></a>
 608       </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-birth-of-creative-commons"></a>Die Anfang von Creative Commons</h2></div></div></div><p>
 609         In 2001, Creative Commons was created as a nonprofit to support all those
 610 who wanted to share digital content. A suite of Creative Commons licenses
 611 was modeled on those of open-source software but for use with digital
 612 content rather than software code. The licenses give everyone from
 613 individual creators to large companies and institutions a simple,
 614 standardized way to grant copyright permissions to their creative work.
 615       </p><p>
 616         Creative Commons licenses have a three-layer design. The norms and rules of
 617 each license are first expressed in full legal language as used by
 618 lawyers. This layer is called the legal code. But since most creators and
 619 users are not lawyers, the licenses also have a commons deed, expressing the
 620 permissions in plain language, which regular people can read and quickly
 621 understand. It acts as a user-friendly interface to the legal-code layer
 622 beneath. The third layer is the machine-readable one, making it easy for the
 623 Web to know a work is Creative Commons–licensed by expressing permissions in
 624 a way that software systems, search engines, and other kinds of technology
 625 can understand.<a href="#ftn.idm285" class="footnote" name="idm285"><sup class="footnote">[19]</sup></a> Taken together, these
 626 three layers ensure creators, users, and even the Web itself understand the
 627 norms and rules associated with digital content in a commons.
 628       </p><p>
 629         In 2015, there were over one billion Creative Commons licensed works in a
 630 global commons. These works were viewed online 136 billion times. People are
 631 using Creative Commons licenses all around the world, in thirty-four
 632 languages. These resources include photos, artwork, research articles in
 633 journals, educational resources, music and other audio tracks, and videos.
 634       </p><p>
 635         Individual artists, photographers, musicians, and filmmakers use Creative
 636 Commons, but so do museums, governments, creative industries, manufacturers,
 637 and publishers. Millions of websites use CC licenses, including major
 638 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
 639 across many different sectors. (Our case studies were chosen to reflect that
 640 diversity.)
 641       </p><p>
 642         Some see Creative Commons as a way to share a gift with others, a way of
 643 getting known, or a way to provide social benefit.  Others are simply
 644 committed to the norms associated with a commons. And for some,
 645 participation has been spurred by the free-culture movement, a social
 646 movement that promotes the freedom to distribute and modify creative
 647 works. The free-culture movement sees a commons as providing significant
 648 benefits compared to restrictive copyright laws. This ethos of free exchange
 649 in a commons aligns the free-culture movement with the free and open-source
 650 software movement.
 651       </p><p>
 652         Over time, Creative Commons has spawned a range of open movements, including
 653 open educational resources, open access, open science, and open data. The
 654 goal in every case has been to democratize participation and share digital
 655 resources at no cost, with legal permissions for anyone to freely access,
 656 use, and modify.
 657       </p><p>
 658         The state is increasingly involved in supporting open movements.  The Open
 659 Government Partnership was launched in 2011 to provide an international
 660 platform for governments to become more open, accountable, and responsive to
 661 citizens. Since then, it has grown from eight participating countries to
 662 seventy.<a href="#ftn.idm297" class="footnote" name="idm297"><sup class="footnote">[21]</sup></a> In all these countries,
 663 government and civil society are working together to develop and implement
 664 ambitious open-government reforms. Governments are increasingly adopting
 665 Creative Commons to ensure works funded with taxpayer dollars are open and
 666 free to the public that paid for them.
 667       </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>
 668         Today’s market is largely driven by global capitalism. Law and financial
 669 systems are structured to support extraction, privatization, and corporate
 670 growth. A perception that the market is more efficient than the state has
 671 led to continual privatization of many public natural resources, utilities,
 672 services, and infrastructures.<a href="#ftn.idm304" class="footnote" name="idm304"><sup class="footnote">[22]</sup></a> While
 673 this system has been highly efficient at generating consumerism and the
 674 growth of gross domestic product, the impact on human well-being has been
 675 mixed. Offsetting rising living standards and improvements to health and
 676 education are ever-increasing wealth inequality, social inequality, poverty,
 677 deterioration of our natural environment, and breakdowns of
 678 democracy.<a href="#ftn.idm306" class="footnote" name="idm306"><sup class="footnote">[23]</sup></a>
 679       </p><p>
 680         In light of these challenges there is a growing recognition that GDP growth
 681 should not be an end in itself, that development needs to be socially and
 682 economically inclusive, that environmental sustainability is a requirement
 683 not an option, and that we need to better balance the market, state and
 684 community.<a href="#ftn.idm309" class="footnote" name="idm309"><sup class="footnote">[24]</sup></a>
 685       </p><p>
 686         These realizations have led to a resurgence of interest in the commons as a
 687 means of enabling that balance. City governments like Bologna, Italy, are
 688 collaborating with their citizens to put in place regulations for the care
 689 and regeneration of urban commons.<a href="#ftn.idm314" class="footnote" name="idm314"><sup class="footnote">[25]</sup></a>
 690 Seoul and Amsterdam call themselves <span class="quote">„<span class="quote">sharing cities,</span>“</span> looking
 691 to make sustainable and more efficient use of scarce resources. They see
 692 sharing as a way to improve the use of public spaces, mobility, social
 693 cohesion, and safety.<a href="#ftn.idm318" class="footnote" name="idm318"><sup class="footnote">[26]</sup></a>
 694       </p><p>
 695         The market itself has taken an interest in the sharing economy, with
 696 businesses like Airbnb providing a peer-to-peer marketplace for short-term
 697 lodging and Uber providing a platform for ride sharing. However, Airbnb and
 698 Uber are still largely operating under the usual norms and rules of the
 699 market, making them less like a commons and more like a traditional business
 700 seeking financial gain. Much of the sharing economy is not about the commons
 701 or building an alternative to a corporate-driven market economy; it’s about
 702 extending the deregulated free market into new areas of our
 703 lives.<a href="#ftn.idm323" class="footnote" name="idm323"><sup class="footnote">[27]</sup></a> While none of the people we
 704 interviewed for our case studies would describe themselves as part of the
 705 sharing economy, there are in fact some significant parallels. Both the
 706 sharing economy and the commons make better use of asset capacity. The
 707 sharing economy sees personal residents and cars as having latent spare
 708 capacity with rental value. The equitable access of the commons broadens and
 709 diversifies the number of people who can use and derive value from an asset.
 710       </p><p>
 711         One way Made with Creative Commons case studies differ from those of the
 712 sharing economy is their focus on digital resources. Digital resources
 713 function under different economic rules than physical ones. In a world where
 714 prices always seem to go up, information technology is an
 715 anomaly. Computer-processing power, storage, and bandwidth are all rapidly
 716 increasing, but rather than costs going up, costs are coming down. Digital
 717 technologies are getting faster, better, and cheaper. The cost of anything
 718 built on these technologies will always go down until it is close to
 719 zero.<a href="#ftn.idm326" class="footnote" name="idm326"><sup class="footnote">[28]</sup></a>
 720       </p><p>
 721         Those that are Made with Creative Commons are looking to leverage the unique
 722 inherent characteristics of digital resources, including lowering costs. The
 723 use of digital-rights-management technologies in the form of locks,
 724 passwords, and controls to prevent digital goods from being accessed,
 725 changed, replicated, and distributed is minimal or nonexistent. Instead,
 726 Creative Commons licenses are used to put digital content out in the
 727 commons, taking advantage of the unique economics associated with being
 728 digital. The aim is to see digital resources used as widely and by as many
 729 people as possible. Maximizing access and participation is a common goal.
 730 They aim for abundance over scarcity.
 731       </p><p>
 732         The incremental cost of storing, copying, and distributing digital goods is
 733 next to zero, making abundance possible. But imagining a market based on
 734 abundance rather than scarcity is so alien to the way we conceive of
 735 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
 736 pioneering in this new landscape, devising their own economic models and
 737 practice.
 738       </p><p>
 739         Some are looking to minimize their interactions with the market and operate
 740 as autonomously as possible. Others are operating largely as a business
 741 within the existing rules and norms of the market. And still others are
 742 looking to change the norms and rules by which the market operates.
 743       </p><p>
 744         For an ordinary corporation, making social benefit a part of its operations
 745 is difficult, as it’s legally required to make decisions that financially
 746 benefit stockholders. But new forms of business are emerging. There are
 747 benefit corporations and social enterprises, which broaden their business
 748 goals from making a profit to making a positive impact on society, workers,
 749 the community, and the environment.<a href="#ftn.idm334" class="footnote" name="idm334"><sup class="footnote">[30]</sup></a>
 750 Community-owned businesses, worker-owned businesses, cooperatives, guilds,
 751 and other organizational forms offer alternatives to the traditional
 752 corporation. Collectively, these alternative market entities are changing
 753 the rules and norms of the market.<a href="#ftn.idm336" class="footnote" name="idm336"><sup class="footnote">[31]</sup></a>
 754       </p><p><span class="quote">„<span class="quote">A book on open business models</span>“</span> is how we described it in this
 755 book’s Kickstarter campaign. We used a handbook called Business Model
 756 Generation as our reference for defining just what a business model
 757 is. Developed over nine years using an <span class="quote">„<span class="quote">open process</span>“</span> involving
 758 470 coauthors from forty-five countries, it is useful as a framework for
 759 talking about business models.<a href="#ftn.idm341" class="footnote" name="idm341"><sup class="footnote">[32]</sup></a>
 760       </p><p>
 761         It contains a <span class="quote">„<span class="quote">business model canvas,</span>“</span> which conceives of a
 762 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
 763 own business model. We remixed this business model canvas into an open
 764 business model canvas, adding three more building blocks relevant to hybrid
 765 market, commons enterprises: social good, Creative Commons license, and
 766 <span class="quote">„<span class="quote">type of open environment that the business fits
 767 in.</span>“</span><a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
 768 useful when we analyzed businesses and helped start-ups plan their economic
 769 model.
 770       </p><p>
 771         In our case study interviews, many expressed discomfort over describing
 772 themselves as an open business model—the term business model suggested
 773 primarily being situated in the market.  Where you sit on the
 774 commons-to-market spectrum affects the extent to which you see yourself as a
 775 business in the market.  The more central to the mission shared resources
 776 and commons values are, the less comfort there is in describing yourself, or
 777 depicting what you do, as a business. Not all who have endeavors Made with
 778 Creative Commons use business speak; for some the process has been
 779 experimental, emergent, and organic rather than carefully planned using a
 780 predefined model.
 781       </p><p>
 782         The creators, businesses, and organizations we profile all engage with the
 783 market to generate revenue in some way. The ways in which this is done vary
 784 widely. Donations, pay what you can, memberships, <span class="quote">„<span class="quote">digital for free
 785 but physical for a fee,</span>“</span> crowdfunding, matchmaking, value-add
 786 services, patrons . . . the list goes on and on. (Initial description of how
 787 to earn revenue available through reference note. For latest thinking see
 788 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
 789 that work for them. Most make use of more than one way. Diversifying revenue
 790 streams lowers risk and provides multiple paths to sustainability.
 791       </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>
 792         While it may be clear why commons-based organizations want to interact and
 793 engage with the market (they need money to survive), it may be less obvious
 794 why the market would engage with the commons. The digital commons offers
 795 many benefits.
 796       </p><p>
 797         The commons speeds dissemination. The free flow of resources in the commons
 798 offers tremendous economies of scale. Distribution is decentralized, with
 799 all those in the commons empowered to share the resources they have access
 800 to. Those that are Made with Creative Commons have a reduced need for sales
 801 or marketing. Decentralized distribution amplifies supply and know-how.
 802       </p><p>
 803         The commons ensures access to all. The market has traditionally operated by
 804 putting resources behind a paywall requiring payment first before
 805 access. The commons puts resources in the open, providing access up front
 806 without payment. Those that are Made with Creative Commons make little or no
 807 use of digital rights management (DRM) to manage resources. Not using DRM
 808 frees them of the costs of acquiring DRM technology and staff resources to
 809 engage in the punitive practices associated with restricting access. The way
 810 the commons provides access to everyone levels the playing field and
 811 promotes inclusiveness, equity, and fairness.
 812       </p><p>
 813         The commons maximizes participation. Resources in the commons can be used
 814 and contributed to by everyone. Using the resources of others, contributing
 815 your own, and mixing yours with others to create new works are all dynamic
 816 forms of participation made possible by the commons. Being Made with
 817 Creative Commons means you’re engaging as many users with your resources as
 818 possible.  Users are also authoring, editing, remixing, curating,
 819 localizing, translating, and distributing. The commons makes it possible for
 820 people to directly participate in culture, knowledge building, and even
 821 democracy, and many other socially beneficial practices.
 822       </p><p>
 823         The commons spurs innovation. Resources in the hands of more people who can
 824 use them leads to new ideas. The way commons resources can be modified,
 825 customized, and improved results in derivative works never imagined by the
 826 original creator. Some endeavors that are Made with Creative Commons
 827 deliberately encourage users to take the resources being shared and innovate
 828 them. Doing so moves research and development (R&amp;D) from being solely
 829 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
 830 organization or business on its toes. It must continue to contribute new
 831 ideas, absorb and build on top of the innovations of others, and steward the
 832 resources and the relationship with the community.
 833       </p><p>
 834         The commons boosts reach and impact. The digital commons is
 835 global. Resources may be created for a local or regional need, but they go
 836 far and wide generating a global impact. In the digital world, there are no
 837 borders between countries. When you are Made with Creative Commons, you are
 838 often local and global at the same time: Digital designs being globally
 839 distributed but made and manufactured locally. Digital books or music being
 840 globally distributed but readings and concerts performed locally. The
 841 digital commons magnifies impact by connecting creators to those who use and
 842 build on their work both locally and globally.
 843       </p><p>
 844         The commons is generative. Instead of extracting value, the commons adds
 845 value. Digitized resources persist without becoming depleted, and through
 846 use are improved, personalized, and localized. Each use adds value. The
 847 market focuses on generating value for the business and the customer. The
 848 commons generates value for a broader range of beneficiaries including the
 849 business, the customer, the creator, the public, and the commons itself. The
 850 generative nature of the commons means that it is more cost-effective and
 851 produces a greater return on investment.  Value is not just measured in
 852 financial terms. Each new resource added to the commons provides value to
 853 the public and contributes to the overall value of the commons.
 854       </p><p>
 855         The commons brings people together for a common cause. The commons vests
 856 people directly with the responsibility to manage the resources for the
 857 common good. The costs and benefits for the individual are balanced with the
 858 costs and benefits for the community and for future generations. Resources
 859 are not anonymous or mass produced. Their provenance is known and
 860 acknowledged through attribution and other means. Those that are Made with
 861 Creative Commons generate awareness and reputation based on their
 862 contributions to the commons. The reach, impact, and sustainability of those
 863 contributions rest largely on their ability to forge relationships and
 864 connections with those who use and improve them. By functioning on the basis
 865 of social engagement, not monetary exchange, the commons unifies people.
 866       </p><p>
 867         The benefits of the commons are many. When these benefits align with the
 868 goals of individuals, communities, businesses in the market, or state
 869 enterprises, choosing to manage resources as a commons ought to be the
 870 option of choice.
 871       </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>
 872         The creators, organizations, and businesses in our case studies operate as
 873 nonprofits, for-profits, and social enterprises.  Regardless of legal
 874 status, they all have a social mission.  Their primary reason for being is
 875 to make the world a better place, not to profit. Money is a means to a
 876 social end, not the end itself. They factor public interest into decisions,
 877 behavior, and practices. Transparency and trust are really important. Impact
 878 and success are measured against social aims expressed in mission
 879 statements, and are not just about the financial bottom line.
 880       </p><p>
 881         The case studies are based on the narratives told to us by founders and key
 882 staff. Instead of solely using financials as the measure of success and
 883 sustainability, they emphasized their mission, practices, and means by which
 884 they measure success.  Metrics of success are a blend of how social goals
 885 are being met and how sustainable the enterprise is.
 886       </p><p>
 887         Our case studies are diverse, ranging from publishing to education and
 888 manufacturing. All of the organizations, businesses, and creators in the
 889 case studies produce digital resources. Those resources exist in many forms
 890 including books, designs, songs, research, data, cultural works, education
 891 materials, graphic icons, and video. Some are digital representations of
 892 physical resources. Others are born digital but can be made into physical
 893 resources.
 894       </p><p>
 895         They are creating new resources, or using the resources of others, or mixing
 896 existing resources together to make something new. They, and their audience,
 897 all play a direct, participatory role in managing those resources, including
 898 their preservation, curation, distribution, and enhancement. Access and
 899 participation is open to all regardless of monetary means.
 900       </p><p>
 901         And as users of Creative Commons licenses, they are automatically part of a
 902 global community. The new digital commons is global. Those we profiled come
 903 from nearly every continent in the world. To build and interact within this
 904 global community is conducive to success.
 905       </p><p>
 906         Creative Commons licenses may express legal rules around the use of
 907 resources in a commons, but success in the commons requires more than
 908 following the letter of the law and acquiring financial means. Over and over
 909 we heard in our interviews how success and sustainability are tied to a set
 910 of beliefs, values, and principles that underlie their actions: Give more
 911 than you take. Be open and inclusive. Add value. Make visible what you are
 912 using from the commons, what you are adding, and what you are
 913 monetizing. Maximize abundance. Give attribution. Express gratitude. Develop
 914 trust; don’t exploit. Build relationship and community. Be
 915 transparent. Defend the commons.
 916       </p><p>
 917         The new digital commons is here to stay. Made With Creative Commons case
 918 studies show how it’s possible to be part of this commons while still
 919 functioning within market and state systems.  The commons generates benefits
 920 neither the market nor state can achieve on their own. Rather than the
 921 market or state dominating as primary means of resource management, a more
 922 balanced alternative is possible.
 923       </p><p>
 924         Enterprise use of Creative Commons has only just begun. The case studies in
 925 this book are merely starting points. Each is changing and evolving over
 926 time. Many more are joining and inventing new models. This overview aims to
 927 provide a framework and language for thinking and talking about the new
 928 digital commons. The remaining sections go deeper providing further guidance
 929 and insights on how it works.
 930       </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>
 931           Jonathan Rowe, Our Common Wealth (San Francisco: Berrett-Koehler, 2013), 14.
 932         </p></div><div id="ftn.idm115" class="footnote"><p><a href="#idm115" class="para"><sup class="para">[2] </sup></a>
 933           David Bollier, Think Like a Commoner: A Short Introduction to the Life of
 934 the Commons (Gabriola Island, BC: New Society, 2014), 176.
 935         </p></div><div id="ftn.idm117" class="footnote"><p><a href="#idm117" class="para"><sup class="para">[3] </sup></a>
 936           Ibid., 15.
 937         </p></div><div id="ftn.idm122" class="footnote"><p><a href="#idm122" class="para"><sup class="para">[4] </sup></a>
 938             Ibid., 145.
 939           </p></div><div id="ftn.idm125" class="footnote"><p><a href="#idm125" class="para"><sup class="para">[5] </sup></a>
 940             Ibid., 175.
 941           </p></div><div id="ftn.idm143" class="footnote"><p><a href="#idm143" class="para"><sup class="para">[6] </sup></a>
 942             Daniel H. Cole, <span class="quote">„<span class="quote">Learning from Lin: Lessons and Cautions from the
 943 Natural Commons for the Knowledge Commons,</span>“</span> in Governing Knowledge
 944 Commons, eds. Brett M. Frischmann, Michael J. Madison, and Katherine J.
 945 Strandburg (New York: Oxford University Press, 2014), 53.
 946           </p></div><div id="ftn.idm170" class="footnote"><p><a href="#idm170" class="para"><sup class="para">[7] </sup></a>
 947               Max Haiven, Crises of Imagination, Crises of Power: Capitalism, Creativity
 948 and the Commons (New York: Zed Books, 2014), 93.
 949             </p></div><div id="ftn.idm185" class="footnote"><p><a href="#idm185" class="para"><sup class="para">[8] </sup></a>
 950               Bollier, Think Like a Commoner, 175.
 951             </p></div><div id="ftn.idm191" class="footnote"><p><a href="#idm191" class="para"><sup class="para">[9] </sup></a>
 952               Joshua Farley and Ida Kubiszewski, <span class="quote">„<span class="quote">The Economics of Information in a
 953 Post-Carbon Economy,</span>“</span> in Free Knowledge: Confronting the
 954 Commodification of Human Discovery, eds. Patricia W. Elliott and Daryl
 955 H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4.
 956             </p></div><div id="ftn.idm202" class="footnote"><p><a href="#idm202" class="para"><sup class="para">[10] </sup></a>
 957             Rowe, Our Common Wealth, 19; and Heather Menzies, Reclaiming the Commons for
 958 the Common Good: A Memoir and Manifesto (Gabriola Island, BC: New Society,
 959 2014), 42–43.
 960           </p></div><div id="ftn.idm213" class="footnote"><p><a href="#idm213" class="para"><sup class="para">[11] </sup></a>
 961             Bollier, Think Like a Commoner, 55–78.
 962           </p></div><div id="ftn.idm216" class="footnote"><p><a href="#idm216" class="para"><sup class="para">[12] </sup></a>
 963             Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a Legal System in
 964 Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
 965 and Bollier, Think Like a Commoner, 88.
 966           </p></div><div id="ftn.idm233" class="footnote"><p><a href="#idm233" class="para"><sup class="para">[13] </sup></a>
 967             Brett M. Frischmann, Michael J. Madison, and Katherine J.  Strandburg,
 968 <span class="quote">„<span class="quote">Governing Knowledge Commons,</span>“</span> in Frischmann, Madison, and
 969 Strandburg Governing Knowledge Commons, 12.
 970           </p></div><div id="ftn.idm238" class="footnote"><p><a href="#idm238" class="para"><sup class="para">[14] </sup></a>
 971             Farley and Kubiszewski, <span class="quote">„<span class="quote">Economics of Information,</span>“</span> in Elliott
 972 and Hepting, Free Knowledge, 203.
 973           </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
 974 Software Foundation’s Licensing and Compliance Lab, accessed December 30,
 975 2016, <a class="ulink" href="http://www.gnu.org/philosophy/free-sw" target="_top">http://www.gnu.org/philosophy/free-sw</a>.
 976               </p></div><div id="ftn.idm267" class="footnote"><p><a href="#idm267" class="para"><sup class="para">[16] </sup></a>
 977             Wikipedia, s.v. <span class="quote">„<span class="quote">Open-source software,</span>“</span> last modified November
 978 22, 2016.
 979           </p></div><div id="ftn.idm272" class="footnote"><p><a href="#idm272" class="para"><sup class="para">[17] </sup></a>
 980             Eric S. Raymond, <span class="quote">„<span class="quote">The Magic Cauldron,</span>“</span> in The Cathedral and the
 981 Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary,
 982 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>.
 983           </p></div><div id="ftn.idm278" class="footnote"><p><a href="#idm278" class="para"><sup class="para">[18] </sup></a>
 984             New York Times Customer Insight Group, The Psychology of Sharing: Why Do
 985 People Share Online? (New York: New York Times Customer Insight Group,
 986 2011), <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
 987           </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
 988 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>.
 989           </p></div><div id="ftn.idm291" class="footnote"><p><a href="#idm291" class="para"><sup class="para">[20] </sup></a>
 990             Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative
 991 Commons, 2015), <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
 992           </p></div><div id="ftn.idm297" class="footnote"><p><a href="#idm297" class="para"><sup class="para">[21] </sup></a>
 993             Wikipedia, s.v. <span class="quote">„<span class="quote">Open Government Partnership,</span>“</span> last modified
 994 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>.
 995           </p></div><div id="ftn.idm304" class="footnote"><p><a href="#idm304" class="para"><sup class="para">[22] </sup></a>
 996             Capra and Mattei, Ecology of Law, 114.
 997           </p></div><div id="ftn.idm306" class="footnote"><p><a href="#idm306" class="para"><sup class="para">[23] </sup></a>
 998             Ibid., 116.
 999           </p></div><div id="ftn.idm309" class="footnote"><p><a href="#idm309" class="para"><sup class="para">[24] </sup></a>
1000             The Swedish International Development Cooperation Agency, <span class="quote">„<span class="quote">Stockholm
1001 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>
1002           </p></div><div id="ftn.idm314" class="footnote"><p><a href="#idm314" class="para"><sup class="para">[25] </sup></a>
1003             City of Bologna, Regulation on Collaboration between Citizens and the City
1004 for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory
1005 for the GOVernance of Commons) (Bologna, Italy: City of Bologna, 2014),
1006 <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>.
1007           </p></div><div id="ftn.idm318" class="footnote"><p><a href="#idm318" class="para"><sup class="para">[26] </sup></a>
1008             The Seoul Sharing City website is <a class="ulink" href="http://english.sharehub.kr" target="_top">http://english.sharehub.kr</a>;
1009 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>.
1010           </p></div><div id="ftn.idm323" class="footnote"><p><a href="#idm323" class="para"><sup class="para">[27] </sup></a>
1011             Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
1012 Books, 2015), 42.
1013           </p></div><div id="ftn.idm326" class="footnote"><p><a href="#idm326" class="para"><sup class="para">[28] </sup></a>
1014             Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
1015 Something for Nothing, Reprint with new preface.  (New York: Hyperion,
1016 2010), 78.
1017           </p></div><div id="ftn.idm330" class="footnote"><p><a href="#idm330" class="para"><sup class="para">[29] </sup></a>
1018             Jeremy Rifkin, The Zero Marginal Cost Society: The Internet of Things, the
1019 Collaborative Commons, and the Eclipse of Capitalism (New York: Palgrave
1020 Macmillan, 2014), 273.
1021           </p></div><div id="ftn.idm334" class="footnote"><p><a href="#idm334" class="para"><sup class="para">[30] </sup></a>
1022             Gar Alperovitz, What Then Must We Do? Straight Talk about the Next American
1023 Revolution: Democratizing Wealth and Building a Community-Sustaining Economy
1024 from the Ground Up (White River Junction, VT: Chelsea Green, 2013), 39.
1025           </p></div><div id="ftn.idm336" class="footnote"><p><a href="#idm336" class="para"><sup class="para">[31] </sup></a>
1026             Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution;
1027 Journeys to a Generative Economy (San Francisco: Berrett-Koehler, 2012),
1028 8–9.
1029           </p></div><div id="ftn.idm341" class="footnote"><p><a href="#idm341" class="para"><sup class="para">[32] </sup></a>
1030             Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
1031 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>.
1032           </p></div><div id="ftn.idm346" class="footnote"><p><a href="#idm346" class="para"><sup class="para">[33] </sup></a>
1033             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>.
1034           </p></div><div id="ftn.idm350" class="footnote"><p><a href="#idm350" class="para"><sup class="para">[34] </sup></a>
1035             We’ve made the <span class="quote">„<span class="quote">Open Business Model Canvas,</span>“</span> designed by the
1036 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>.
1037 You can also find the accompanying Open Business Model Canvas Questions at
1038 <a class="ulink" href="http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit" target="_top">http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit</a>.
1039           </p></div><div id="ftn.idm358" class="footnote"><p><a href="#idm358" class="para"><sup class="para">[35] </sup></a>
1040             A more comprehensive list of revenue streams is available in this post I
1041 wrote on Medium on March 6, 2016. <span class="quote">„<span class="quote">What Is an Open Business Model and
1042 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>.
1043           </p></div><div id="ftn.idm369" class="footnote"><p><a href="#idm369" class="para"><sup class="para">[36] </sup></a>
1044             Henry Chesbrough, Open Innovation: The New Imperative for Creating and
1045 Profiting from Technology (Boston: Harvard Business Review Press, 2006),
1046 31–44.
1047           </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. Wie man mit Creative Commons hergestellt wird</h2></div></div></div><div class="toc"><p><b>Inhaltsverzeichnis</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}
1048     \textit{ Sarah Hinchliff Pearson}
1049     \end{flushright}</td></tr></table></div><p>
1050       When we began this project in August 2015, we set out to write a book about
1051 business models that involve Creative Commons licenses in some significant
1052 way—what we call being Made with Creative Commons. With the help of our
1053 Kickstarter backers, we chose twenty-four endeavors from all around the
1054 world that are Made with Creative Commons. The mix is diverse, from an
1055 individual musician to a university-textbook publisher to an electronics
1056 manufacturer.  Some make their own content and share under Creative Commons
1057 licensing. Others are platforms for CC-licensed creative work made by
1058 others. Many sit somewhere in between, both using and contributing creative
1059 work that’s shared with the public. Like all who use the licenses, these
1060 endeavors share their work—whether it’s open data or furniture designs—in a
1061 way that enables the public not only to access it but also to make use of
1062 it.
1063     </p><p>
1064       We analyzed the revenue models, customer segments, and value propositions of
1065 each endeavor. We searched for ways that putting their content under
1066 Creative Commons licenses helped boost sales or increase reach. Using
1067 traditional measures of economic success, we tried to map these business
1068 models in a way that meaningfully incorporated the impact of Creative
1069 Commons. In our interviews, we dug into the motivations, the role of CC
1070 licenses, modes of revenue generation, definitions of success.
1071     </p><p>
1072       In fairly short order, we realized the book we set out to write was quite
1073 different from the one that was revealing itself in our interviews and
1074 research.
1075     </p><p>
1076       It isn’t that we were wrong to think you can make money while using Creative
1077 Commons licenses. In many instances, CC can help make you more money. Nor
1078 were we wrong that there are business models out there that others who want
1079 to use CC licensing as part of their livelihood or business could
1080 replicate. What we didn’t realize was just how misguided it would be to
1081 write a book about being Made with Creative Commons using only a business
1082 lens.
1083     </p><p>
1084       According to the seminal handbook Business Model Generation, a business
1085 model <span class="quote">„<span class="quote">describes the rationale of how an organization creates,
1086 delivers, and captures value.</span>“</span><a href="#ftn.idm396" class="footnote" name="idm396"><sup class="footnote">[37]</sup></a>
1087 Thinking about sharing in terms of creating and capturing value always felt
1088 inappropriately transactional and out of place, something we heard time and
1089 time again in our interviews. And as Cory Doctorow told us in our interview
1090 with him, <span class="quote">„<span class="quote">Business model can mean anything you want it to
1091 mean.</span>“</span>
1092     </p><p>
1093       Eventually, we got it. Being Made with Creative Commons is more than a
1094 business model. While we will talk about specific revenue models as one
1095 piece of our analysis (and in more detail in the case studies), we scrapped
1096 that as our guiding rubric for the book.
1097     </p><p>
1098       Admittedly, it took me a long time to get there. When Paul and I divided up
1099 our writing after finishing the research, my charge was to distill
1100 everything we learned from the case studies and write up the practical
1101 lessons and takeaways. I spent months trying to jam what we learned into the
1102 business-model box, convinced there must be some formula for the way things
1103 interacted. But there is no formula. You’ll probably have to discard that
1104 way of thinking before you read any further.
1105     </p><p>
1106       In every interview, we started from the same simple questions.  Amid all the
1107 diversity among the creators, organizations, and businesses we profiled,
1108 there was one constant. Being Made with Creative Commons may be good for
1109 business, but that is not why they do it. Sharing work with Creative Commons
1110 is, at its core, a moral decision. The commercial and other self-interested
1111 benefits are secondary. Most decided to use CC licenses first and found a
1112 revenue model later. This was our first hint that writing a book solely
1113 about the impact of sharing on business might be a little off track.
1114     </p><p>
1115       But we also started to realize something about what it means to be Made with
1116 Creative Commons. When people talked to us about how and why they used CC,
1117 it was clear that it meant something more than using a copyright license. It
1118 also represented a set of values.  There is symbolism behind using CC, and
1119 that symbolism has many layers.
1120     </p><p>
1121       At one level, being Made with Creative Commons expresses an affinity for the
1122 value of Creative Commons. While there are many different flavors of CC
1123 licenses and nearly infinite ways to be Made with Creative Commons, the
1124 basic value system is rooted in a fundamental belief that knowledge and
1125 creativity are building blocks of our culture rather than just commodities
1126 from which to extract market value. These values reflect a belief that the
1127 common good should always be part of the equation when we determine how to
1128 regulate our cultural outputs. They reflect a belief that everyone has
1129 something to contribute, and that no one can own our shared culture. They
1130 reflect a belief in the promise of sharing.
1131     </p><p>
1132       Whether the public makes use of the opportunity to copy and adapt your work,
1133 sharing with a Creative Commons license is a symbol of how you want to
1134 interact with the people who consume your work.  Whenever you create
1135 something, <span class="quote">„<span class="quote">all rights reserved</span>“</span> under copyright is automatic,
1136 so the copyright symbol (©) on the work does not necessarily come across as
1137 a marker of distrust or excessive protectionism. But using a CC license can
1138 be a symbol of the opposite—of wanting a real human relationship, rather
1139 than an impersonal market transaction. It leaves open the possibility of
1140 connection.
1141     </p><p>
1142       Being Made with Creative Commons not only demonstrates values connected to
1143 CC and sharing. It also demonstrates that something other than profit drives
1144 what you do. In our interviews, we always asked what success looked like for
1145 them. It was stunning how rarely money was mentioned. Most have a deeper
1146 purpose and a different vision of success.
1147     </p><p>
1148       The driving motivation varies depending on the type of endeavor.  For
1149 individual creators, it is most often about personal inspiration. In some
1150 ways, this is nothing new. As Doctorow has written, <span class="quote">„<span class="quote">Creators usually
1151 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
1152 dynamic is even more pronounced. Similarly, for technological innovators, it
1153 is often less about creating a specific new thing that will make you rich
1154 and more about solving a specific problem you have. The creators of Arduino
1155 told us that the key question when creating something is <span class="quote">„<span class="quote">Do you as
1156 the creator want to use it? It has to have personal use and meaning.</span>“</span>
1157     </p><p>
1158       Many that are Made with Creative Commons have an express social mission that
1159 underpins everything they do. In many cases, sharing with Creative Commons
1160 expressly advances that social mission, and using the licenses can be the
1161 difference between legitimacy and hypocrisy. Noun Project co-founder Edward
1162 Boatman told us they could not have stated their social mission of sharing
1163 with a straight face if they weren’t willing to show the world that it was
1164 OK to share their content using a Creative Commons license.
1165     </p><p>
1166       This dynamic is probably one reason why there are so many nonprofit examples
1167 of being Made with Creative Commons. The content is the result of a labor of
1168 love or a tool to drive social change, and money is like gas in the car,
1169 something that you need to keep going but not an end in itself. Being Made
1170 with Creative Commons is a different vision of a business or livelihood,
1171 where profit is not paramount, and producing social good and human
1172 connection are integral to success.
1173     </p><p>
1174       Even if profit isn’t the end goal, you have to bring in money to be
1175 successfully Made with Creative Commons. At a bare minimum, you have to make
1176 enough money to keep the lights on.
1177     </p><p>
1178       The costs of doing business vary widely for those made with CC, but there is
1179 generally a much lower threshold for sustainability than there used to be
1180 for any creative endeavor. Digital technology has made it easier than ever
1181 to create, and easier than ever to distribute. As Doctorow put it in his
1182 book Information Doesn’t Want to Be Free, <span class="quote">„<span class="quote">If analog dollars have
1183 turned into digital dimes (as the critics of ad-supported media have it),
1184 there is the fact that it’s possible to run a business that gets the same
1185 amount of advertising as its forebears at a fraction of the price.</span>“</span>
1186     </p><p>
1187       Some creation costs are the same as they always were. It takes the same
1188 amount of time and money to write a peer-reviewed journal article or paint a
1189 painting. Technology can’t change that. But other costs are dramatically
1190 reduced by technology, particularly in production-heavy domains like
1191 filmmaking.<a href="#ftn.idm419" class="footnote" name="idm419"><sup class="footnote">[39]</sup></a> CC-licensed content and
1192 content in the public domain, as well as the work of volunteer
1193 collaborators, can also dramatically reduce costs if they’re being used as
1194 resources to create something new. And, of course, there is the reality that
1195 some content would be created whether or not the creator is paid because it
1196 is a labor of love.
1197     </p><p>
1198       Distributing content is almost universally cheaper than ever. Once content
1199 is created, the costs to distribute copies digitally are essentially
1200 zero.<a href="#ftn.idm422" class="footnote" name="idm422"><sup class="footnote">[40]</sup></a> The costs to distribute physical
1201 copies are still significant, but lower than they have been
1202 historically. And it is now much easier to print and distribute physical
1203 copies on-demand, which also reduces costs. Depending on the endeavor, there
1204 can be a whole host of other possible expenses like marketing and promotion,
1205 and even expenses associated with the various ways money is being made, like
1206 touring or custom training.
1207     </p><p>
1208       It’s important to recognize that the biggest impact of technology on
1209 creative endeavors is that creators can now foot the costs of creation and
1210 distribution themselves. People now often have a direct route to their
1211 potential public without necessarily needing intermediaries like record
1212 labels and book publishers. Doctorow wrote, <span class="quote">„<span class="quote">If you’re a creator who
1213 never got the time of day from one of the great imperial powers, this is
1214 your time. Where once you had no means of reaching an audience without the
1215 assistance of the industry-dominating megacompanies, now you have hundreds
1216 of ways to do it without them.</span>“</span><a href="#ftn.idm426" class="footnote" name="idm426"><sup class="footnote">[41]</sup></a>
1217 Previously, distribution of creative work involved the costs associated with
1218 sustaining a monolithic entity, now creators can do the work
1219 themselves. That means the financial needs of creative endeavors can be a
1220 lot more modest.
1221     </p><p>
1222       Whether for an individual creator or a larger endeavor, it usually isn’t
1223 enough to break even if you want to make what you’re doing a livelihood. You
1224 need to build in some support for the general operation. This extra bit
1225 looks different for everyone, but importantly, in nearly all cases for those
1226 Made with Creative Commons, the definition of <span class="quote">„<span class="quote">enough money</span>“</span>
1227 looks a lot different than it does in the world of venture capital and stock
1228 options. It is more about sustainability and less about unlimited growth and
1229 profit. SparkFun founder Nathan Seidle told us, <span class="quote">„<span class="quote">Business model is a
1230 really grandiose word for it. It is really just about keeping the operation
1231 going day to day.</span>“</span>
1232     </p><p>
1233       This book is a testament to the notion that it is possible to make money
1234 while using CC licenses and CC-licensed content, but we are still very much
1235 at an experimental stage. The creators, organizations, and businesses we
1236 profile in this book are blazing the trail and adapting in real time as they
1237 pursue this new way of operating.
1238     </p><p>
1239       There are, however, plenty of ways in which CC licensing can be good for
1240 business in fairly predictable ways. The first is how it helps solve
1241 <span class="quote">„<span class="quote">problem zero.</span>“</span>
1242     </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>
1243         Once you create or collect your content, the next step is finding users,
1244 customers, fans—in other words, your people. As Amanda Palmer wrote,
1245 <span class="quote">„<span class="quote">It has to start with the art. The songs had to touch people
1246 initially, and mean something, for anything to work at
1247 all.</span>“</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[42]</sup></a> There isn’t any magic to
1248 finding your people, and there is certainly no formula. Your work has to
1249 connect with people and offer them some artistic and/or utilitarian
1250 value. In some ways, this is easier than ever. Online we are not limited by
1251 shelf space, so there is room for every obscure interest, taste, and need
1252 imaginable. This is what Chris Anderson dubbed the Long Tail, where
1253 consumption becomes less about mainstream mass <span class="quote">„<span class="quote">hits</span>“</span> and more
1254 about micromarkets for every particular niche. As Anderson wrote, <span class="quote">„<span class="quote">We
1255 are all different, with different wants and needs, and the Internet now has
1256 a place for all of them in the way that physical markets did
1257 not.</span>“</span><a href="#ftn.idm442" class="footnote" name="idm442"><sup class="footnote">[43]</sup></a> We are no longer limited
1258 to what appeals to the masses.
1259       </p><p>
1260         While finding <span class="quote">„<span class="quote">your people</span>“</span> online is theoretically easier than
1261 in the analog world, as a practical matter it can still be difficult to
1262 actually get noticed. The Internet is a firehose of content, one that only
1263 grows larger by the minute.  As a content creator, not only are you
1264 competing for attention against more content creators than ever before, you
1265 are competing against creativity generated outside the market as
1266 well.<a href="#ftn.idm446" class="footnote" name="idm446"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">„<span class="quote">The
1267 greatest change of the past decade has been the shift in time people spend
1268 consuming amateur content instead of professional
1269 content.</span>“</span><a href="#ftn.idm449" class="footnote" name="idm449"><sup class="footnote">[45]</sup></a> To top it all off, you
1270 have to compete against the rest of their lives, too—<span class="quote">„<span class="quote">friends, family,
1271 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
1272 right people.
1273       </p><p>
1274         When you come to the Internet armed with an all-rights-reserved mentality
1275 from the start, you are often restricting access to your work before there
1276 is even any demand for it. In many cases, requiring payment for your work is
1277 part of the traditional copyright system. Even a tiny cost has a big effect
1278 on demand.  It’s called the penny gap—the large difference in demand between
1279 something that is available at the price of one cent versus the price of
1280 zero.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
1281 charge money for your content. It simply means you need to recognize the
1282 effect that doing so will have on demand. The same principle applies to
1283 restricting access to copy the work. If your problem is how to get
1284 discovered and find <span class="quote">„<span class="quote">your people,</span>“</span> prohibiting people from
1285 copying your work and sharing it with others is counterproductive.
1286       </p><p>
1287         Of course, it’s not that being discovered by people who like your work will
1288 make you rich—far from it. But as Cory Doctorow says, <span class="quote">„<span class="quote">Recognition is
1289 one of many necessary preconditions for artistic
1290 success.</span>“</span><a href="#ftn.idm460" class="footnote" name="idm460"><sup class="footnote">[48]</sup></a>
1291       </p><p>
1292         Choosing not to spend time and energy restricting access to your work and
1293 policing infringement also builds goodwill. Lumen Learning, a for-profit
1294 company that publishes online educational materials, made an early decision
1295 not to prevent students from accessing their content, even in the form of a
1296 tiny paywall, because it would negatively impact student success in a way
1297 that would undermine the social mission behind what they do. They believe
1298 this decision has generated an immense amount of goodwill within the
1299 community.
1300       </p><p>
1301         It is not just that restricting access to your work may undermine your
1302 social mission. It also may alienate the people who most value your creative
1303 work. If people like your work, their natural instinct will be to share it
1304 with others. But as David Bollier wrote, <span class="quote">„<span class="quote">Our natural human impulses
1305 to imitate and share—the essence of culture—have been
1306 criminalized.</span>“</span><a href="#ftn.idm465" class="footnote" name="idm465"><sup class="footnote">[49]</sup></a>
1307       </p><p>
1308         The fact that copying can carry criminal penalties undoubtedly deters
1309 copying it, but copying with the click of a button is too easy and
1310 convenient to ever fully stop it. Try as the copyright industry might to
1311 persuade us otherwise, copying a copyrighted work just doesn’t feel like
1312 stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
1313 creative work has no impact on anyone else’s ability to make use of it.
1314       </p><p>
1315         If you take some amount of copying and sharing your work as a given, you can
1316 invest your time and resources elsewhere, rather than wasting them on
1317 playing a cat and mouse game with people who want to copy and share your
1318 work. Lizzy Jongma from the Rijksmuseum said, <span class="quote">„<span class="quote">We could spend a lot of
1319 money trying to protect works, but people are going to do it anyway. And
1320 they will use bad-quality versions.</span>“</span> Instead, they started releasing
1321 high-resolution digital copies of their collection into the public domain
1322 and making them available for free on their website. For them, sharing was a
1323 form of quality control over the copies that were inevitably being shared
1324 online. Doing this meant forgoing the revenue they previously got from
1325 selling digital images. But Lizzy says that was a small price to pay for all
1326 of the opportunities that sharing unlocked for them.
1327       </p><p>
1328         Being Made with Creative Commons means you stop thinking about ways to
1329 artificially make your content scarce, and instead leverage it as the
1330 potentially abundant resource it is.<a href="#ftn.idm471" class="footnote" name="idm471"><sup class="footnote">[50]</sup></a>
1331 When you see information abundance as a feature, not a bug, you start
1332 thinking about the ways to use the idling capacity of your content to your
1333 advantage. As my friend and colleague Eric Steuer once said, <span class="quote">„<span class="quote">Using CC
1334 licenses shows you get the Internet.</span>“</span>
1335       </p><p>
1336         Cory Doctorow says it costs him nothing when other people make copies of his
1337 work, and it opens the possibility that he might get something in
1338 return.<a href="#ftn.idm475" class="footnote" name="idm475"><sup class="footnote">[51]</sup></a> Similarly, the makers of the
1339 Arduino boards knew it was impossible to stop people from copying their
1340 hardware, so they decided not to even try and instead look for the benefits
1341 of being open. For them, the result is one of the most ubiquitous pieces of
1342 hardware in the world, with a thriving online community of tinkerers and
1343 innovators that have done things with their work they never could have done
1344 otherwise.
1345       </p><p>
1346         There are all kinds of way to leverage the power of sharing and remix to
1347 your benefit. Here are a few.
1348       </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>
1349           Putting a Creative Commons license on your content won’t make it
1350 automatically go viral, but eliminating legal barriers to copying the work
1351 certainly can’t hurt the chances that your work will be shared. The CC
1352 license symbolizes that sharing is welcome. It can act as a little tap on
1353 the shoulder to those who come across the work—a nudge to copy the work if
1354 they have any inkling of doing so. All things being equal, if one piece of
1355 content has a sign that says Share and the other says Don’t Share (which is
1356 what <span class="quote">„<span class="quote">©</span>“</span> means), which do you think people are more likely to
1357 share?
1358         </p><p>
1359           The Conversation is an online news site with in-depth articles written by
1360 academics who are experts on particular topics. All of the articles are
1361 CC-licensed, and they are copied and reshared on other sites by design. This
1362 proliferating effect, which they track, is a central part of the value to
1363 their academic authors who want to reach as many readers as possible.
1364         </p><p>
1365           The idea that more eyeballs equates with more success is a form of the max
1366 strategy, adopted by Google and other technology companies. According to
1367 Google’s Eric Schmidt, the idea is simple: <span class="quote">„<span class="quote">Take whatever it is you
1368 are doing and do it at the max in terms of distribution. The other way of
1369 saying this is that since marginal cost of distribution is free, you might
1370 as well put things everywhere.</span>“</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[52]</sup></a>
1371 This strategy is what often motivates companies to make their products and
1372 services free (i.e., no cost), but the same logic applies to making content
1373 freely shareable. Because CC-licensed content is free (as in cost) and can
1374 be freely copied, CC licensing makes it even more accessible and likely to
1375 spread.
1376         </p><p>
1377           If you are successful in reaching more users, readers, listeners, or other
1378 consumers of your work, you can start to benefit from the bandwagon
1379 effect. The simple fact that there are other people consuming or following
1380 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
1381 herd behavior, but it is also because a large following is at least a
1382 partial indicator of quality or usefulness.<a href="#ftn.idm490" class="footnote" name="idm490"><sup class="footnote">[54]</sup></a>
1383         </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>
1384           Every Creative Commons license requires that credit be given to the author,
1385 and that reusers supply a link back to the original source of the
1386 material. CC0, not a license but a tool used to put work in the public
1387 domain, does not make attribution a legal requirement, but many communities
1388 still give credit as a matter of best practices and social norms. In fact,
1389 it is social norms, rather than the threat of legal enforcement, that most
1390 often motivate people to provide attribution and otherwise comply with the
1391 CC license terms anyway. This is the mark of any well-functioning community,
1392 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
1393 creators, and in the vast majority of circumstances, people are naturally
1394 inclined to follow those wishes. This is particularly the case for something
1395 as straightforward and consistent with basic notions of fairness as
1396 providing credit.
1397         </p><p>
1398           The fact that the name of the creator follows a CC-licensed work makes the
1399 licenses an important means to develop a reputation or, in corporate speak,
1400 a brand. The drive to associate your name with your work is not just based
1401 on commercial motivations, it is fundamental to authorship.  Knowledge
1402 Unlatched is a nonprofit that helps to subsidize the print production of
1403 CC-licensed academic texts by pooling contributions from libraries around
1404 the United States. The CEO, Frances Pinter, says that the Creative Commons
1405 license on the works has a huge value to authors because reputation is the
1406 most important currency for academics. Sharing with CC is a way of having
1407 the most people see and cite your work.
1408         </p><p>
1409           Attribution can be about more than just receiving credit. It can also be
1410 about establishing provenance. People naturally want to know where content
1411 came from—the source of a work is sometimes just as interesting as the work
1412 itself. Opendesk is a platform for furniture designers to share their
1413 designs.  Consumers who like those designs can then get matched with local
1414 makers who turn the designs into real-life furniture.  The fact that I,
1415 sitting in the middle of the United States, can pick out a design created by
1416 a designer in Tokyo and then use a maker within my own community to
1417 transform the design into something tangible is part of the power of their
1418 platform. The provenance of the design is a special part of the product.
1419         </p><p>
1420           Knowing the source of a work is also critical to ensuring its
1421 credibility. Just as a trademark is designed to give consumers a way to
1422 identify the source and quality of a particular good and service, knowing
1423 the author of a work gives the public a way to assess its credibility. In a
1424 time when online discourse is plagued with misinformation, being a trusted
1425 information source is more valuable than ever.
1426         </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>
1427           As we will cover in more detail later, many endeavors that are Made with
1428 Creative Commons make money by providing a product or service other than the
1429 CC-licensed work. Sometimes that other product or service is completely
1430 unrelated to the CC content. Other times it’s a physical copy or live
1431 performance of the CC content. In all cases, the CC content can attract
1432 people to your other product or service.
1433         </p><p>
1434           Knowledge Unlatched’s Pinter told us she has seen time and again how
1435 offering CC-licensed content—that is, digitally for free—actually increases
1436 sales of the printed goods because it functions as a marketing tool. We see
1437 this phenomenon regularly with famous artwork. The Mona Lisa is likely the
1438 most recognizable painting on the planet. Its ubiquity has the effect of
1439 catalyzing interest in seeing the painting in person, and in owning physical
1440 goods with the image. Abundant copies of the content often entice more
1441 demand, not blunt it.  Another example came with the advent of the
1442 radio. Although the music industry did not see it coming (and fought it!),
1443 free music on the radio functioned as advertising for the paid version
1444 people bought in music stores.<a href="#ftn.idm505" class="footnote" name="idm505"><sup class="footnote">[56]</sup></a> Free can
1445 be a form of promotion.
1446         </p><p>
1447           In some cases, endeavors that are Made with Creative Commons do not even
1448 need dedicated marketing teams or marketing budgets. Cards Against Humanity
1449 is a CC-licensed card game available as a free download. And because of this
1450 (thanks to the CC license on the game), the creators say it is one of the
1451 best-marketed games in the world, and they have never spent a dime on
1452 marketing. The textbook publisher OpenStax has also avoided hiring a
1453 marketing team. Their products are free, or cheaper to buy in the case of
1454 physical copies, which makes them much more attractive to students who then
1455 demand them from their universities. They also partner with service
1456 providers who build atop the CC-licensed content and, in turn, spend money
1457 and resources marketing those services (and by extension, the OpenStax
1458 textbooks).
1459         </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>
1460           The great promise of Creative Commons licensing is that it signifies an
1461 embrace of remix culture. Indeed, this is the great promise of digital
1462 technology. The Internet opened up a whole new world of possibilities for
1463 public participation in creative work.
1464         </p><p>
1465           Four of the six CC licenses enable reusers to take apart, build upon, or
1466 otherwise adapt the work. Depending on the context, adaptation can mean
1467 wildly different things—translating, updating, localizing, improving,
1468 transforming. It enables a work to be customized for particular needs, uses,
1469 people, and communities, which is another distinct value to offer the
1470 public.<a href="#ftn.idm512" class="footnote" name="idm512"><sup class="footnote">[57]</sup></a> Adaptation is more game
1471 changing in some contexts than others. With educational materials, the
1472 ability to customize and update the content is critically important for its
1473 usefulness. For photography, the ability to adapt a photo is less important.
1474         </p><p>
1475           This is a way to counteract a potential downside of the abundance of free
1476 and open content described above. As Anderson wrote in Free, <span class="quote">„<span class="quote">People
1477 often don’t care as much about things they don’t pay for, and as a result
1478 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
1479 penny for something changes our perception of that thing, then surely the
1480 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
1481 had a part in creating.<a href="#ftn.idm520" class="footnote" name="idm520"><sup class="footnote">[60]</sup></a> And we know
1482 that creating something, no matter what quality, brings with it a type of
1483 creative satisfaction that can never be replaced by consuming something
1484 created by someone else.<a href="#ftn.idm522" class="footnote" name="idm522"><sup class="footnote">[61]</sup></a>
1485         </p><p>
1486           Actively engaging with the content helps us avoid the type of aimless
1487 consumption that anyone who has absentmindedly scrolled through their
1488 social-media feeds for an hour knows all too well. In his book, Cognitive
1489 Surplus, Clay Shirky says, <span class="quote">„<span class="quote">To participate is to act as if your
1490 presence matters, as if, when you see something or hear something, your
1491 response is part of the event.</span>“</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[62]</sup></a>
1492 Opening the door to your content can get people more deeply tied to your
1493 work.
1494         </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>
1495           Operating under a traditional copyright regime usually means operating under
1496 the rules of establishment players in the media. Business strategies that
1497 are embedded in the traditional copyright system, like using digital rights
1498 management (DRM) and signing exclusivity contracts, can tie the hands of
1499 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
1500 function without those barriers and, in many cases, use the increased
1501 openness as a competitive advantage. David Harris from OpenStax said they
1502 specifically pursue strategies they know that traditional publishers
1503 cannot. <span class="quote">„<span class="quote">Don’t go into a market and play by the incumbent
1504 rules,</span>“</span> David said.  <span class="quote">„<span class="quote">Change the rules of engagement.</span>“</span>
1505         </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>
1506         Like any moneymaking endeavor, those that are Made with Creative Commons
1507 have to generate some type of value for their audience or
1508 customers. Sometimes that value is subsidized by funders who are not
1509 actually beneficiaries of that value. Funders, whether philanthropic
1510 institutions, governments, or concerned individuals, provide money to the
1511 organization out of a sense of pure altruism. This is the way traditional
1512 nonprofit funding operates.<a href="#ftn.idm538" class="footnote" name="idm538"><sup class="footnote">[64]</sup></a> But in many
1513 cases, the revenue streams used by endeavors that are Made with Creative
1514 Commons are directly tied to the value they generate, where the recipient is
1515 paying for the value they receive like any standard market transaction. In
1516 still other cases, rather than the quid pro quo exchange of money for value
1517 that typically drives market transactions, the recipient gives money out of
1518 a sense of reciprocity.
1519       </p><p>
1520         Most who are Made with Creative Commons use a variety of methods to bring in
1521 revenue, some market-based and some not. One common strategy is using grant
1522 funding for content creation when research-and-development costs are
1523 particularly high, and then finding a different revenue stream (or streams)
1524 for ongoing expenses. As Shirky wrote, <span class="quote">„<span class="quote">The trick is in knowing when
1525 markets are an optimal way of organizing interactions and when they are
1526 not.</span>“</span><a href="#ftn.idm544" class="footnote" name="idm544"><sup class="footnote">[65]</sup></a>
1527       </p><p>
1528         Our case studies explore in more detail the various revenue-generating
1529 mechanisms used by the creators, organizations, and businesses we
1530 interviewed. There is nuance hidden within the specific ways each of them
1531 makes money, so it is a bit dangerous to generalize too much about what we
1532 learned.  Nonetheless, zooming out and viewing things from a higher level of
1533 abstraction can be instructive.
1534       </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>
1535           In the market, the central question when determining how to bring in revenue
1536 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
1537 you provide is available for free and not a market commodity. Like the
1538 ubiquitous freemium business model, any possible market transaction with a
1539 consumer of your content has to be based on some added value you
1540 provide.<a href="#ftn.idm552" class="footnote" name="idm552"><sup class="footnote">[67]</sup></a>
1541         </p><p>
1542           In many ways, this is the way of the future for all content-driven
1543 endeavors. In the market, value lives in things that are scarce. Because the
1544 Internet makes a universe of content available to all of us for free, it is
1545 difficult to get people to pay for content online. The struggling newspaper
1546 industry is a testament to this fact. This is compounded by the fact that at
1547 least some amount of copying is probably inevitable. That means you may end
1548 up competing with free versions of your own content, whether you condone it
1549 or not.<a href="#ftn.idm555" class="footnote" name="idm555"><sup class="footnote">[68]</sup></a> If people can easily find your
1550 content for free, getting people to buy it will be difficult, particularly
1551 in a context where access to content is more important than owning it. In
1552 Free, Anderson wrote, <span class="quote">„<span class="quote">Copyright protection schemes, whether coded
1553 into either law or software, are simply holding up a price against the force
1554 of gravity.</span>“</span>
1555         </p><p>
1556           Of course, this doesn’t mean that content-driven endeavors have no future in
1557 the traditional marketplace. In Free, Anderson explains how when one product
1558 or service becomes free, as information and content largely have in the
1559 digital age, other things become more valuable. <span class="quote">„<span class="quote">Every abundance
1560 creates a new scarcity,</span>“</span> he wrote. You just have to find some way
1561 other than the content to provide value to your audience or customers. As
1562 Anderson says, <span class="quote">„<span class="quote">It’s easy to compete with Free: simply offer something
1563 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>
1564         </p><p>
1565           In light of this reality, in some ways endeavors that are Made with Creative
1566 Commons are at a level playing field with all content-based endeavors in the
1567 digital age. In fact, they may even have an advantage because they can use
1568 the abundance of content to derive revenue from something scarce. They can
1569 also benefit from the goodwill that stems from the values behind being Made
1570 with Creative Commons.
1571         </p><p>
1572           For content creators and distributors, there are nearly infinite ways to
1573 provide value to the consumers of your work, above and beyond the value that
1574 lives within your free digital content. Often, the CC-licensed content
1575 functions as a marketing tool for the paid product or service.
1576         </p><p>
1577           Here are the most common high-level categories.
1578         </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
1579 <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
1580           In this age of information abundance, we don’t lack for content. The trick
1581 is finding content that matches our needs and wants, so customized services
1582 are particularly valuable.  As Anderson wrote, <span class="quote">„<span class="quote">Commodity information
1583 (everybody gets the same version) wants to be free. Customized information
1584 (you get something unique and meaningful to you)  wants to be
1585 expensive.</span>“</span><a href="#ftn.idm571" class="footnote" name="idm571"><sup class="footnote">[70]</sup></a> This can be anything
1586 from the artistic and cultural consulting services provided by Ártica to the
1587 custom-song business of Jonathan <span class="quote">„<span class="quote">Song-A-Day</span>“</span> Mann.
1588         </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>
1589           In his book about maker culture, Anderson characterizes this model as giving
1590 away the bits and selling the atoms (where bits refers to digital content
1591 and atoms refer to a physical object).<a href="#ftn.idm578" class="footnote" name="idm578"><sup class="footnote">[71]</sup></a>
1592 This is particularly successful in domains where the digital version of the
1593 content isn’t as valuable as the analog version, like book publishing where
1594 a significant subset of people still prefer reading something they can hold
1595 in their hands. Or in domains where the content isn’t useful until it is in
1596 physical form, like furniture designs. In those situations, a significant
1597 portion of consumers will pay for the convenience of having someone else put
1598 the physical version together for them. Some endeavors squeeze even more out
1599 of this revenue stream by using a Creative Commons license that only allows
1600 noncommercial uses, which means no one else can sell physical copies of
1601 their work in competition with them. This strategy of reserving commercial
1602 rights can be particularly important for items like books, where every
1603 printed copy of the same work is likely to be the same quality, so it is
1604 harder to differentiate one publishing service from another. On the other
1605 hand, for items like furniture or electronics, the provider of the physical
1606 goods can compete with other providers of the same works based on quality,
1607 service, or other traditional business principles.
1608         </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>
1609           As anyone who has ever gone to a concert will tell you, experiencing
1610 creativity in person is a completely different experience from consuming a
1611 digital copy on your own. Far from acting as a substitute for face-to-face
1612 interaction, CC-licensed content can actually create demand for the
1613 in-person version of experience. You can see this effect when people go view
1614 original art in person or pay to attend a talk or training course.
1615         </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>
1616           In many cases, people who like your work will pay for products demonstrating
1617 a connection to your work. As a child of the 1980s, I can personally attest
1618 to the power of a good concert T-shirt. This can also be an important
1619 revenue stream for museums and galleries.
1620         </p><p>
1621           Sometimes the way to find a market-based revenue stream is by providing
1622 value to people other than those who consume your CC-licensed content. In
1623 these revenue streams, the free content is being subsidized by an entirely
1624 different category of people or businesses. Often, those people or
1625 businesses are paying to access your main audience. The fact that the
1626 content is free increases the size of the audience, which in turn makes the
1627 offer more valuable to the paying customers. This is a variation of a
1628 traditional business model built on free called multi-sided
1629 platforms.<a href="#ftn.idm589" class="footnote" name="idm589"><sup class="footnote">[72]</sup></a> Access to your audience
1630 isn’t the only thing people are willing to pay for—there are other services
1631 you can provide as well.
1632         </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>
1633           The traditional model of subsidizing free content is advertising. In this
1634 version of multi-sided platforms, advertisers pay for the opportunity to
1635 reach the set of eyeballs the content creators provide in the form of their
1636 audience.<a href="#ftn.idm595" class="footnote" name="idm595"><sup class="footnote">[73]</sup></a> The Internet has made this
1637 model more difficult because the number of potential channels available to
1638 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
1639 many content creators, including those who are Made with Creative
1640 Commons. Often, instead of paying to display advertising, the advertiser
1641 pays to be an official sponsor of particular content or projects, or of the
1642 overall endeavor.
1643         </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>
1644           Another type of multisided platform is where the content creators themselves
1645 pay to be featured on the platform.  Obviously, this revenue stream is only
1646 available to those who rely on work created, at least in part, by
1647 others. The most well-known version of this model is the
1648 <span class="quote">„<span class="quote">author-processing charge</span>“</span> of open-access journals like those
1649 published by the Public Library of Science, but there are other
1650 variations. The Conversation is primarily funded by a university-membership
1651 model, where universities pay to have their faculties participate as writers
1652 of the content on the Conversation website.
1653         </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>
1654           This is a version of a traditional business model based on brokering
1655 transactions between parties.<a href="#ftn.idm608" class="footnote" name="idm608"><sup class="footnote">[75]</sup></a> Curation
1656 is an important element of this model.  Platforms like the Noun Project add
1657 value by wading through CC-licensed content to curate a high-quality set and
1658 then derive revenue when creators of that content make transactions with
1659 customers. Other platforms make money when service providers transact with
1660 their customers; for example, Opendesk makes money every time someone on
1661 their site pays a maker to make furniture based on one of the designs on the
1662 platform.
1663         </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>
1664           As mentioned above, endeavors can make money by providing customized
1665 services to their users. Platforms can undertake a variation of this service
1666 model directed at the creators that provide the content they feature. The
1667 data platforms Figure.NZ and Figshare both capitalize on this model by
1668 providing paid tools to help their users make the data they contribute to
1669 the platform more discoverable and reusable.
1670         </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>
1671           Finally, some that are Made with Creative Commons make money by selling use
1672 of their trademarks. Well known brands that consumers associate with
1673 quality, credibility, or even an ethos can license that trademark to
1674 companies that want to take advantage of that goodwill. By definition,
1675 trademarks are scarce because they represent a particular source of a good
1676 or service. Charging for the ability to use that trademark is a way of
1677 deriving revenue from something scarce while taking advantage of the
1678 abundance of CC content.
1679         </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>
1680           Even if we set aside grant funding, we found that the traditional economic
1681 framework of understanding the market failed to fully capture the ways the
1682 endeavors we analyzed were making money. It was not simply about monetizing
1683 scarcity.
1684         </p><p>
1685           Rather than devising a scheme to get people to pay money in exchange for
1686 some direct value provided to them, many of the revenue streams were more
1687 about providing value, building a relationship, and then eventually finding
1688 some money that flows back out of a sense of reciprocity. While some look
1689 like traditional nonprofit funding models, they aren’t charity. The endeavor
1690 exchange value with people, just not necessarily synchronously or in a way
1691 that requires that those values be equal. As David Bollier wrote in Think
1692 Like a Commoner, <span class="quote">„<span class="quote">There is no self-serving calculation of whether the
1693 value given and received is strictly equal.</span>“</span>
1694         </p><p>
1695           This should be a familiar dynamic—it is the way you deal with your friends
1696 and family. We give without regard for what and when we will get back. David
1697 Bollier wrote, <span class="quote">„<span class="quote">Reciprocal social exchange lies at the heart of human
1698 identity, community and culture. It is a vital brain function that helps the
1699 human species survive and evolve.</span>“</span>
1700         </p><p>
1701           What is rare is to incorporate this sort of relationship into an endeavor
1702 that also engages with the market.<a href="#ftn.idm626" class="footnote" name="idm626"><sup class="footnote">[76]</sup></a> We
1703 almost can’t help but think of relationships in the market as being centered
1704 on an even-steven exchange of value.<a href="#ftn.idm628" class="footnote" name="idm628"><sup class="footnote">[77]</sup></a>
1705         </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
1706 <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
1707           While memberships and donations are traditional nonprofit funding models, in
1708 the Made with Creative Commons context, they are directly tied to the
1709 reciprocal relationship that is cultivated with the beneficiaries of their
1710 work. The bigger the pool of those receiving value from the content, the
1711 more likely this strategy will work, given that only a small percentage of
1712 people are likely to contribute. Since using CC licenses can grease the
1713 wheels for content to reach more people, this strategy can be more effective
1714 for endeavors that are Made with Creative Commons. The greater the argument
1715 that the content is a public good or that the entire endeavor is furthering
1716 a social mission, the more likely this strategy is to succeed.
1717         </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>
1718           In the pay-what-you-want model, the beneficiary of Creative Commons content
1719 is invited to give—at any amount they can and feel is appropriate, based on
1720 the public and personal value they feel is generated by the open
1721 content. Critically, these models are not touted as <span class="quote">„<span class="quote">buying</span>“</span>
1722 something free.  They are similar to a tip jar. People make financial
1723 contributions as an act of gratitude. These models capitalize on the fact
1724 that we are naturally inclined to give money for things we value in the
1725 marketplace, even in situations where we could find a way to get it for
1726 free.
1727         </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>
1728           Crowdfunding models are based on recouping the costs of creating and
1729 distributing content before the content is created. If the endeavor is Made
1730 with Creative Commons, anyone who wants the work in question could simply
1731 wait until it’s created and then access it for free. That means, for this
1732 model to work, people have to care about more than just receiving the
1733 work. They have to want you to succeed. Amanda Palmer credits the success of
1734 her crowdfunding on Kickstarter and Patreon to the years she spent building
1735 her community and creating a connection with her fans. She wrote in The Art
1736 of Asking, <span class="quote">„<span class="quote">Good art is made, good art is shared, help is offered,
1737 ears are bent, emotions are exchanged, the compost of real, deep connection
1738 is sprayed all over the fields. Then one day, the artist steps up and asks
1739 for something. And if the ground has been fertilized enough, the audience
1740 says, without hesitation: of course.</span>“</span>
1741         </p><p>
1742           Other types of crowdfunding rely on a sense of responsibility that a
1743 particular community may feel. Knowledge Unlatched pools funds from major
1744 U.S. libraries to subsidize CC-licensed academic work that will be, by
1745 definition, available to everyone for free. Libraries with bigger budgets
1746 tend to give more out of a sense of commitment to the library community and
1747 to the idea of open access generally.
1748         </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>
1749         Regardless of how they made money, in our interviews, we repeatedly heard
1750 language like <span class="quote">„<span class="quote">persuading people to buy</span>“</span> and <span class="quote">„<span class="quote">inviting
1751 people to pay.</span>“</span> We heard it even in connection with revenue streams
1752 that sit squarely within the market. Cory Doctorow told us, <span class="quote">„<span class="quote">I have to
1753 convince my readers that the right thing to do is to pay me.</span>“</span> The
1754 founders of the for-profit company Lumen Learning showed us the letter they
1755 send to those who opt not to pay for the services they provide in connection
1756 with their CC-licensed educational content. It isn’t a cease-and-desist
1757 letter; it’s an invitation to pay because it’s the right thing to do. This
1758 sort of behavior toward what could be considered nonpaying customers is
1759 largely unheard of in the traditional marketplace. But it seems to be part
1760 of the fabric of being Made with Creative Commons.
1761       </p><p>
1762         Nearly every endeavor we profiled relied, at least in part, on people being
1763 invested in what they do. The closer the Creative Commons content is to
1764 being <span class="quote">„<span class="quote">the product,</span>“</span> the more pronounced this dynamic has to
1765 be. Rather than simply selling a product or service, they are making
1766 ideological, personal, and creative connections with the people who value
1767 what they do.
1768       </p><p>
1769         It took me a very long time to see how this avoidance of thinking about what
1770 they do in pure market terms was deeply tied to being Made with Creative
1771 Commons.
1772       </p><p>
1773         I came to the research with preconceived notions about what Creative Commons
1774 is and what it means to be Made with Creative Commons. It turned out I was
1775 wrong on so many counts.
1776       </p><p>
1777         Obviously, being Made with Creative Commons means using Creative Commons
1778 licenses. That much I knew. But in our interviews, people spoke of so much
1779 more than copyright permissions when they explained how sharing fit into
1780 what they do. I was thinking about sharing too narrowly, and as a result, I
1781 was missing vast swaths of the meaning packed within Creative
1782 Commons. Rather than parsing the specific and narrow role of the copyright
1783 license in the equation, it is important not to disaggregate the rest of
1784 what comes with sharing. You have to widen the lens.
1785       </p><p>
1786         Being Made with Creative Commons is not just about the simple act of
1787 licensing a copyrighted work under a set of standardized terms, but also
1788 about community, social good, contributing ideas, expressing a value system,
1789 working together. These components of sharing are hard to cultivate if you
1790 think about what you do in purely market terms. Decent social behavior isn’t
1791 as intuitive when we are doing something that involves monetary exchange. It
1792 takes a conscious effort to foster the context for real sharing, based not
1793 strictly on impersonal market exchange, but on connections with the people
1794 with whom you share—connections with you, with your work, with your values,
1795 with each other.
1796       </p><p>
1797         The rest of this section will explore some of the common strategies that
1798 creators, companies, and organizations use to remind us that there are
1799 humans behind every creative endeavor.  To remind us we have obligations to
1800 each other. To remind us what sharing really looks like.
1801       </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-human"></a>Be human</h3></div></div></div><p>
1802           Humans are social animals, which means we are naturally inclined to treat
1803 each other well.<a href="#ftn.idm661" class="footnote" name="idm661"><sup class="footnote">[78]</sup></a> But the further
1804 removed we are from the person with whom we are interacting, the less caring
1805 our behavior will be. While the Internet has democratized cultural
1806 production, increased access to knowledge, and connected us in extraordinary
1807 ways, it can also make it easy forget we are dealing with another human.
1808         </p><p>
1809           To counteract the anonymous and impersonal tendencies of how we operate
1810 online, individual creators and corporations who use Creative Commons
1811 licenses work to demonstrate their humanity. For some, this means pouring
1812 their lives out on the page. For others, it means showing their creative
1813 process, giving a glimpse into how they do what they do. As writer Austin
1814 Kleon wrote, <span class="quote">„<span class="quote">Our work doesn’t speak for itself.  Human beings want to
1815 know where things came from, how they were made, and who made them. The
1816 stories you tell about the work you do have a huge effect on how people feel
1817 and what they understand about your work, and how people feel and what they
1818 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>
1819         </p><p>
1820           A critical component to doing this effectively is not worrying about being a
1821 <span class="quote">„<span class="quote">brand.</span>“</span> That means not being afraid to be vulnerable. Amanda
1822 Palmer says, <span class="quote">„<span class="quote">When you’re afraid of someone’s judgment, you can’t
1823 connect with them. You’re too preoccupied with the task of impressing
1824 them.</span>“</span> Not everyone is suited to live life as an open book like
1825 Palmer, and that’s OK. There are a lot of ways to be human. The trick is
1826 just avoiding pretense and the temptation to artificially craft an
1827 image. People don’t just want the glossy version of you. They can’t relate
1828 to it, at least not in a meaningful way.
1829         </p><p>
1830           This advice is probably even more important for businesses and organizations
1831 because we instinctively conceive of them as nonhuman (though in the United
1832 States, corporations are people!). When corporations and organizations make
1833 the people behind them more apparent, it reminds people that they are
1834 dealing with something other than an anonymous corporate entity. In
1835 business-speak, this is about <span class="quote">„<span class="quote">humanizing your interactions</span>“</span>
1836 with the public.<a href="#ftn.idm672" class="footnote" name="idm672"><sup class="footnote">[80]</sup></a> But it can’t be a
1837 gimmick. You can’t fake being human.
1838         </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>
1839           Transparency helps people understand who you are and why you do what you do,
1840 but it also inspires trust. Max Temkin of Cards Against Humanity told us,
1841 <span class="quote">„<span class="quote">One of the most surprising things you can do in capitalism is just be
1842 honest with people.</span>“</span> That means sharing the good and the bad.  As
1843 Amanda Palmer wrote, <span class="quote">„<span class="quote">You can fix almost anything by authentically
1844 communicating.</span>“</span><a href="#ftn.idm679" class="footnote" name="idm679"><sup class="footnote">[81]</sup></a> It isn’t about
1845 trying to satisfy everyone or trying to sugarcoat mistakes or bad news, but
1846 instead about explaining your rationale and then being prepared to defend it
1847 when people are critical.<a href="#ftn.idm681" class="footnote" name="idm681"><sup class="footnote">[82]</sup></a>
1848         </p><p>
1849           Being accountable does not mean operating on consensus.  According to James
1850 Surowiecki, consensus-driven groups tend to resort to
1851 lowest-common-denominator solutions and avoid the sort of candid exchange of
1852 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
1853 context and explanation about decisions you make, even if soliciting
1854 feedback and inviting discourse is time-consuming. If you don’t go through
1855 the effort to actually respond to the input you receive, it can be worse
1856 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
1857 of thought that helps endeavors excel. And it is another way to get people
1858 involved and invested in what you do.
1859         </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>
1860           Traditional economics assumes people make decisions based solely on their
1861 own economic self-interest.<a href="#ftn.idm691" class="footnote" name="idm691"><sup class="footnote">[85]</sup></a> Any
1862 relatively introspective human knows this is a fiction—we are much more
1863 complicated beings with a whole range of needs, emotions, and
1864 motivations. In fact, we are hardwired to work together and ensure
1865 fairness.<a href="#ftn.idm693" class="footnote" name="idm693"><sup class="footnote">[86]</sup></a> Being Made with Creative
1866 Commons requires an assumption that people will largely act on those social
1867 motivations, motivations that would be considered <span class="quote">„<span class="quote">irrational</span>“</span>
1868 in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">„<span class="quote">It is
1869 best to ignore people who try to scare you about free riding. That fear is
1870 based on a very shallow view of what motivates human behavior.</span>“</span> There
1871 will always be people who will act in purely selfish ways, but endeavors
1872 that are Made with Creative Commons design for the good actors.
1873         </p><p>
1874           The assumption that people will largely do the right thing can be a
1875 self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">„<span class="quote">Systems
1876 that assume people will act in ways that create public goods, and that give
1877 them opportunities and rewards for doing so, often let them work together
1878 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
1879 by something other than financial self-interest, we design our endeavors in
1880 ways that encourage and accentuate our social instincts.
1881         </p><p>
1882           Rather than trying to exert control over people’s behavior, this mode of
1883 operating requires a certain level of trust. We might not realize it, but
1884 our daily lives are already built on trust. As Surowiecki wrote in The
1885 Wisdom of Crowds, <span class="quote">„<span class="quote">It’s impossible for a society to rely on law alone
1886 to make sure citizens act honestly and responsibly. And it’s impossible for
1887 any organization to rely on contracts alone to make sure that its managers
1888 and workers live up to their obligation.</span>“</span> Instead, we largely trust
1889 that people—mostly strangers—will do what they are supposed to
1890 do.<a href="#ftn.idm703" class="footnote" name="idm703"><sup class="footnote">[88]</sup></a> And most often, they do.
1891         </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>
1892           For creators, treating people as humans means not treating them like
1893 fans. As Kleon says, <span class="quote">„<span class="quote">If you want fans, you have to be a fan
1894 first.</span>“</span><a href="#ftn.idm709" class="footnote" name="idm709"><sup class="footnote">[89]</sup></a> Even if you happen to be
1895 one of the few to reach celebrity levels of fame, you are better off
1896 remembering that the people who follow your work are human, too. Cory
1897 Doctorow makes a point to answer every single email someone sends him.
1898 Amanda Palmer spends vast quantities of time going online to communicate
1899 with her public, making a point to listen just as much as she
1900 talks.<a href="#ftn.idm711" class="footnote" name="idm711"><sup class="footnote">[90]</sup></a>
1901         </p><p>
1902           The same idea goes for businesses and organizations. Rather than automating
1903 its customer service, the music platform Tribe of Noise makes a point to
1904 ensure its employees have personal, one-on-one interaction with users.
1905         </p><p>
1906           When we treat people like humans, they typically return the gift in
1907 kind. It’s called karma. But social relationships are fragile. It is all too
1908 easy to destroy them if you make the mistake of treating people as anonymous
1909 customers or free labor.<a href="#ftn.idm715" class="footnote" name="idm715"><sup class="footnote">[91]</sup></a> Platforms that
1910 rely on content from contributors are especially at risk of creating an
1911 exploitative dynamic. It is important to find ways to acknowledge and pay
1912 back the value that contributors generate. That does not mean you can solve
1913 this problem by simply paying contributors for their time or
1914 contributions. As soon as we introduce money into a relationship—at least
1915 when it takes a form of paying monetary value in exchange for other value—it
1916 can dramatically change the dynamic.<a href="#ftn.idm717" class="footnote" name="idm717"><sup class="footnote">[92]</sup></a>
1917         </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>
1918           Being Made with Creative Commons makes a statement about who you are and
1919 what you do. The symbolism is powerful. Using Creative Commons licenses
1920 demonstrates adherence to a particular belief system, which generates
1921 goodwill and connects like-minded people to your work. Sometimes people will
1922 be drawn to endeavors that are Made with Creative Commons as a way of
1923 demonstrating their own commitment to the Creative Commons value system,
1924 akin to a political statement. Other times people will identify and feel
1925 connected with an endeavor’s separate social mission. Often both.
1926         </p><p>
1927           The expression of your values doesn’t have to be implicit. In fact, many of
1928 the people we interviewed talked about how important it is to state your
1929 guiding principles up front.  Lumen Learning attributes a lot of their
1930 success to having been outspoken about the fundamental values that guide
1931 what they do. As a for-profit company, they think their expressed commitment
1932 to low-income students and open licensing has been critical to their
1933 credibility in the OER (open educational resources) community in which they
1934 operate.
1935         </p><p>
1936           When your end goal is not about making a profit, people trust that you
1937 aren’t just trying to extract value for your own gain. People notice when
1938 you have a sense of purpose that transcends your own
1939 self-interest.<a href="#ftn.idm724" class="footnote" name="idm724"><sup class="footnote">[93]</sup></a> It attracts committed
1940 employees, motivates contributors, and builds trust.
1941         </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>
1942           Endeavors that are Made with Creative Commons thrive when community is built
1943 around what they do. This may mean a community collaborating together to
1944 create something new, or it may simply be a collection of like-minded people
1945 who get to know each other and rally around common interests or
1946 beliefs.<a href="#ftn.idm729" class="footnote" name="idm729"><sup class="footnote">[94]</sup></a> To a certain extent, simply
1947 being Made with Creative Commons automatically brings with it some element
1948 of community, by helping connect you to like-minded others who recognize and
1949 are drawn to the values symbolized by using CC.
1950         </p><p>
1951           To be sustainable, though, you have to work to nurture community. People
1952 have to care—about you and each other. One critical piece to this is
1953 fostering a sense of belonging. As Jono Bacon writes in The Art of
1954 Community, <span class="quote">„<span class="quote">If there is no belonging, there is no community.</span>“</span>
1955 For Amanda Palmer and her band, that meant creating an accepting and
1956 inclusive environment where people felt a part of their <span class="quote">„<span class="quote">weird little
1957 family.</span>“</span><a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[95]</sup></a> For organizations like
1958 Red Hat, that means connecting around common beliefs or goals. As the CEO
1959 Jim Whitehurst wrote in The Open Organization, <span class="quote">„<span class="quote">Tapping into passion
1960 is especially important in building the kinds of participative communities
1961 that drive open organizations.</span>“</span><a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[96]</sup></a>
1962         </p><p>
1963           Communities that collaborate together take deliberate planning. Surowiecki
1964 wrote, <span class="quote">„<span class="quote">It takes a lot of work to put the group together. It’s
1965 difficult to ensure that people are working in the group’s interest and not
1966 in their own. And when there’s a lack of trust between the members of the
1967 group (which isn’t surprising given that they don’t really know each other),
1968 considerable energy is wasted trying to determine each other’s bona
1969 fides.</span>“</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[97]</sup></a> Building true community
1970 requires giving people within the community the power to create or influence
1971 the rules that govern the community.<a href="#ftn.idm743" class="footnote" name="idm743"><sup class="footnote">[98]</sup></a> If
1972 the rules are created and imposed in a top-down manner, people feel like
1973 they don’t have a voice, which in turn leads to disengagement.
1974         </p><p>
1975           Community takes work, but working together, or even simply being connected
1976 around common interests or values, is in many ways what sharing is about.
1977         </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>
1978           Conventional wisdom in the marketplace dictates that people should try to
1979 extract as much money as possible from resources. This is essentially what
1980 defines so much of the so-called sharing economy. In an article on the
1981 Harvard Business Review website called <span class="quote">„<span class="quote">The Sharing Economy Isn’t
1982 about Sharing at All,</span>“</span> authors Giana Eckhardt and Fleura Bardhi
1983 explained how the anonymous market-driven trans-actions in most
1984 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
1985 primary strategy of the sharing economy is to sell the same product multiple
1986 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.
1987         </p><p>
1988           Sharing requires adding as much or more value to the ecosystem than you
1989 take. You can’t simply treat open content as a free pool of resources from
1990 which to extract value. Part of giving back to the ecosystem is contributing
1991 content back to the public under CC licenses. But it doesn’t have to just be
1992 about creating content; it can be about adding value in other ways.  The
1993 social blogging platform Medium provides value to its community by
1994 incentivizing good behavior, and the result is an online space with
1995 remarkably high-quality user-generated content and limited
1996 trolling.<a href="#ftn.idm757" class="footnote" name="idm757"><sup class="footnote">[101]</sup></a> Opendesk contributes to its
1997 community by committing to help its designers make money, in part by
1998 actively curating and displaying their work on its platform effectively.
1999         </p><p>
2000           In all cases, it is important to openly acknowledge the amount of value you
2001 add versus that which you draw on that was created by others. Being
2002 transparent about this builds credibility and shows you are a contributing
2003 player in the commons. When your endeavor is making money, that also means
2004 apportioning financial compensation in a way that reflects the value
2005 contributed by others, providing more to contributors when the value they
2006 add outweighs the value provided by you.
2007         </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>
2008           Thanks to the Internet, we can tap into the talents and expertise of people
2009 around the globe. Chris Anderson calls it the Long Tail of
2010 talent.<a href="#ftn.idm765" class="footnote" name="idm765"><sup class="footnote">[102]</sup></a> But to make collaboration work,
2011 the group has to be effective at what it is doing, and the people within the
2012 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
2013 creative work than it is for others. Groups tied together online collaborate
2014 best when people can work independently and asynchronously, and particularly
2015 for larger groups with loose ties, when contributors can make simple
2016 improvements without a particularly heavy time commitment.<a href="#ftn.idm769" class="footnote" name="idm769"><sup class="footnote">[104]</sup></a>
2017         </p><p>
2018           As the success of Wikipedia demonstrates, editing an online encyclopedia is
2019 exactly the sort of activity that is perfect for massive co-creation because
2020 small, incremental edits made by a diverse range of people acting on their
2021 own are immensely valuable in the aggregate. Those same sorts of small
2022 contributions would be less useful for many other types of creative work,
2023 and people are inherently less motivated to contribute when it doesn’t
2024 appear that their efforts will make much of a difference.<a href="#ftn.idm772" class="footnote" name="idm772"><sup class="footnote">[105]</sup></a>
2025         </p><p>
2026           It is easy to romanticize the opportunities for global cocreation made
2027 possible by the Internet, and, indeed, the successful examples of it are
2028 truly incredible and inspiring.  But in a wide range of
2029 circumstances—perhaps more often than not—community cocreation is not part
2030 of the equation, even within endeavors built on CC content. Shirky wrote,
2031 <span class="quote">„<span class="quote">Sometimes the value of professional work trumps the value of amateur
2032 sharing or a feeling of belonging.<a href="#ftn.idm776" class="footnote" name="idm776"><sup class="footnote">[106]</sup></a> The
2033 textbook publisher OpenStax, which distributes all of its material for free
2034 under CC licensing, is an example of this dynamic. Rather than tapping the
2035 community to help cocreate their college textbooks, they invest a
2036 significant amount of time and money to develop professional content. For
2037 individual creators, where the creative work is the basis for what they do,
2038 community cocreation is only rarely a part of the picture. Even musician
2039 Amanda Palmer, who is famous for her openness and involvement with her fans,
2040 said,</span>“</span>The only department where I wasn’t open to input was the
2041 writing, the music itself."<a href="#ftn.idm778" class="footnote" name="idm778"><sup class="footnote">[107]</sup></a>
2042         </p><p>
2043           While we tend to immediately think of cocreation and remixing when we hear
2044 the word collaboration, you can also involve others in your creative process
2045 in more informal ways, by sharing half-baked ideas and early drafts, and
2046 interacting with the public to incubate ideas and get feedback. So-called
2047 <span class="quote">„<span class="quote">making in public</span>“</span> opens the door to letting people feel more
2048 invested in your creative work.<a href="#ftn.idm782" class="footnote" name="idm782"><sup class="footnote">[108]</sup></a> And it
2049 shows a nonterritorial approach to ideas and information. Stephen Covey (of
2050 The 7 Habits of Highly Effective People fame) calls this the abundance
2051 mentality—treating ideas like something plentiful—and it can create an
2052 environment where collaboration flourishes.<a href="#ftn.idm784" class="footnote" name="idm784"><sup class="footnote">[109]</sup></a>
2053         </p><p>
2054           There is no one way to involve people in what you do. They key is finding a
2055 way for people to contribute on their terms, compelled by their own
2056 motivations.<a href="#ftn.idm787" class="footnote" name="idm787"><sup class="footnote">[110]</sup></a> What that looks like
2057 varies wildly depending on the project. Not every endeavor that is Made with
2058 Creative Commons can be Wikipedia, but every endeavor can find ways to
2059 invite the public into what they do. The goal for any form of collaboration
2060 is to move away from thinking of consumers as passive recipients of your
2061 content and transition them into active participants.<a href="#ftn.idm789" class="footnote" name="idm789"><sup class="footnote">[111]</sup></a>
2062         </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>
2063           Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
2064 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>.
2065         </p></div><div id="ftn.idm410" class="footnote"><p><a href="#idm410" class="para"><sup class="para">[38] </sup></a>
2066           Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
2067 Age (San Francisco, CA: McSweeney’s, 2014) 68.
2068         </p></div><div id="ftn.idm419" class="footnote"><p><a href="#idm419" class="para"><sup class="para">[39] </sup></a>
2069           Ibid., 55.
2070         </p></div><div id="ftn.idm422" class="footnote"><p><a href="#idm422" class="para"><sup class="para">[40] </sup></a>
2071           Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
2072 Something for Nothing, reprint with new preface (New York: Hyperion, 2010),
2073 224.
2074         </p></div><div id="ftn.idm426" class="footnote"><p><a href="#idm426" class="para"><sup class="para">[41] </sup></a>
2075           Doctorow, Information Doesn’t Want to Be Free, 44.
2076         </p></div><div id="ftn.idm438" class="footnote"><p><a href="#idm438" class="para"><sup class="para">[42] </sup></a>
2077             Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let
2078 People Help (New York: Grand Central, 2014), 121.
2079           </p></div><div id="ftn.idm442" class="footnote"><p><a href="#idm442" class="para"><sup class="para">[43] </sup></a>
2080             Chris Anderson, Makers: The New Industrial Revolution (New York: Signal,
2081 2012), 64.
2082           </p></div><div id="ftn.idm446" class="footnote"><p><a href="#idm446" class="para"><sup class="para">[44] </sup></a>
2083             David Bollier, Think Like a Commoner: A Short Introduction to the Life of
2084 the Commons (Gabriola Island, BC: New Society, 2014), 70.
2085           </p></div><div id="ftn.idm449" class="footnote"><p><a href="#idm449" class="para"><sup class="para">[45] </sup></a>
2086             Anderson, Makers, 66.
2087           </p></div><div id="ftn.idm452" class="footnote"><p><a href="#idm452" class="para"><sup class="para">[46] </sup></a>
2088             Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy (New
2089 York: Morgan James, 2016), 10.
2090           </p></div><div id="ftn.idm455" class="footnote"><p><a href="#idm455" class="para"><sup class="para">[47] </sup></a>
2091             Anderson, Free, 62.
2092           </p></div><div id="ftn.idm460" class="footnote"><p><a href="#idm460" class="para"><sup class="para">[48] </sup></a>
2093             Doctorow, Information Doesn’t Want to Be Free, 38.
2094           </p></div><div id="ftn.idm465" class="footnote"><p><a href="#idm465" class="para"><sup class="para">[49] </sup></a>
2095             Bollier, Think Like a Commoner, 68.
2096           </p></div><div id="ftn.idm471" class="footnote"><p><a href="#idm471" class="para"><sup class="para">[50] </sup></a>
2097             Anderson, Free, 86.
2098           </p></div><div id="ftn.idm475" class="footnote"><p><a href="#idm475" class="para"><sup class="para">[51] </sup></a>
2099             Doctorow, Information Doesn’t Want to Be Free, 144.
2100           </p></div><div id="ftn.idm485" class="footnote"><p><a href="#idm485" class="para"><sup class="para">[52] </sup></a>
2101               Anderson, Free, 123.
2102             </p></div><div id="ftn.idm488" class="footnote"><p><a href="#idm488" class="para"><sup class="para">[53] </sup></a>
2103               Ibid., 132.
2104             </p></div><div id="ftn.idm490" class="footnote"><p><a href="#idm490" class="para"><sup class="para">[54] </sup></a>
2105               Ibid., 70.
2106             </p></div><div id="ftn.idm495" class="footnote"><p><a href="#idm495" class="para"><sup class="para">[55] </sup></a>
2107               James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005),
2108 124. Surowiecki says, <span class="quote">„<span class="quote">The measure of success of laws and contracts is
2109 how rarely they are invoked.</span>“</span>
2110             </p></div><div id="ftn.idm505" class="footnote"><p><a href="#idm505" class="para"><sup class="para">[56] </sup></a>
2111               Anderson, Free, 44.
2112             </p></div><div id="ftn.idm512" class="footnote"><p><a href="#idm512" class="para"><sup class="para">[57] </sup></a>
2113               Osterwalder and Pigneur, Business Model Generation, 23.
2114             </p></div><div id="ftn.idm516" class="footnote"><p><a href="#idm516" class="para"><sup class="para">[58] </sup></a>
2115               Anderson, Free, 67.
2116             </p></div><div id="ftn.idm518" class="footnote"><p><a href="#idm518" class="para"><sup class="para">[59] </sup></a>
2117               Ibid., 58.
2118             </p></div><div id="ftn.idm520" class="footnote"><p><a href="#idm520" class="para"><sup class="para">[60] </sup></a>
2119               Anderson, Makers, 71.
2120             </p></div><div id="ftn.idm522" class="footnote"><p><a href="#idm522" class="para"><sup class="para">[61] </sup></a>
2121               Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into
2122 Collaborators (London: Penguin Books, 2010), 78.
2123             </p></div><div id="ftn.idm526" class="footnote"><p><a href="#idm526" class="para"><sup class="para">[62] </sup></a>
2124               Ibid., 21.
2125             </p></div><div id="ftn.idm531" class="footnote"><p><a href="#idm531" class="para"><sup class="para">[63] </sup></a>
2126               Doctorow, Information Doesn’t Want to Be Free, 43.
2127             </p></div><div id="ftn.idm538" class="footnote"><p><a href="#idm538" class="para"><sup class="para">[64] </sup></a>
2128             William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">„<span class="quote">Ten
2129 Nonprofit Funding Models,</span>“</span> Stanford Social Innovation Review, Spring
2130 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>.
2131           </p></div><div id="ftn.idm544" class="footnote"><p><a href="#idm544" class="para"><sup class="para">[65] </sup></a>
2132             Shirky, Cognitive Surplus, 111.
2133           </p></div><div id="ftn.idm550" class="footnote"><p><a href="#idm550" class="para"><sup class="para">[66] </sup></a>
2134               Osterwalder and Pigneur, Business Model Generation, 30.
2135             </p></div><div id="ftn.idm552" class="footnote"><p><a href="#idm552" class="para"><sup class="para">[67] </sup></a>
2136               Jim Whitehurst, The Open Organization: Igniting Passion and Performance
2137 (Boston: Harvard Business Review Press, 2015), 202.
2138             </p></div><div id="ftn.idm555" class="footnote"><p><a href="#idm555" class="para"><sup class="para">[68] </sup></a>
2139               Anderson, Free, 71.
2140             </p></div><div id="ftn.idm561" class="footnote"><p><a href="#idm561" class="para"><sup class="para">[69] </sup></a>
2141               Ibid., 231.
2142             </p></div><div id="ftn.idm571" class="footnote"><p><a href="#idm571" class="para"><sup class="para">[70] </sup></a>
2143               Ibid., 97.
2144             </p></div><div id="ftn.idm578" class="footnote"><p><a href="#idm578" class="para"><sup class="para">[71] </sup></a>
2145               Anderson, Makers, 107.
2146             </p></div><div id="ftn.idm589" class="footnote"><p><a href="#idm589" class="para"><sup class="para">[72] </sup></a>
2147               Osterwalder and Pigneur, Business Model Generation, 89.
2148             </p></div><div id="ftn.idm595" class="footnote"><p><a href="#idm595" class="para"><sup class="para">[73] </sup></a>
2149               Ibid., 92.
2150             </p></div><div id="ftn.idm597" class="footnote"><p><a href="#idm597" class="para"><sup class="para">[74] </sup></a>
2151               Anderson, Free, 142.
2152             </p></div><div id="ftn.idm608" class="footnote"><p><a href="#idm608" class="para"><sup class="para">[75] </sup></a>
2153               Osterwalder and Pigneur, Business Model Generation, 32.
2154             </p></div><div id="ftn.idm626" class="footnote"><p><a href="#idm626" class="para"><sup class="para">[76] </sup></a>
2155               Bollier, Think Like a Commoner, 150.
2156             </p></div><div id="ftn.idm628" class="footnote"><p><a href="#idm628" class="para"><sup class="para">[77] </sup></a>
2157               Ibid., 134.
2158             </p></div><div id="ftn.idm661" class="footnote"><p><a href="#idm661" class="para"><sup class="para">[78] </sup></a>
2159               Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our
2160 Decisions, rev. ed. (New York: Harper Perennial, 2010), 109.
2161             </p></div><div id="ftn.idm665" class="footnote"><p><a href="#idm665" class="para"><sup class="para">[79] </sup></a>
2162               Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and Get
2163 Discovered (New York: Workman, 2014), 93.
2164             </p></div><div id="ftn.idm672" class="footnote"><p><a href="#idm672" class="para"><sup class="para">[80] </sup></a>
2165               Kramer, Shareology, 76.
2166             </p></div><div id="ftn.idm679" class="footnote"><p><a href="#idm679" class="para"><sup class="para">[81] </sup></a>
2167               Palmer, Art of Asking, 252.
2168             </p></div><div id="ftn.idm681" class="footnote"><p><a href="#idm681" class="para"><sup class="para">[82] </sup></a>
2169               Whitehurst, Open Organization, 145.
2170             </p></div><div id="ftn.idm684" class="footnote"><p><a href="#idm684" class="para"><sup class="para">[83] </sup></a>
2171               Surowiecki, Wisdom of Crowds, 203.
2172             </p></div><div id="ftn.idm686" class="footnote"><p><a href="#idm686" class="para"><sup class="para">[84] </sup></a>
2173               Whitehurst, Open Organization, 80.
2174             </p></div><div id="ftn.idm691" class="footnote"><p><a href="#idm691" class="para"><sup class="para">[85] </sup></a>
2175               Bollier, Think Like a Commoner, 25.
2176             </p></div><div id="ftn.idm693" class="footnote"><p><a href="#idm693" class="para"><sup class="para">[86] </sup></a>
2177               Ibid., 31.
2178             </p></div><div id="ftn.idm699" class="footnote"><p><a href="#idm699" class="para"><sup class="para">[87] </sup></a>
2179               Shirky, Cognitive Surplus, 112.
2180             </p></div><div id="ftn.idm703" class="footnote"><p><a href="#idm703" class="para"><sup class="para">[88] </sup></a>
2181               Surowiecki, Wisdom of Crowds, 124.
2182             </p></div><div id="ftn.idm709" class="footnote"><p><a href="#idm709" class="para"><sup class="para">[89] </sup></a>
2183               Kleon, Show Your Work, 127.
2184             </p></div><div id="ftn.idm711" class="footnote"><p><a href="#idm711" class="para"><sup class="para">[90] </sup></a>
2185               Palmer, Art of Asking, 121.
2186             </p></div><div id="ftn.idm715" class="footnote"><p><a href="#idm715" class="para"><sup class="para">[91] </sup></a>
2187               Ariely, Predictably Irrational, 87.
2188             </p></div><div id="ftn.idm717" class="footnote"><p><a href="#idm717" class="para"><sup class="para">[92] </sup></a>
2189               Ibid., 105.
2190             </p></div><div id="ftn.idm724" class="footnote"><p><a href="#idm724" class="para"><sup class="para">[93] </sup></a>
2191               Ibid., 36.
2192             </p></div><div id="ftn.idm729" class="footnote"><p><a href="#idm729" class="para"><sup class="para">[94] </sup></a>
2193               Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
2194 2012), 36.
2195             </p></div><div id="ftn.idm734" class="footnote"><p><a href="#idm734" class="para"><sup class="para">[95] </sup></a>
2196               Palmer, Art of Asking, 98.
2197             </p></div><div id="ftn.idm737" class="footnote"><p><a href="#idm737" class="para"><sup class="para">[96] </sup></a>
2198               Whitehurst, Open Organization, 34.
2199             </p></div><div id="ftn.idm741" class="footnote"><p><a href="#idm741" class="para"><sup class="para">[97] </sup></a>
2200               Surowiecki, Wisdom of Crowds, 200.
2201             </p></div><div id="ftn.idm743" class="footnote"><p><a href="#idm743" class="para"><sup class="para">[98] </sup></a>
2202               Bollier, Think Like a Commoner, 29.
2203             </p></div><div id="ftn.idm750" class="footnote"><p><a href="#idm750" class="para"><sup class="para">[99] </sup></a>
2204               Giana Eckhardt and Fleura Bardhi, <span class="quote">„<span class="quote">The Sharing Economy Isn’t about
2205 Sharing at All,</span>“</span> Harvard Business Review (website), January 28, 2015,
2206 <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>.
2207             </p></div><div id="ftn.idm754" class="footnote"><p><a href="#idm754" class="para"><sup class="para">[100] </sup></a>
2208               Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with
2209 new epilogue (New York: Portfolio, 2012).
2210             </p></div><div id="ftn.idm757" class="footnote"><p><a href="#idm757" class="para"><sup class="para">[101] </sup></a>
2211               David Lee, <span class="quote">„<span class="quote">Inside Medium: An Attempt to Bring Civility to the
2212 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>.
2213             </p></div><div id="ftn.idm765" class="footnote"><p><a href="#idm765" class="para"><sup class="para">[102] </sup></a>
2214               Anderson, Makers, 148.
2215             </p></div><div id="ftn.idm767" class="footnote"><p><a href="#idm767" class="para"><sup class="para">[103] </sup></a>
2216               Shirky, Cognitive Surplus, 164.
2217             </p></div><div id="ftn.idm769" class="footnote"><p><a href="#idm769" class="para"><sup class="para">[104] </sup></a>
2218               Whitehurst, foreword to Open Organization.
2219             </p></div><div id="ftn.idm772" class="footnote"><p><a href="#idm772" class="para"><sup class="para">[105] </sup></a>
2220               Shirky, Cognitive Surplus, 144.
2221             </p></div><div id="ftn.idm776" class="footnote"><p><a href="#idm776" class="para"><sup class="para">[106] </sup></a>
2222               Ibid., 154.
2223             </p></div><div id="ftn.idm778" class="footnote"><p><a href="#idm778" class="para"><sup class="para">[107] </sup></a>
2224               Palmer, Art of Asking, 163.
2225             </p></div><div id="ftn.idm782" class="footnote"><p><a href="#idm782" class="para"><sup class="para">[108] </sup></a>
2226               Anderson, Makers, 173.
2227             </p></div><div id="ftn.idm784" class="footnote"><p><a href="#idm784" class="para"><sup class="para">[109] </sup></a>
2228               Tom Kelley and David Kelley, Creative Confidence: Unleashing the Potential
2229 within Us All (New York: Crown, 2013), 82.
2230             </p></div><div id="ftn.idm787" class="footnote"><p><a href="#idm787" class="para"><sup class="para">[110] </sup></a>
2231               Whitehurst, foreword to Open Organization.
2232             </p></div><div id="ftn.idm789" class="footnote"><p><a href="#idm789" class="para"><sup class="para">[111] </sup></a>
2233               Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
2234 Collaborative Consumption (New York: Harper Business, 2010), 188.
2235             </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Kapitel 3. Creative Commons Lizenz</h2></div></div></div><p>
2236       All of the Creative Commons licenses grant a basic set of permissions. At a
2237 minimum, a CC- licensed work can be copied and shared in its original form
2238 for noncommercial purposes so long as attribution is given to the
2239 creator. There are six licenses in the CC license suite that build on that
2240 basic set of permissions, ranging from the most restrictive (allowing only
2241 those basic permissions to share unmodified copies for noncommercial
2242 purposes)  to the most permissive (reusers can do anything they want with
2243 the work, even for commercial purposes, as long as they give the creator
2244 credit). The licenses are built on copyright and do not cover other types of
2245 rights that creators might have in their works, like patents or trademarks.
2246     </p><p>
2247       Here are the six licenses:
2248     </p><p>
2249         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D83BF99FC0821C489.png" width="40.0%"></span>
2250       </p><p>
2251       The Attribution license (CC BY) lets others distribute, remix, tweak, and
2252 build upon your work, even commercially, as long as they credit you for the
2253 original creation. This is the most accommodating of licenses
2254 offered. Recommended for maximum dissemination and use of licensed
2255 materials.
2256     </p><p>
2257         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DFD3592CB17C4EC38.png" width="40.0%"></span>
2258       </p><p>
2259       The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak, and
2260 build upon your work, even for commercial purposes, as long as they credit
2261 you and license their new creations under identical terms. This license is
2262 often compared to <span class="quote">„<span class="quote">copyleft</span>“</span> free and open source software
2263 licenses.  All new works based on yours will carry the same license, so any
2264 derivatives will also allow commercial use.
2265     </p><p>
2266         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D254882DE24793FEA.png" width="40.0%"></span>
2267       </p><p>
2268       The Attribution-NoDerivs license (CC BY-ND) allows for redistribution,
2269 commercial and noncommercial, as long as it is passed along unchanged with
2270 credit to you.
2271     </p><p>
2272         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png" width="40.0%"></span>
2273       </p><p>
2274       The Attribution-NonCommercial license (CC BY-NC) lets others remix, tweak,
2275 and build upon your work noncommercially. Although their new works must also
2276 acknowledge you, they don’t have to license their derivative works on the
2277 same terms.
2278     </p><p>
2279         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
2280       </p><p>
2281       The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA)  lets others
2282 remix, tweak, and build upon your work noncommercially, as long as they
2283 credit you and license their new creations under the same terms.
2284     </p><p>
2285         <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DC3FEF92B21310965.png" width="40.0%"></span>
2286       </p><p>
2287       The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
2288 restrictive of our six main licenses, only allowing others to download your
2289 works and share them with others as long as they credit you, but they can’t
2290 change them or use them commercially.
2291     </p><p>
2292       In addition to these six licenses, Creative Commons has two public-domain
2293 tools—one for creators and the other for those who manage collections of
2294 existing works by authors whose terms of copyright have expired:
2295     </p><p>
2296         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008DBE3414994CD27786.png" width="40.0%"></span>
2297       </p><p>
2298       CC0 enables authors and copyright owners to dedicate their works to the
2299 worldwide public domain (<span class="quote">„<span class="quote">no rights reserved</span>“</span>).
2300     </p><p>
2301         <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
2302       </p><p>
2303       The Creative Commons Public Domain Mark facilitates the labeling and
2304 discovery of works that are already free of known copyright restrictions.
2305     </p><p>
2306       In our case studies, some use just one Creative Commons license, others use
2307 several. Attribution (found in thirteen case studies)  and
2308 Attribution-ShareAlike (found in eight studies) were the most common, with
2309 the other licenses coming up in four or so case studies, including the
2310 public-domain tool CC0. Some of the organizations we profiled offer both
2311 digital content and software: by using open-source-software licenses for the
2312 software code and Creative Commons licenses for digital content, they
2313 amplify their involvement with and commitment to sharing.
2314     </p><p>
2315       There is a popular misconception that the three NonCommercial licenses
2316 offered by CC are the only options for those who want to make money off
2317 their work. As we hope this book makes clear, there are many ways to make
2318 endeavors that are Made with Creative Commons sustainable. Reserving
2319 commercial rights is only one of those ways. It is certainly true that a
2320 license that allows others to make commercial use of your work (CC BY, CC
2321 BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you
2322 apply an Attribution (CC BY) license to your book, you can’t force a film
2323 company to pay you royalties if they turn your book into a feature-length
2324 film, or prevent another company from selling physical copies of your work.
2325     </p><p>
2326       The decision to choose a NonCommercial and/or NoDerivs license comes down to
2327 how much you need to retain control over the creative work. The
2328 NonCommercial and NoDerivs licenses are ways of reserving some significant
2329 portion of the exclusive bundle of rights that copyright grants to
2330 creators. In some cases, reserving those rights is important to how you
2331 bring in revenue. In other cases, creators use a NonCommercial or NoDerivs
2332 license because they can’t give up on the dream of hitting the creative
2333 jackpot.  The music platform Tribe of Noise told us the NonCommercial
2334 licenses were popular among their users because people still held out the
2335 dream of having a major record label discover their work.
2336     </p><p>
2337       Other times the decision to use a more restrictive license is due to a
2338 concern about the integrity of the work. For example, the nonprofit
2339 TeachAIDS uses a NoDerivs license for its educational materials because the
2340 medical subject matter is particularly important to get right.
2341     </p><p>
2342       There is no one right way. The NonCommercial and NoDerivs restrictions
2343 reflect the values and preferences of creators about how their creative work
2344 should be reused, just as the ShareAlike license reflects a different set of
2345 values, one that is less about controlling access to their own work and more
2346 about ensuring that whatever gets created with their work is available to
2347 all on the same terms. Since the beginning of the commons, people have been
2348 setting up structures that helped regulate the way in which shared resources
2349 were used. The CC licenses are an attempt to standardize norms across all
2350 domains.
2351     </p><p>
2352       Note
2353     </p><p>
2354       For more about the licenses including examples and tips on sharing your work
2355 in the digital commons, start with the Creative Commons page called
2356 <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>.
2357     </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Teil II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
2358     The twenty-four case studies in this section were chosen from hundreds of
2359 nominations received from Kickstarter backers, Creative Commons staff, and
2360 the global Creative Commons community. We selected eighty potential
2361 candidates that represented a mix of industries, content types, revenue
2362 streams, and parts of the world.  Twelve of the case studies were selected
2363 from that group based on votes cast by Kickstarter backers, and the other
2364 twelve were selected by us.
2365   </p><p>
2366     We did background research and conducted interviews for each case study,
2367 based on the same set of basic questions about the endeavor.  The idea for
2368 each case study is to tell the story about the endeavor and the role sharing
2369 plays within it, largely the way in which it was told to us by those we
2370 interviewed.
2371   </p><div class="toc"><p><b>Inhaltsverzeichnis</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>
2372         Arduino is a for-profit open-source electronics platform and computer
2373 hardware and software company. Founded in 2005 in Italy.
2374       </p><p>
2375           <a class="ulink" href="http://www.arduino.cc" target="_top">http://www.arduino.cc</a>
2376         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
2377 copies (sales of boards, modules, shields, and kits), licensing a trademark
2378 (fees paid by those who want to sell Arduino products using their name)
2379       </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
2380       </p><p><span class="strong"><strong>Interviewees</strong></span>: David Cuartielles and Tom
2381 Igoe, cofounders
2382       </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}
2383     \textit{
2384         Profile written by Paul Stacey
2385       }
2386     \end{flushright}</td></tr></table></div><p>
2387       In 2005, at the Interaction Design Institute Ivrea in northern Italy,
2388 teachers and students needed an easy way to use electronics and programming
2389 to quickly prototype design ideas. As musicians, artists, and designers,
2390 they needed a platform that didn’t require engineering expertise. A group of
2391 teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe,
2392 Gianluca Martino, and David Mellis, built a platform that combined different
2393 open technologies. They called it Arduino. The platform integrated software,
2394 hardware, microcontrollers, and electronics. All aspects of the platform
2395 were openly licensed: hardware designs and documentation with the
2396 Attribution-Share-Alike license (CC BY-SA), and software with the GNU
2397 General Public License.
2398     </p><p>
2399       Arduino boards are able to read inputs—light on a sensor, a finger on a
2400 button, or a Twitter message—and turn it into outputs—activating a motor,
2401 turning on an LED, publishing something online. You send a set of
2402 instructions to the microcontroller on the board by using the Arduino
2403 programming language and Arduino software (based on a piece of open-source
2404 software called Processing, a programming tool used to make visual art).
2405     </p><p><span class="quote">„<span class="quote">The reasons for making Arduino open source are complicated,</span>“</span>
2406 Tom says. Partly it was about supporting flexibility. The open-source nature
2407 of Arduino empowers users to modify it and create a lot of different
2408 variations, adding on top of what the founders build. David says this
2409 <span class="quote">„<span class="quote">ended up strengthening the platform far beyond what we had even
2410 thought of building.</span>“</span>
2411     </p><p>
2412       For Tom another factor was the impending closure of the Ivrea design
2413 school. He’d seen other organizations close their doors and all their work
2414 and research just disappear. Open-sourcing ensured that Arduino would
2415 outlive the Ivrea closure. Persistence is one thing Tom really likes about
2416 open source. If key people leave, or a company shuts down, an open-source
2417 product lives on. In Tom’s view, <span class="quote">„<span class="quote">Open sourcing makes it easier to
2418 trust a product.</span>“</span>
2419     </p><p>
2420       With the school closing, David and some of the other Arduino founders
2421 started a consulting firm and multidisciplinary design studio they called
2422 Tinker, in London. Tinker designed products and services that bridged the
2423 digital and the physical, and they taught people how to use new technologies
2424 in creative ways.  Revenue from Tinker was invested in sustaining and
2425 enhancing Arduino.
2426     </p><p>
2427       For Tom, part of Arduino’s success is because the founders made themselves
2428 the first customer of their product. They made products they themselves
2429 personally wanted. It was a matter of <span class="quote">„<span class="quote">I need this thing,</span>“</span> not
2430 <span class="quote">„<span class="quote">If we make this, we’ll make a lot of money.</span>“</span> Tom notes that
2431 being your own first customer makes you more confident and convincing at
2432 selling your product.
2433     </p><p>
2434       Arduino’s business model has evolved over time—and Tom says model is a
2435 grandiose term for it. Originally, they just wanted to make a few boards and
2436 get them out into the world. They started out with two hundred boards, sold
2437 them, and made a little profit. They used that to make another thousand,
2438 which generated enough revenue to make five thousand. In the early days,
2439 they simply tried to generate enough funding to keep the venture going day
2440 to day. When they hit the ten thousand mark, they started to think about
2441 Arduino as a company. By then it was clear you can open-source the design
2442 but still manufacture the physical product. As long as it’s a quality
2443 product and sold at a reasonable price, people will buy it.
2444     </p><p>
2445       Arduino now has a worldwide community of makers—students, hobbyists,
2446 artists, programmers, and professionals. Arduino provides a wiki called
2447 Playground (a wiki is where all users can edit and add pages, contributing
2448 to and benefiting from collective research). People share code, circuit
2449 diagrams, tutorials, DIY instructions, and tips and tricks, and show off
2450 their projects. In addition, there’s a multilanguage discussion forum where
2451 users can get help using Arduino, discuss topics like robotics, and make
2452 suggestions for new Arduino product designs. As of January 2017, 324,928
2453 members had made 2,989,489 posts on 379,044 topics. The worldwide community
2454 of makers has contributed an incredible amount of accessible knowledge
2455 helpful to novices and experts alike.
2456     </p><p>
2457       Transitioning Arduino from a project to a company was a big step.  Other
2458 businesses who made boards were charging a lot of money for them. Arduino
2459 wanted to make theirs available at a low price to people across a wide range
2460 of industries. As with any business, pricing was key. They wanted prices
2461 that would get lots of customers but were also high enough to sustain the
2462 business.
2463     </p><p>
2464       For a business, getting to the end of the year and not being in the red is a
2465 success. Arduino may have an open-licensing strategy, but they are still a
2466 business, and all the things needed to successfully run one still
2467 apply. David says, <span class="quote">„<span class="quote">If you do those other things well, sharing things
2468 in an open-source way can only help you.</span>“</span>
2469     </p><p>
2470       While openly licensing the designs, documentation, and software ensures
2471 longevity, it does have risks. There’s a possibility that others will create
2472 knockoffs, clones, and copies. The CC BY-SA license means anyone can produce
2473 copies of their boards, redesign them, and even sell boards that copy the
2474 design. They don’t have to pay a license fee to Arduino or even ask
2475 permission. However, if they republish the design of the board, they have to
2476 give attribution to Arduino. If they change the design, they must release
2477 the new design using the same Creative Commons license to ensure that the
2478 new version is equally free and open.
2479     </p><p>
2480       Tom and David say that a lot of people have built companies off of Arduino,
2481 with dozens of Arduino derivatives out there. But in contrast to closed
2482 business models that can wring money out of the system over many years
2483 because there is no competition, Arduino founders saw competition as keeping
2484 them honest, and aimed for an environment of collaboration. A benefit of
2485 open over closed is the many new ideas and designs others have contributed
2486 back to the Arduino ecosystem, ideas and designs that Arduino and the
2487 Arduino community use and incorporate into new products.
2488     </p><p>
2489       Over time, the range of Arduino products has diversified, changing and
2490 adapting to new needs and challenges. In addition to simple entry level
2491 boards, new products have been added ranging from enhanced boards that
2492 provide advanced functionality and faster performance, to boards for
2493 creating Internet of Things applications, wearables, and 3-D printing. The
2494 full range of official Arduino products includes boards, modules (a smaller
2495 form-factor of classic boards), shields (elements that can be plugged onto a
2496 board to give it extra features), and kits.<a href="#ftn.idm884" class="footnote" name="idm884"><sup class="footnote">[112]</sup></a>
2497     </p><p>
2498       Arduino’s focus is on high-quality boards, well-designed support materials,
2499 and the building of community; this focus is one of the keys to their
2500 success. And being open lets you build a real community. David says
2501 Arduino’s community is a big strength and something that really does
2502 matter—in his words, <span class="quote">„<span class="quote">It’s good business.</span>“</span> When they started,
2503 the Arduino team had almost entirely no idea how to build a community. They
2504 started by conducting numerous workshops, working directly with people using
2505 the platform to make sure the hardware and software worked the way it was
2506 meant to work and solved people’s problems. The community grew organically
2507 from there.
2508     </p><p>
2509       A key decision for Arduino was trademarking the name. The founders needed a
2510 way to guarantee to people that they were buying a quality product from a
2511 company committed to open-source values and knowledge sharing. Trademarking
2512 the Arduino name and logo expresses that guarantee and helps customers
2513 easily identify their products, and the products sanctioned by them. If
2514 others want to sell boards using the Arduino name and logo, they have to pay
2515 a small fee to Arduino. This allows Arduino to scale up manufacturing and
2516 distribution while at the same time ensuring the Arduino brand isn’t hurt by
2517 low-quality copies.
2518     </p><p>
2519       Current official manufacturers are Smart Projects in Italy, SparkFun in the
2520 United States, and Dog Hunter in Taiwan/China.  These are the only
2521 manufacturers that are allowed to use the Arduino logo on their
2522 boards. Trademarking their brand provided the founders with a way to protect
2523 Arduino, build it out further, and fund software and tutorial
2524 development. The trademark-licensing fee for the brand became Arduino’s
2525 revenue-generating model.
2526     </p><p>
2527       How far to open things up wasn’t always something the founders perfectly
2528 agreed on. David, who was always one to advocate for opening things up more,
2529 had some fears about protecting the Arduino name, thinking people would be
2530 mad if they policed their brand. There was some early backlash with a
2531 project called Freeduino, but overall, trademarking and branding has been a
2532 critical tool for Arduino.
2533     </p><p>
2534       David encourages people and businesses to start by sharing everything as a
2535 default strategy, and then think about whether there is anything that really
2536 needs to be protected and why. There are lots of good reasons to not open up
2537 certain elements. This strategy of sharing everything is certainly the
2538 complete opposite of how today’s world operates, where nothing is
2539 shared. Tom suggests a business formalize which elements are based on open
2540 sharing and which are closed. An Arduino blog post from 2013 entitled
2541 <span class="quote">„<span class="quote">Send In the Clones,</span>“</span> by one of the founders Massimo Banzi,
2542 does a great job of explaining the full complexities of how trademarking
2543 their brand has played out, distinguishing between official boards and those
2544 that are clones, derivatives, compatibles, and counterfeits.<a href="#ftn.idm894" class="footnote" name="idm894"><sup class="footnote">[113]</sup></a>
2545     </p><p>
2546       For David, an exciting aspect of Arduino is the way lots of people can use
2547 it to adapt technology in many different ways. Technology is always making
2548 more things possible but doesn’t always focus on making it easy to use and
2549 adapt. This is where Arduino steps in.  Arduino’s goal is <span class="quote">„<span class="quote">making
2550 things that help other people make things.</span>“</span>
2551     </p><p>
2552       Arduino has been hugely successful in making technology and electronics
2553 reach a larger audience. For Tom, Arduino has been about <span class="quote">„<span class="quote">the
2554 democratization of technology.</span>“</span> Tom sees Arduino’s open-source
2555 strategy as helping the world get over the idea that technology has to be
2556 protected. Tom says, <span class="quote">„<span class="quote">Technology is a literacy everyone should
2557 learn.</span>“</span>
2558     </p><p>
2559       Ultimately, for Arduino, going open has been good business—good for product
2560 development, good for distribution, good for pricing, and good for
2561 manufacturing.
2562     </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>
2563         Ártica provides online courses and consulting services focused on how to use
2564 digital technology to share knowledge and enable collaboration in arts and
2565 culture. Founded in 2011 in Uruguay.
2566       </p><p>
2567           <a class="ulink" href="http://www.articaonline.com" target="_top">http://www.articaonline.com</a>
2568         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
2569 services
2570       </p><p><span class="strong"><strong>Interview date</strong></span>: March 9, 2016
2571       </p><p><span class="strong"><strong>Interviewees</strong></span>: Mariana Fossatti and Jorge
2572 Gemetto, cofounders
2573       </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}
2574     \textit{
2575         Profile written by Sarah Hinchliff Pearson
2576       }
2577     \end{flushright}</td></tr></table></div><p>
2578       The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
2579 ultimate example of DIY. Not only are they successful entrepreneurs, the
2580 niche in which their small business operates is essentially one they built
2581 themselves.
2582     </p><p>
2583       Their dream jobs didn’t exist, so they created them.
2584     </p><p>
2585       In 2011, Mariana was a sociologist working for an international organization
2586 to develop research and online education about rural-development
2587 issues. Jorge was a psychologist, also working in online education. Both
2588 were bloggers and heavy users of social media, and both had a passion for
2589 arts and culture. They decided to take their skills in digital technology
2590 and online learning and apply them to a topic area they loved. They launched
2591 Ártica, an online business that provides education and consulting for people
2592 and institutions creating artistic and cultural projects on the Internet.
2593     </p><p>
2594       Ártica feels like a uniquely twenty-first century business. The small
2595 company has a global online presence with no physical offices. Jorge and
2596 Mariana live in Uruguay, and the other two full-time employees, who Jorge
2597 and Mariana have never actually met in person, live in Spain. They started
2598 by creating a MOOC (massive open online course) about remix culture and
2599 collaboration in the arts, which gave them a direct way to reach an
2600 international audience, attracting students from across Latin America and
2601 Spain.  In other words, it is the classic Internet story of being able to
2602 directly tap into an audience without relying upon gatekeepers or
2603 intermediaries.
2604     </p><p>
2605       Ártica offers personalized education and consulting services, and helps
2606 clients implement projects. All of these services are customized. They call
2607 it an <span class="quote">„<span class="quote">artisan</span>“</span> process because of the time and effort it takes
2608 to adapt their work for the particular needs of students and
2609 clients. <span class="quote">„<span class="quote">Each student or client is paying for a specific solution to
2610 his or her problems and questions,</span>“</span> Mariana said. Rather than sell
2611 access to their content, they provide it for free and charge for the
2612 personalized services.
2613     </p><p>
2614       When they started, they offered a smaller number of courses designed to
2615 attract large audiences. <span class="quote">„<span class="quote">Over the years, we realized that online
2616 communities are more specific than we thought,</span>“</span> Mariana said. Ártica
2617 now provides more options for classes and has lower enrollment in each
2618 course. This means they can provide more attention to individual students
2619 and offer classes on more specialized topics.
2620     </p><p>
2621       Online courses are their biggest revenue stream, but they also do more than
2622 a dozen consulting projects each year, ranging from digitization to event
2623 planning to marketing campaigns. Some are significant in scope, particularly
2624 when they work with cultural institutions, and some are smaller projects
2625 commissioned by individual artists.
2626     </p><p>
2627       Ártica also seeks out public and private funding for specific
2628 projects. Sometimes, even if they are unsuccessful in subsidizing a project
2629 like a new course or e-book, they will go ahead because they believe in
2630 it. They take the stance that every new project leads them to something new,
2631 every new resource they create opens new doors.
2632     </p><p>
2633       Ártica relies heavily on their free Creative Commons–licensed content to
2634 attract new students and clients. Everything they create—online education,
2635 blog posts, videos—is published under an Attribution-ShareAlike license (CC
2636 BY-SA). <span class="quote">„<span class="quote">We use a ShareAlike license because we want to give the
2637 greatest freedom to our students and readers, and we also want that freedom
2638 to be viral,</span>“</span> Jorge said. For them, giving others the right to reuse
2639 and remix their content is a fundamental value. <span class="quote">„<span class="quote">How can you offer an
2640 online educational service without giving permission to download, make and
2641 keep copies, or print the educational resources?</span>“</span> Jorge
2642 said. <span class="quote">„<span class="quote">If we want to do the best for our students—those who trust in
2643 us to the point that they are willing to pay online without face-to-face
2644 contact—we have to offer them a fair and ethical agreement.</span>“</span>
2645     </p><p>
2646       They also believe sharing their ideas and expertise openly helps them build
2647 their reputation and visibility. People often share and cite their work. A
2648 few years ago, a publisher even picked up one of their e-books and
2649 distributed printed copies. Ártica views reuse of their work as a way to
2650 open up new opportunities for their business.
2651     </p><p>
2652       This belief that openness creates new opportunities reflects another
2653 belief—in serendipity. When describing their process for creating content,
2654 they spoke of all of the spontaneous and organic ways they find
2655 inspiration. <span class="quote">„<span class="quote">Sometimes, the collaborative process starts with a
2656 conversation between us, or with friends from other projects,</span>“</span> Jorge
2657 said. <span class="quote">„<span class="quote">That can be the first step for a new blog post or another
2658 simple piece of content, which can evolve to a more complex product in the
2659 future, like a course or a book.</span>“</span>
2660     </p><p>
2661       Rather than planning their work in advance, they let their creative process
2662 be dynamic. <span class="quote">„<span class="quote">This doesn’t mean that we don’t need to work hard in
2663 order to get good professional results, but the design process is more
2664 flexible,</span>“</span> Jorge said. They share early and often, and they adjust
2665 based on what they learn, always exploring and testing new ideas and ways of
2666 operating. In many ways, for them, the process is just as important as the
2667 final product.
2668     </p><p>
2669       People and relationships are also just as important, sometimes
2670 more. <span class="quote">„<span class="quote">In the educational and cultural business, it is more important
2671 to pay attention to people and process, rather than content or specific
2672 formats or materials,</span>“</span> Mariana said.  <span class="quote">„<span class="quote">Materials and content
2673 are fluid. The important thing is the relationships.</span>“</span>
2674     </p><p>
2675       Ártica believes in the power of the network. They seek to make connections
2676 with people and institutions across the globe so they can learn from them
2677 and share their knowledge.
2678     </p><p>
2679       At the core of everything Ártica does is a set of values.  <span class="quote">„<span class="quote">Good
2680 content is not enough,</span>“</span> Jorge said. <span class="quote">„<span class="quote">We also think that it is
2681 very important to take a stand for some things in the cultural
2682 sector.</span>“</span> Mariana and Jorge are activists. They defend free culture
2683 (the movement promoting the freedom to modify and distribute creative work)
2684 and work to demonstrate the intersection between free culture and other
2685 social-justice movements. Their efforts to involve people in their work and
2686 enable artists and cultural institutions to better use technology are all
2687 tied closely to their belief system.  Ultimately, what drives their work is
2688 a mission to democratize art and culture.
2689     </p><p>
2690       Of course, Ártica also has to make enough money to cover its expenses. Human
2691 resources are, by far, their biggest expense. They tap a network of
2692 collaborators on a case-by-case basis and hire contractors for specific
2693 projects. Whenever possible, they draw from artistic and cultural resources
2694 in the commons, and they rely on free software. Their operation is small,
2695 efficient, and sustainable, and because of that, it is a success.
2696     </p><p><span class="quote">„<span class="quote">There are lots of people offering online courses,</span>“</span> Jorge
2697 said. <span class="quote">„<span class="quote">But it is easy to differentiate us. We have an approach that is
2698 very specific and personal.</span>“</span> Ártica’s model is rooted in the personal
2699 at every level. For Mariana and Jorge, success means doing what brings them
2700 personal meaning and purpose, and doing it sustainably and collaboratively.
2701     </p><p>
2702       In their work with younger artists, Mariana and Jorge try to emphasize that
2703 this model of success is just as valuable as the picture of success we get
2704 from the media. <span class="quote">„<span class="quote">If they seek only the traditional type of success,
2705 they will get frustrated,</span>“</span> Mariana said. <span class="quote">„<span class="quote">We try to show them
2706 another image of what it looks like.</span>“</span>
2707     </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>
2708         The Blender Institute is an animation studio that creates 3-D films using
2709 Blender software. Founded in 2006 in the Netherlands.
2710       </p><p>
2711           <a class="ulink" href="http://www.blender.org" target="_top">http://www.blender.org</a>
2712         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
2713 (subscription-based), charging for physical copies, selling merchandise
2714       </p><p><span class="strong"><strong>Interview date</strong></span>: March 8, 2016
2715       </p><p><span class="strong"><strong>Interviewee</strong></span>: Francesco Siddi, production
2716 coordinator
2717       </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}
2718     \textit{
2719         Profile written by Sarah Hinchliff Pearson
2720       }
2721     \end{flushright}</td></tr></table></div><p>
2722       For Ton Roosendaal, the creator of Blender software and its related
2723 entities, sharing is practical. Making their 3-D content creation software
2724 available under a free software license has been integral to its development
2725 and popularity. Using that software to make movies that were licensed with
2726 Creative Commons pushed that development even further. Sharing enables
2727 people to participate and to interact with and build upon the technology and
2728 content they create in a way that benefits Blender and its community in
2729 concrete ways.
2730     </p><p>
2731       Each open-movie project Blender runs produces a host of openly licensed
2732 outputs, not just the final film itself but all of the source material as
2733 well. The creative process also enhances the development of the Blender
2734 software because the technical team responds directly to the needs of the
2735 film production team, creating tools and features that make their lives
2736 easier. And, of course, each project involves a long, rewarding process for
2737 the creative and technical community working together.
2738     </p><p>
2739       Rather than just talking about the theoretical benefits of sharing and free
2740 culture, Ton is very much about doing and making free culture. Blender’s
2741 production coordinator Francesco Siddi told us, <span class="quote">„<span class="quote">Ton believes if you
2742 don’t make content using your tools, then you’re not doing anything.</span>“</span>
2743     </p><p>
2744       Blender’s history begins in the late 1990s, when Ton created the Blender
2745 software. Originally, the software was an in-house resource for his
2746 animation studio based in the Netherlands.  Investors became interested in
2747 the software, so he began marketing the software to the public, offering a
2748 free version in addition to a paid version. Sales were disappointing, and
2749 his investors gave up on the endeavor in the early 2000s. He made a deal
2750 with investors—if he could raise enough money, he could then make the
2751 Blender software available under the GNU General Public License.
2752     </p><p>
2753       This was long before Kickstarter and other online crowdfunding sites
2754 existed, but Ton ran his own version of a crowdfunding campaign and quickly
2755 raised the money he needed. The Blender software became freely available for
2756 anyone to use. Simply applying the General Public License to the software,
2757 however, was not enough to create a thriving community around it. Francesco
2758 told us, <span class="quote">„<span class="quote">Software of this complexity relies on people and their
2759 vision of how people work together. Ton is a fantastic community builder and
2760 manager, and he put a lot of work into fostering a community of developers
2761 so that the project could live.</span>“</span>
2762     </p><p>
2763       Like any successful free and open-source software project, Blender developed
2764 quickly because the community could make fixes and
2765 improvements. <span class="quote">„<span class="quote">Software should be free and open to hack,</span>“</span>
2766 Francesco said. <span class="quote">„<span class="quote">Otherwise, everyone is doing the same thing in the
2767 dark for ten years.</span>“</span> Ton set up the Blender Foundation to oversee and
2768 steward the software development and maintenance.
2769     </p><p>
2770       After a few years, Ton began looking for new ways to push development of the
2771 software. He came up with the idea of creating CC-licensed films using the
2772 Blender software. Ton put a call online for all interested and skilled
2773 artists. Francesco said the idea was to get the best artists available, put
2774 them in a building together with the best developers, and have them work
2775 together.  They would not only produce high-quality openly licensed content,
2776 they would improve the Blender software in the process.
2777     </p><p>
2778       They turned to crowdfunding to subsidize the costs of the project.  They had
2779 about twenty people working full-time for six to ten months, so the costs
2780 were significant. Francesco said that when their crowdfunding campaign
2781 succeeded, people were astounded.  <span class="quote">„<span class="quote">The idea that making money was
2782 possible by producing CC-licensed material was mind-blowing to
2783 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
2784 believe it.</span>‘</span></span>“</span>
2785     </p><p>
2786       The first film, which was released in 2006, was an experiment. It was so
2787 successful that Ton decided to set up the Blender Institute, an entity
2788 dedicated to hosting open-movie projects. The Blender Institute’s next
2789 project was an even bigger success. The film, Big Buck Bunny, went viral,
2790 and its animated characters were picked up by marketers.
2791     </p><p>
2792       Francesco said that, over time, the Blender Institute projects have gotten
2793 bigger and more prominent. That means the filmmaking process has become more
2794 complex, combining technical experts and artists who focus on
2795 storytelling. Francesco says the process is almost on an industrial scale
2796 because of the number of moving parts. This requires a lot of specialized
2797 assistance, but the Blender Institute has no problem finding the talent it
2798 needs to help on projects. <span class="quote">„<span class="quote">Blender hardly does any recruiting for
2799 film projects because the talent emerges naturally,</span>“</span> Francesco
2800 said. <span class="quote">„<span class="quote">So many people want to work with us, and we can’t always hire
2801 them because of budget constraints.</span>“</span>
2802     </p><p>
2803       Blender has had a lot of success raising money from its community over the
2804 years. In many ways, the pitch has gotten easier to make.  Not only is
2805 crowdfunding simply more familiar to the public, but people know and trust
2806 Blender to deliver, and Ton has developed a reputation as an effective
2807 community leader and visionary for their work. <span class="quote">„<span class="quote">There is a whole
2808 community who sees and understands the benefit of these projects,</span>“</span>
2809 Francesco said.
2810     </p><p>
2811       While these benefits of each open-movie project make a compelling pitch for
2812 crowdfunding campaigns, Francesco told us the Blender Institute has found
2813 some limitations in the standard crowdfunding model where you propose a
2814 specific project and ask for funding.  <span class="quote">„<span class="quote">Once a project is over,
2815 everyone goes home,</span>“</span> he said. <span class="quote">„<span class="quote">It is great fun, but then it
2816 ends. That is a problem.</span>“</span>
2817     </p><p>
2818       To make their work more sustainable, they needed a way to receive ongoing
2819 support rather than on a project-by-project basis. Their solution is Blender
2820 Cloud, a subscription-style crowdfunding model akin to the online
2821 crowdfunding platform, Patreon. For about ten euros each month, subscribers
2822 get access to download everything the Blender Institute produces—software,
2823 art, training, and more.  All of the assets are available under an
2824 Attribution license (CC BY) or placed in the public domain (CC0), but they
2825 are initially made available only to subscribers. Blender Cloud enables
2826 subscribers to follow Blender’s movie projects as they develop, sharing
2827 detailed information and content used in the creative process. Blender Cloud
2828 also has extensive training materials and libraries of characters and other
2829 assets used in various projects.
2830     </p><p>
2831       The continuous financial support provided by Blender Cloud subsidizes five
2832 to six full-time employees at the Blender Institute. Francesco says their
2833 goal is to grow their subscriber base. <span class="quote">„<span class="quote">This is our freedom,</span>“</span>
2834 he told us, <span class="quote">„<span class="quote">and for artists, freedom is everything.</span>“</span>
2835     </p><p>
2836       Blender Cloud is the primary revenue stream of the Blender Institute. The
2837 Blender Foundation is funded primarily by donations, and that money goes
2838 toward software development and maintenance. The revenue streams of the
2839 Institute and Foundation are deliberately kept separate. Blender also has
2840 other revenue streams, such as the Blender Store, where people can purchase
2841 DVDs, T-shirts, and other Blender products.
2842     </p><p>
2843       Ton has worked on projects relating to his Blender software for nearly
2844 twenty years. Throughout most of that time, he has been committed to making
2845 the software and the content produced with the software free and
2846 open. Selling a license has never been part of the business model.
2847     </p><p>
2848       Since 2006, he has been making films available along with all of their
2849 source material. He says he has hardly ever seen people stepping into
2850 Blender’s shoes and trying to make money off of their content. Ton believes
2851 this is because the true value of what they do is in the creative and
2852 production process. <span class="quote">„<span class="quote">Even when you share everything, all your original
2853 sources, it still takes a lot of talent, skills, time, and budget to
2854 reproduce what you did,</span>“</span> Ton said.
2855     </p><p>
2856       For Ton and Blender, it all comes back to doing.
2857     </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>
2858         Cards Against Humanity is a private, for-profit company that makes a popular
2859 party game by the same name. Founded in 2011 in the U.S.
2860       </p><p>
2861           <a class="ulink" href="http://www.cardsagainsthumanity.com" target="_top">http://www.cardsagainsthumanity.com</a>
2862         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
2863 copies
2864       </p><p><span class="strong"><strong>Interview date</strong></span>: February 3, 2016
2865       </p><p><span class="strong"><strong>Interviewee</strong></span>: Max Temkin, cofounder
2866       </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}
2867     \textit{
2868         Profile written by Sarah Hinchliff Pearson
2869       }
2870     \end{flushright}</td></tr></table></div><p>
2871       If you ask cofounder Max Temkin, there is nothing particularly interesting
2872 about the Cards Against Humanity business model.  <span class="quote">„<span class="quote">We make a
2873 product. We sell it for money. Then we spend less money than we
2874 make,</span>“</span> Max said.
2875     </p><p>
2876       He is right. Cards Against Humanity is a simple party game, modeled after
2877 the game Apples to Apples. To play, one player asks a question or
2878 fill-in-the-blank statement from a black card, and the other players submit
2879 their funniest white card in response.  The catch is that all of the cards
2880 are filled with crude, gruesome, and otherwise awful things. For the right
2881 kind of people (<span class="quote">„<span class="quote">horrible people,</span>“</span> according to Cards Against
2882 Humanity advertising), this makes for a hilarious and fun game.
2883     </p><p>
2884       The revenue model is simple. Physical copies of the game are sold for a
2885 profit. And it works. At the time of this writing, Cards Against Humanity is
2886 the number-one best-selling item out of all toys and games on Amazon. There
2887 are official expansion packs available, and several official themed packs
2888 and international editions as well.
2889     </p><p>
2890       But Cards Against Humanity is also available for free. Anyone can download a
2891 digital version of the game on the Cards Against Humanity website. More than
2892 one million people have downloaded the game since the company began tracking
2893 the numbers.
2894     </p><p>
2895       The game is available under an Attribution-NonCommercial-ShareAlike license
2896 (CC BY-NC-SA). That means, in addition to copying the game, anyone can
2897 create new versions of the game as long as they make it available under the
2898 same noncommercial terms. The ability to adapt the game is like an entire
2899 new game unto itself.
2900     </p><p>
2901       All together, these factors—the crass tone of the game and company, the free
2902 download, the openness to fans remixing the game—give the game a massive
2903 cult following.
2904     </p><p>
2905       Their success is not the result of a grand plan. Instead, Cards Against
2906 Humanity was the last in a long line of games and comedy projects that Max
2907 Temkin and his friends put together for their own amusement. As Max tells
2908 the story, they made the game so they could play it themselves on New Year’s
2909 Eve because they were too nerdy to be invited to other parties. The game was
2910 a hit, so they decided to put it up online as a free PDF. People started
2911 asking if they could pay to have the game printed for them, and eventually
2912 they decided to run a Kickstarter to fund the printing.  They set their
2913 Kickstarter goal at $4,000—and raised $15,000. The game was officially
2914 released in May 2011.
2915     </p><p>
2916       The game caught on quickly, and it has only grown more popular over
2917 time. Max says the eight founders never had a meeting where they decided to
2918 make it an ongoing business. <span class="quote">„<span class="quote">It kind of just happened,</span>“</span> he
2919 said.
2920     </p><p>
2921       But this tale of a <span class="quote">„<span class="quote">happy accident</span>“</span> belies marketing
2922 genius. Just like the game, the Cards Against Humanity brand is irreverent
2923 and memorable. It is hard to forget a company that calls the FAQ on their
2924 website <span class="quote">„<span class="quote">Your dumb questions.</span>“</span>
2925     </p><p>
2926       Like most quality satire, however, there is more to the joke than vulgarity
2927 and shock value. The company’s marketing efforts around Black Friday
2928 illustrate this particularly well. For those outside the United States,
2929 Black Friday is the term for the day after the Thanksgiving holiday, the
2930 biggest shopping day of the year. It is an incredibly important day for
2931 Cards Against Humanity, like it is for all U.S. retailers. Max said they
2932 struggled with what to do on Black Friday because they didn’t want to
2933 support what he called the <span class="quote">„<span class="quote">orgy of consumerism</span>“</span> the day has
2934 become, particularly since it follows a day that is about being grateful for
2935 what you have. In 2013, after deliberating, they decided to have an
2936 Everything Costs $5 More sale.
2937     </p><p><span class="quote">„<span class="quote">We sweated it out the night before Black Friday, wondering if our
2938 fans were going to hate us for it,</span>“</span> he said.  <span class="quote">„<span class="quote">But it made us
2939 laugh so we went with it. People totally caught the joke.</span>“</span>
2940     </p><p>
2941       This sort of bold transparency delights the media, but more importantly, it
2942 engages their fans. <span class="quote">„<span class="quote">One of the most surprising things you can do in
2943 capitalism is just be honest with people,</span>“</span> Max said. <span class="quote">„<span class="quote">It shocks
2944 people that there is transparency about what you are doing.</span>“</span>
2945     </p><p>
2946       Max also likened it to a grand improv scene. <span class="quote">„<span class="quote">If we do something a
2947 little subversive and unexpected, the public wants to be a part of the
2948 joke.</span>“</span> One year they did a Give Cards Against Humanity $5 event,
2949 where people literally paid them five dollars for no reason. Their fans
2950 wanted to make the joke funnier by making it successful. They made $70,000
2951 in a single day.
2952     </p><p>
2953       This remarkable trust they have in their customers is what inspired their
2954 decision to apply a Creative Commons license to the game. Trusting your
2955 customers to reuse and remix your work requires a leap of faith. Cards
2956 Against Humanity obviously isn’t afraid of doing the unexpected, but there
2957 are lines even they do not want to cross. Before applying the license, Max
2958 said they worried that some fans would adapt the game to include all of the
2959 jokes they intentionally never made because they crossed that
2960 line. <span class="quote">„<span class="quote">It happened, and the world didn’t end,</span>“</span> Max
2961 said. <span class="quote">„<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
2962 times over because there are so many benefits.</span>“</span>
2963     </p><p>
2964       Any successful product inspires its biggest fans to create remixes of it,
2965 but unsanctioned adaptations are more likely to fly under the radar. The
2966 Creative Commons license gives fans of Cards Against Humanity the freedom to
2967 run with the game and copy, adapt, and promote their creations openly. Today
2968 there are thousands of fan expansions of the game.
2969     </p><p>
2970       Max said, <span class="quote">„<span class="quote">CC was a no-brainer for us because it gets the most people
2971 involved. Making the game free and available under a CC license led to the
2972 unbelievable situation where we are one of the best-marketed games in the
2973 world, and we have never spent a dime on marketing.</span>“</span>
2974     </p><p>
2975       Of course, there are limits to what the company allows its customers to do
2976 with the game. They chose the Attribution-NonCommercial-ShareAlike license
2977 because it restricts people from using the game to make money. It also
2978 requires that adaptations of the game be made available under the same
2979 licensing terms if they are shared publicly. Cards Against Humanity also
2980 polices its brand. <span class="quote">„<span class="quote">We feel like we’re the only ones who can use our
2981 brand and our game and make money off of it,</span>“</span> Max said. About 99.9
2982 percent of the time, they just send an email to those making commercial use
2983 of the game, and that is the end of it. There have only been a handful of
2984 instances where they had to get a lawyer involved.
2985     </p><p>
2986       Just as there is more than meets the eye to the Cards Against Humanity
2987 business model, the same can be said of the game itself.  To be playable,
2988 every white card has to work syntactically with enough black cards. The
2989 eight creators invest an incredible amount of work into creating new cards
2990 for the game. <span class="quote">„<span class="quote">We have daylong arguments about commas,</span>“</span> Max
2991 said. <span class="quote">„<span class="quote">The slacker tone of the cards gives people the impression that
2992 it is easy to write them, but it is actually a lot of work and
2993 quibbling.</span>“</span>
2994     </p><p>
2995       That means cocreation with their fans really doesn’t work. The company has a
2996 submission mechanism on their website, and they get thousands of
2997 suggestions, but it is very rare that a submitted card is adopted. Instead,
2998 the eight initial creators remain the primary authors of expansion decks and
2999 other new products released by the company. Interestingly, the creativity of
3000 their customer base is really only an asset to the company once their
3001 original work is created and published when people make their own
3002 adaptations of the game.
3003     </p><p>
3004       For all of their success, the creators of Cards Against Humanity are only
3005 partially motivated by money. Max says they have always been interested in
3006 the Walt Disney philosophy of financial success. <span class="quote">„<span class="quote">We don’t make jokes
3007 and games to make money—we make money so we can make more jokes and
3008 games,</span>“</span> he said.
3009     </p><p>
3010       In fact, the company has given more than $4 million to various charities and
3011 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
3012 have other interests and hobbies. We are passionate about other things going
3013 on in our lives. A lot of the activism we have done comes out of us taking
3014 things from the rest of our lives and channeling some of the excitement from
3015 the game into it.</span>“</span>
3016     </p><p>
3017       Seeing money as fuel rather than the ultimate goal is what has enabled them
3018 to embrace Creative Commons licensing without reservation. CC licensing
3019 ended up being a savvy marketing move for the company, but nonetheless,
3020 giving up exclusive control of your work necessarily means giving up some
3021 opportunities to extract more money from customers.
3022     </p><p><span class="quote">„<span class="quote">It’s not right for everyone to release everything under CC
3023 licensing,</span>“</span> Max said. <span class="quote">„<span class="quote">If your only goal is to make a lot of
3024 money, then CC is not best strategy. This kind of business model, though,
3025 speaks to your values, and who you are and why you’re making things.</span>“</span>
3026     </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>
3027         The Conversation is an independent source of news, sourced from the academic
3028 and research community and delivered direct to the public over the
3029 Internet. Founded in 2011 in Australia.
3030       </p><p>
3031           <a class="ulink" href="http://theconversation.com" target="_top">http://theconversation.com</a>
3032         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
3033 (universities pay membership fees to have their faculties serve as writers),
3034 grant funding
3035       </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
3036       </p><p><span class="strong"><strong>Interviewee</strong></span>: Andrew Jaspan, founder
3037       </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}
3038     \textit{
3039         Profile written by Paul Stacey
3040       }
3041     \end{flushright}</td></tr></table></div><p>
3042       Andrew Jaspan spent years as an editor of major newspapers including the
3043 Observer in London, the Sunday Herald in Glasgow, and the Age in Melbourne,
3044 Australia. He experienced firsthand the decline of newspapers, including the
3045 collapse of revenues, layoffs, and the constant pressure to reduce
3046 costs. After he left the Age in 2005, his concern for the future journalism
3047 didn’t go away. Andrew made a commitment to come up with an alternative
3048 model.
3049     </p><p>
3050       Around the time he left his job as editor of the Melbourne Age, Andrew
3051 wondered where citizens would get news grounded in fact and evidence rather
3052 than opinion or ideology. He believed there was still an appetite for
3053 journalism with depth and substance but was concerned about the increasing
3054 focus on the sensational and sexy.
3055     </p><p>
3056       While at the Age, he’d become friends with a vice-chancellor of a university
3057 in Melbourne who encouraged him to talk to smart people across campus—an
3058 astrophysicist, a Nobel laureate, earth scientists, economists . . . These
3059 were the kind of smart people he wished were more involved in informing the
3060 world about what is going on and correcting the errors that appear in
3061 media. However, they were reluctant to engage with mass media. Often,
3062 journalists didn’t understand what they said, or unilaterally chose what
3063 aspect of a story to tell, putting out a version that these people felt was
3064 wrong or mischaracterized. Newspapers want to attract a mass
3065 audience. Scholars want to communicate serious news, findings, and
3066 insights. It’s not a perfect match. Universities are massive repositories of
3067 knowledge, research, wisdom, and expertise. But a lot of that stays behind a
3068 wall of their own making—there are the walled garden and ivory tower
3069 metaphors, and in more literal terms, the paywall. Broadly speaking,
3070 universities are part of society but disconnected from it. They are an
3071 enormous public resource but not that good at presenting their expertise to
3072 the wider public.
3073     </p><p>
3074       Andrew believed he could to help connect academics back into the public
3075 arena, and maybe help society find solutions to big problems. He thought
3076 about pairing professional editors with university and research experts,
3077 working one-on-one to refine everything from story structure to headline,
3078 captions, and quotes.  The editors could help turn something that is
3079 academic into something understandable and readable. And this would be a key
3080 difference from traditional journalism—the subject matter expert would get a
3081 chance to check the article and give final approval before it is
3082 published. Compare this with reporters just picking and choosing the quotes
3083 and writing whatever they want.
3084     </p><p>
3085       The people he spoke to liked this idea, and Andrew embarked on raising money
3086 and support with the help of the Commonwealth Scientific and Industrial
3087 Research Organisation (CSIRO), the University of Melbourne, Monash
3088 University, the University of Technology Sydney, and the University of
3089 Western Australia. These founding partners saw the value of an independent
3090 information channel that would also showcase the talent and knowledge of the
3091 university and research sector. With their help, in 2011, the Conversation,
3092 was launched as an independent news site in Australia. Everything published
3093 in the Conversation is openly licensed with Creative Commons.
3094     </p><p>
3095       The Conversation is founded on the belief that underpinning a functioning
3096 democracy is access to independent, high-quality, informative
3097 journalism. The Conversation’s aim is for people to have a better
3098 understanding of current affairs and complex issues—and hopefully a better
3099 quality of public discourse. The Conversation sees itself as a source of
3100 trusted information dedicated to the public good. Their core mission is
3101 simple: to provide readers with a reliable source of evidence-based
3102 information.
3103     </p><p>
3104       Andrew worked hard to reinvent a methodology for creating reliable, credible
3105 content. He introduced strict new working practices, a charter, and codes of
3106 conduct.<a href="#ftn.idm1075" class="footnote" name="idm1075"><sup class="footnote">[114]</sup></a> These include fully disclosing
3107 who every author is (with their relevant expertise); who is funding their
3108 research; and if there are any potential or real conflicts of interest. Also
3109 important is where the content originates, and even though it comes from the
3110 university and research community, it still needs to be fully disclosed. The
3111 Conversation does not sit behind a paywall. Andrew believes access to
3112 information is an issue of equality—everyone should have access, like access
3113 to clean water.  The Conversation is committed to an open and free
3114 Internet.  Everyone should have free access to their content, and be able to
3115 share it or republish it.
3116     </p><p>
3117       Creative Commons help with these goals; articles are published with the
3118 Attribution- NoDerivs license (CC BY-ND). They’re freely available for
3119 others to republish elsewhere as long as attribution is given and the
3120 content is not edited. Over five years, more than twenty-two thousand sites
3121 have republished their content. The Conversation website gets about 2.9
3122 million unique views per month, but through republication they have
3123 thirty-five million readers. This couldn’t have been done without the
3124 Creative Commons license, and in Andrew’s view, Creative Commons is central
3125 to everything the Conversation does.
3126     </p><p>
3127       When readers come across the Conversation, they seem to like what they find
3128 and recommend it to their friends, peers, and networks.  Readership has
3129 grown primarily through word of mouth. While they don’t have sales and
3130 marketing, they do promote their work through social media (including
3131 Twitter and Facebook), and by being an accredited supplier to Google News.
3132     </p><p>
3133       It’s usual for the founders of any company to ask themselves what kind of
3134 company it should be. It quickly became clear to the founders of the
3135 Conversation that they wanted to create a public good rather than make money
3136 off of information. Most media companies are working to aggregate as many
3137 eyeballs as possible and sell ads. The Conversation founders didn’t want
3138 this model. It takes no advertising and is a not-for-profit venture.
3139     </p><p>
3140       There are now different editions of the Conversation for Africa, the United
3141 Kingdom, France, and the United States, in addition to the one for
3142 Australia. All five editions have their own editorial mastheads, advisory
3143 boards, and content. The Conversation’s global virtual newsroom has roughly
3144 ninety staff working with thirty-five thousand academics from over sixteen
3145 hundred universities around the world. The Conversation would like to be
3146 working with university scholars from even more parts of the world.
3147     </p><p>
3148       Additionally, each edition has its own set of founding partners, strategic
3149 partners, and funders. They’ve received funding from foundations,
3150 corporates, institutions, and individual donations, but the Conversation is
3151 shifting toward paid memberships by universities and research institutions
3152 to sustain operations. This would safeguard the current service and help
3153 improve coverage and features.
3154     </p><p>
3155       When professors from member universities write an article, there is some
3156 branding of the university associated with the article. On the Conversation
3157 website, paying university members are listed as <span class="quote">„<span class="quote">members and
3158 funders.</span>“</span> Early participants may be designated as <span class="quote">„<span class="quote">founding
3159 members,</span>“</span> with seats on the editorial advisory board.
3160     </p><p>
3161       Academics are not paid for their contributions, but they get free editing
3162 from a professional (four to five hours per piece, on average). They also
3163 get access to a large audience. Every author and member university has
3164 access to a special analytics dashboard where they can check the reach of an
3165 article. The metrics include what people are tweeting, the comments,
3166 countries the readership represents, where the article is being republished,
3167 and the number of readers per article.
3168     </p><p>
3169       The Conversation plans to expand the dashboard to show not just reach but
3170 impact. This tracks activities, behaviors, and events that occurred as a
3171 result of publication, including things like a scholar being asked to go on
3172 a show to discuss their piece, give a talk at a conference, collaborate,
3173 submit a journal paper, and consult a company on a topic.
3174     </p><p>
3175       These reach and impact metrics show the benefits of membership.  With the
3176 Conversation, universities can engage with the public and show why they’re
3177 of value.
3178     </p><p>
3179       With its tagline, <span class="quote">„<span class="quote">Academic Rigor, Journalistic Flair,</span>“</span> the
3180 Conversation represents a new form of journalism that contributes to a more
3181 informed citizenry and improved democracy around the world. Its open
3182 business model and use of Creative Commons show how it’s possible to
3183 generate both a public good and operational revenue at the same time.
3184     </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>
3185         Cory Doctorow is a science fiction writer, activist, blogger, and
3186 journalist. Based in the U.S.
3187       </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>
3188       </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
3189 copies (book sales), pay-what-you-want, selling translation rights to books
3190       </p><p><span class="strong"><strong>Interview date</strong></span>: January 12, 2016
3191       </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}
3192     \textit{
3193         Profile written by Sarah Hinchliff Pearson
3194       }
3195     \end{flushright}</td></tr></table></div><p>
3196       Cory Doctorow hates the term <span class="quote">„<span class="quote">business model,</span>“</span> and he is
3197 adamant that he is not a brand. <span class="quote">„<span class="quote">To me, branding is the idea that you
3198 can take a thing that has certain qualities, remove the qualities, and go on
3199 selling it,</span>“</span> he said. <span class="quote">„<span class="quote">I’m not out there trying to figure out
3200 how to be a brand. I’m doing this thing that animates me to work crazy
3201 insane hours because it’s the most important thing I know how to do.</span>“</span>
3202     </p><p>
3203       Cory calls himself an entrepreneur. He likes to say his success came from
3204 making stuff people happened to like and then getting out of the way of them
3205 sharing it.
3206     </p><p>
3207       He is a science fiction writer, activist, blogger, and journalist.
3208 Beginning with his first novel, Down and Out in the Magic Kingdom, in 2003,
3209 his work has been published under a Creative Commons license. Cory is
3210 coeditor of the popular CC-licensed site Boing Boing, where he writes about
3211 technology, politics, and intellectual property. He has also written several
3212 nonfiction books, including the most recent Information Doesn’t Want to Be
3213 Free, about the ways in which creators can make a living in the Internet
3214 age.
3215     </p><p>
3216       Cory primarily makes money by selling physical books, but he also takes on
3217 paid speaking gigs and is experimenting with pay-what-you-want models for
3218 his work.
3219     </p><p>
3220       While Cory’s extensive body of fiction work has a large following, he is
3221 just as well known for his activism. He is an outspoken opponent of
3222 restrictive copyright and digital-rights-management (DRM) technology used to
3223 lock up content because he thinks both undermine creators and the public
3224 interest. He is currently a special adviser at the Electronic Frontier
3225 Foundation, where he is involved in a lawsuit challenging the U.S. law that
3226 protects DRM.  Cory says his political work doesn’t directly make him money,
3227 but if he gave it up, he thinks he would lose credibility and, more
3228 importantly, lose the drive that propels him to create. <span class="quote">„<span class="quote">My political
3229 work is a different expression of the same artistic-political urge,</span>“</span>
3230 he said. <span class="quote">„<span class="quote">I have this suspicion that if I gave up the things that
3231 didn’t make me money, the genuineness would leach out of what I do, and the
3232 quality that causes people to like what I do would be gone.</span>“</span>
3233     </p><p>
3234       Cory has been financially successful, but money is not his primary
3235 motivation. At the start of his book Information Doesn’t Want to Be Free, he
3236 stresses how important it is not to become an artist if your goal is to get
3237 rich. <span class="quote">„<span class="quote">Entering the arts because you want to get rich is like buying
3238 lottery tickets because you want to get rich,</span>“</span> he wrote. <span class="quote">„<span class="quote">It
3239 might work, but it almost certainly won’t. Though, of course, someone always
3240 wins the lottery.</span>“</span> He acknowledges that he is one of the lucky few to
3241 <span class="quote">„<span class="quote">make it,</span>“</span> but he says he would be writing no matter
3242 what. <span class="quote">„<span class="quote">I am compelled to write,</span>“</span> he wrote.  <span class="quote">„<span class="quote">Long before
3243 I wrote to keep myself fed and sheltered, I was writing to keep myself
3244 sane.</span>“</span>
3245     </p><p>
3246       Just as money is not his primary motivation to create, money is not his
3247 primary motivation to share. For Cory, sharing his work with Creative
3248 Commons is a moral imperative. <span class="quote">„<span class="quote">It felt morally right,</span>“</span> he said
3249 of his decision to adopt Creative Commons licenses. <span class="quote">„<span class="quote">I felt like I
3250 wasn’t contributing to the culture of surveillance and censorship that has
3251 been created to try to stop copying.</span>“</span> In other words, using CC
3252 licenses symbolizes his worldview.
3253     </p><p>
3254       He also feels like there is a solid commercial basis for licensing his work
3255 with Creative Commons. While he acknowledges he hasn’t been able to do a
3256 controlled experiment to compare the commercial benefits of licensing with
3257 CC against reserving all rights, he thinks he has sold more books using a CC
3258 license than he would have without it. Cory says his goal is to convince
3259 people they should pay him for his work. <span class="quote">„<span class="quote">I started by not calling
3260 them thieves,</span>“</span> he said.
3261     </p><p>
3262       Cory started using CC licenses soon after they were first created.  At the
3263 time his first novel came out, he says the science fiction genre was overrun
3264 with people scanning and downloading books without permission. When he and
3265 his publisher took a closer look at who was doing that sort of thing online,
3266 they realized it looked a lot like book promotion. <span class="quote">„<span class="quote">I knew there was a
3267 relationship between having enthusiastic readers and having a successful
3268 career as a writer,</span>“</span> he said. <span class="quote">„<span class="quote">At the time, it took eighty
3269 hours to OCR a book, which is a big effort. I decided to spare them the time
3270 and energy, and give them the book for free in a format destined to
3271 spread.</span>“</span>
3272     </p><p>
3273       Cory admits the stakes were pretty low for him when he first adopted
3274 Creative Commons licenses. He only had to sell two thousand copies of his
3275 book to break even. People often said he was only able to use CC licenses
3276 successfully at that time because he was just starting out. Now they say he
3277 can only do it because he is an established author.
3278     </p><p>
3279       The bottom line, Cory says, is that no one has found a way to prevent people
3280 from copying the stuff they like. Rather than fighting the tide, Cory makes
3281 his work intrinsically shareable.  <span class="quote">„<span class="quote">Getting the hell out of the way
3282 for people who want to share their love of you with other people sounds
3283 obvious, but it’s remarkable how many people don’t do it,</span>“</span> he said.
3284     </p><p>
3285       Making his work available under Creative Commons licenses enables him to
3286 view his biggest fans as his ambassadors. <span class="quote">„<span class="quote">Being open to fan activity
3287 makes you part of the conversation about what fans do with your work and how
3288 they interact with it,</span>“</span> he said.  Cory’s own website routinely
3289 highlights cool things his audience has done with his work. Unlike
3290 corporations like Disney that tend to have a hands-off relationship with
3291 their fan activity, he has a symbiotic relationship with his
3292 audience. <span class="quote">„<span class="quote">Engaging with your audience can’t guarantee you
3293 success,</span>“</span> he said.  <span class="quote">„<span class="quote">And Disney is an example of being able to
3294 remain aloof and still being the most successful company in the creative
3295 industry in history. But I figure my likelihood of being Disney is pretty
3296 slim, so I should take all the help I can get.</span>“</span>
3297     </p><p>
3298       His first book was published under the most restrictive Creative Commons
3299 license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND).  It allows only
3300 verbatim copying for noncommercial purposes. His later work is published
3301 under the Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA), which
3302 gives people the right to adapt his work for noncommercial purposes but only
3303 if they share it back under the same license terms. Before releasing his
3304 work under a CC license that allows adaptations, he always sells the right
3305 to translate the book to other languages to a commercial publisher first. He
3306 wants to reach new potential buyers in other parts of the world, and he
3307 thinks it is more difficult to get people to pay for translations if there
3308 are fan translations already available for free.
3309     </p><p>
3310       In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
3311 to thinking like a dandelion. Dandelions produce thousands of seeds each
3312 spring, and they are blown into the air going in every direction. The
3313 strategy is to maximize the number of blind chances the dandelion has for
3314 continuing its genetic line. Similarly, he says there are lots of people out
3315 there who may want to buy creative work or compensate authors for it in some
3316 other way. <span class="quote">„<span class="quote">The more places your work can find itself, the greater the
3317 likelihood that it will find one of those would-be customers in some
3318 unsuspected crack in the metaphorical pavement,</span>“</span> he wrote. <span class="quote">„<span class="quote">The
3319 copies that others make of my work cost me nothing, and present the
3320 possibility that I’ll get something.</span>“</span>
3321     </p><p>
3322       Applying a CC license to his work increases the chances it will be shared
3323 more widely around the Web. He avoids DRM—and openly opposes the
3324 practice—for similar reasons. DRM has the effect of tying a work to a
3325 particular platform. This digital lock, in turn, strips the authors of
3326 control over their own work and hands that control over to the platform. He
3327 calls it Cory’s First Law: <span class="quote">„<span class="quote">Anytime someone puts a lock on something
3328 that belongs to you and won’t give you the key, that lock isn’t there for
3329 your benefit.</span>“</span>
3330     </p><p>
3331       Cory operates under the premise that artists benefit when there are more,
3332 rather than fewer, places where people can access their work. The Internet
3333 has opened up those avenues, but DRM is designed to limit them. <span class="quote">„<span class="quote">On
3334 the one hand, we can credibly make our work available to a widely dispersed
3335 audience,</span>“</span> he said. <span class="quote">„<span class="quote">On the other hand, the intermediaries we
3336 historically sold to are making it harder to go around them.</span>“</span> Cory
3337 continually looks for ways to reach his audience without relying upon major
3338 platforms that will try to take control over his work.
3339     </p><p>
3340       Cory says his e-book sales have been lower than those of his competitors,
3341 and he attributes some of that to the CC license making the work available
3342 for free. But he believes people are willing to pay for content they like,
3343 even when it is available for free, as long as it is easy to do. He was
3344 extremely successful using Humble Bundle, a platform that allows people to
3345 pay what they want for DRM-free versions of a bundle of a particular
3346 creator’s work. He is planning to try his own pay-what-you-want experiment
3347 soon.
3348     </p><p>
3349       Fans are particularly willing to pay when they feel personally connected to
3350 the artist. Cory works hard to create that personal connection. One way he
3351 does this is by personally answering every single email he gets. <span class="quote">„<span class="quote">If
3352 you look at the history of artists, most die in penury,</span>“</span> he
3353 said. <span class="quote">„<span class="quote">That reality means that for artists, we have to find ways to
3354 support ourselves when public tastes shift, when copyright stops producing.
3355 Future-proofing your artistic career in many ways means figuring out how to
3356 stay connected to those people who have been touched by your work.</span>“</span>
3357     </p><p>
3358       Cory’s realism about the difficulty of making a living in the arts does not
3359 reflect pessimism about the Internet age. Instead, he says the fact that it
3360 is hard to make a living as an artist is nothing new. What is new, he writes
3361 in his book, <span class="quote">„<span class="quote">is how many ways there are to make things, and to get
3362 them into other people’s hands and minds.</span>“</span>
3363     </p><p>
3364       It has never been easier to think like a dandelion.
3365     </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>
3366         Figshare is a for-profit company offering an online repository where
3367 researchers can preserve and share the output of their research, including
3368 figures, data sets, images, and videos.  Founded in 2011 in the UK.
3369       </p><p>
3370           <a class="ulink" href="http://figshare.com" target="_top">http://figshare.com</a>
3371         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
3372 services to creators
3373       </p><p><span class="strong"><strong>Interview date</strong></span>: January 28, 2016
3374       </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Hahnel, founder
3375       </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}
3376     \textit{
3377         Profile written by Paul Stacey
3378       }
3379     \end{flushright}</td></tr></table></div><p>
3380       Figshare’s mission is to change the face of academic publishing through
3381 improved dissemination, discoverability, and reusability of scholarly
3382 research. Figshare is a repository where users can make all the output of
3383 their research available—from posters and presentations to data sets and
3384 code—in a way that’s easy to discover, cite, and share. Users can upload any
3385 file format, which can then be previewed in a Web browser. Research output
3386 is disseminated in a way that the current scholarly-publishing model does
3387 not allow.
3388     </p><p>
3389       Figshare founder Mark Hahnel often gets asked: How do you make money? How do
3390 we know you’ll be here in five years? Can you, as a for-profit venture, be
3391 trusted? Answers have evolved over time.
3392     </p><p>
3393       Mark traces the origins of Figshare back to when he was a graduate student
3394 getting his PhD in stem cell biology. His research involved working with
3395 videos of stem cells in motion. However, when he went to publish his
3396 research, there was no way for him to also publish the videos, figures,
3397 graphs, and data sets. This was frustrating. Mark believed publishing his
3398 complete research would lead to more citations and be better for his career.
3399     </p><p>
3400       Mark does not consider himself an advanced software programmer.
3401 Fortunately, things like cloud-based computing and wikis had become
3402 mainstream, and he believed it ought to be possible to put all his research
3403 online and share it with anyone. So he began working on a solution.
3404     </p><p>
3405       There were two key needs: licenses to make the data citable, and persistent
3406 identifiers— URL links that always point back to the original object
3407 ensuring the research is citable for the long term.
3408     </p><p>
3409       Mark chose Digital Object Identifiers (DOIs) to meet the need for a
3410 persistent identifier. In the DOI system, an object’s metadata is stored as
3411 a series of numbers in the DOI name. Referring to an object by its DOI is
3412 more stable than referring to it by its URL, because the location of an
3413 object (the web page or URL) can often change. Mark partnered with DataCite
3414 for the provision of DOIs for research data.
3415     </p><p>
3416       As for licenses, Mark chose Creative Commons. The open-access and
3417 open-science communities were already using and recommending Creative
3418 Commons. Based on what was happening in those communities and Mark’s
3419 dialogue with peers, he went with CC0 (in the public domain) for data sets
3420 and CC BY (Attribution) for figures, videos, and data sets.
3421     </p><p>
3422       So Mark began using DOIs and Creative Commons for his own research work. He
3423 had a science blog where he wrote about it and made all his data
3424 open. People started commenting on his blog that they wanted to do the
3425 same. So he opened it up for them to use, too.
3426     </p><p>
3427       People liked the interface and simple upload process. People started asking
3428 if they could also share theses, grant proposals, and code. Inclusion of
3429 code raised new licensing issues, as Creative Commons licenses are not used
3430 for software. To allow the sharing of software code, Mark chose the MIT
3431 license, but GNU and Apache licenses can also be used.
3432     </p><p>
3433       Mark sought investment to make this into a scalable product. After a few
3434 unsuccessful funding pitches, UK-based Digital Science expressed interest
3435 but insisted on a more viable business model.  They made an initial
3436 investment, and together they came up with a freemium-like business model.
3437     </p><p>
3438       Under the freemium model, academics upload their research to Figshare for
3439 storage and sharing for free. Each research object is licensed with Creative
3440 Commons and receives a DOI link. The premium option charges researchers a
3441 fee for gigabytes of private storage space, and for private online space
3442 designed for a set number of research collaborators, which is ideal for
3443 larger teams and geographically dispersed research groups. Figshare sums up
3444 its value proposition to researchers as <span class="quote">„<span class="quote">You retain ownership.  You
3445 license it. You get credit. We just make sure it persists.</span>“</span>
3446     </p><p>
3447       In January 2012, Figshare was launched. (The fig in Figshare stands for
3448 figures.) Using investment funds, Mark made significant improvements to
3449 Figshare. For example, researchers could quickly preview their research
3450 files within a browser without having to download them first or require
3451 third-party software. Journals who were still largely publishing articles as
3452 static noninteractive PDFs became interested in having Figshare provide that
3453 functionality for them.
3454     </p><p>
3455       Figshare diversified its business model to include services for
3456 journals. Figshare began hosting large amounts of data for the journals’
3457 online articles. This additional data improved the quality of the
3458 articles. Outsourcing this service to Figshare freed publishers from having
3459 to develop this functionality as part of their own
3460 infrastructure. Figshare-hosted data also provides a link back to the
3461 article, generating additional click-through and readership—a benefit to
3462 both journal publishers and researchers.  Figshare now provides
3463 research-data infrastructure for a wide variety of publishers including
3464 Wiley, Springer Nature, PLOS, and Taylor and Francis, to name a few, and has
3465 convinced them to use Creative Commons licenses for the data.
3466     </p><p>
3467       Governments allocate significant public funds to research. In parallel with
3468 the launch of Figshare, governments around the world began requesting the
3469 research they fund be open and accessible.  They mandated that researchers
3470 and academic institutions better manage and disseminate their research
3471 outputs. Institutions looking to comply with this new mandate became
3472 interested in Figshare. Figshare once again diversified its business model,
3473 adding services for institutions.
3474     </p><p>
3475       Figshare now offers a range of fee-based services to institutions, including
3476 their own minibranded Figshare space (called Figshare for Institutions) that
3477 securely hosts research data of institutions in the cloud. Services include
3478 not just hosting but data metrics, data dissemination, and user-group
3479 administration.  Figshare’s workflow, and the services they offer for
3480 institutions, take into account the needs of librarians and administrators,
3481 as well as of the researchers.
3482     </p><p>
3483       As with researchers and publishers, Fig-share encouraged institutions to
3484 share their research with CC BY (Attribution) and their data with CC0 (into
3485 the public domain). Funders who require researchers and institutions to use
3486 open licensing believe in the social responsibilities and benefits of making
3487 research accessible to all. Publishing research in this open way has come to
3488 be called open access. But not all funders specify CC BY; some institutions
3489 want to offer their researchers a choice, including less permissive licenses
3490 like CC BY-NC (Attribution-NonCommercial), CC BY-SA
3491 (Attribution-ShareAlike), or CC BY-ND (Attribution-NoDerivs).
3492     </p><p>
3493       For Mark this created a conflict. On the one hand, the principles and
3494 benefits of open science are at the heart of Figshare, and Mark believes CC
3495 BY is the best license for this. On the other hand, institutions were saying
3496 they wouldn’t use Figshare unless it offered a choice in licenses. He
3497 initially refused to offer anything beyond CC0 and CC BY, but after seeing
3498 an open-source CERN project offer all Creative Commons licenses without any
3499 negative repercussions, he decided to follow suit.
3500     </p><p>
3501       Mark is thinking of doing a Figshare study that tracks research
3502 dissemination according to Creative Commons license, and gathering metrics
3503 on views, citations, and downloads. You could see which license generates
3504 the biggest impact. If the data showed that CC BY is more impactful, Mark
3505 believes more and more researchers and institutions will make it their
3506 license of choice.
3507     </p><p>
3508       Figshare has an Application Programming Interface (API) that makes it
3509 possible for data to be pulled from Figshare and used in other
3510 applications. As an example, Mark shared a Figshare data set showing the
3511 journal subscriptions that higher-education institutions in the United
3512 Kingdom paid to ten major publishers.<a href="#ftn.idm1183" class="footnote" name="idm1183"><sup class="footnote">[115]</sup></a>
3513 Figshare’s API enables that data to be pulled into an app developed by a
3514 completely different researcher that converts the data into a visually
3515 interesting graph, which any viewer can alter by changing any of the
3516 variables.<a href="#ftn.idm1186" class="footnote" name="idm1186"><sup class="footnote">[116]</sup></a>
3517     </p><p>
3518       The free version of Figshare has built a community of academics, who through
3519 word of mouth and presentations have promoted and spread awareness of
3520 Figshare. To amplify and reward the community, Figshare established an
3521 Advisor program, providing those who promoted Figshare with hoodies and
3522 T-shirts, early access to new features, and travel expenses when they gave
3523 presentations outside of their area. These Advisors also helped Mark on what
3524 license to use for software code and whether to offer universities an option
3525 of using Creative Commons licenses.
3526     </p><p>
3527       Mark says his success is partly about being in the right place at the right
3528 time. He also believes that the diversification of Figshare’s model over
3529 time has been key to success. Figshare now offers a comprehensive set of
3530 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
3531 subscriptions, he believes Figshare would have struggled. In Figshare’s
3532 early days, their primary users were early-career and late-career
3533 academics. It has only been because funders mandated open licensing that
3534 Figshare is now being used by the mainstream.
3535     </p><p>
3536       Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
3537 800,000–plus user uploads, 2 million–plus articles, 500,000-plus
3538 collections, and 5,000–plus projects. Sixty percent of their traffic comes
3539 from Google. A sister company called Altmetric tracks the use of Figshare by
3540 others, including Wikipedia and news sources.
3541     </p><p>
3542       Figshare uses the revenue it generates from the premium subscribers, journal
3543 publishers, and institutions to fund and expand what it can offer to
3544 researchers for free. Figshare has publicly stuck to its principles—keeping
3545 the free service free and requiring the use of CC BY and CC0 from the
3546 start—and from Mark’s perspective, this is why people trust Figshare. Mark
3547 sees new competitors coming forward who are just in it for money. If
3548 Figshare was only in it for the money, they wouldn’t care about offering a
3549 free version. Figshare’s principles and advocacy for openness are a key
3550 differentiator. Going forward, Mark sees Figshare not only as supporting
3551 open access to research but also enabling people to collaborate and make new
3552 discoveries.
3553     </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>
3554         Figure.NZ is a nonprofit charity that makes an online data platform designed
3555 to make data reusable and easy to understand.  Founded in 2012 in New
3556 Zealand.
3557       </p><p>
3558           <a class="ulink" href="http://figure.nz" target="_top">http://figure.nz</a>
3559         </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
3560 services to creators, donations, sponsorships
3561       </p><p><span class="strong"><strong>Interview date</strong></span>: May 3, 2016
3562       </p><p><span class="strong"><strong>Interviewee</strong></span>: Lillian Grace, founder
3563       </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}
3564     \textit{
3565         Profile written by Paul Stacey
3566       }
3567     \end{flushright}</td></tr></table></div><p>
3568       In the paper Harnessing the Economic and Social Power of Data presented at
3569 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
3570 valuable and relevant data sets freely available to us right now, but most
3571 people don’t use them. She used to think this meant people didn’t care about
3572 being informed, but she’s come to see that she was wrong. Almost everyone
3573 wants to be informed about issues that matter—not only to them, but also to
3574 their families, their communities, their businesses, and their country.  But
3575 there’s a big difference between availability and accessibility of
3576 information. Data is spread across thousands of sites and is held within
3577 databases and spreadsheets that require both time and skill to engage
3578 with. To use data when making a decision, you have to know what specific
3579 question to ask, identify a source that has collected the data, and
3580 manipulate complex tools to extract and visualize the information within the
3581 data set.  Lillian established Figure.NZ to make data truly accessible to
3582 all, with a specific focus on New Zealand.
3583     </p><p>
3584       Lillian had the idea for Figure.NZ in February 2012 while working for the
3585 New Zealand Institute, a think tank concerned with improving economic
3586 prosperity, social well-being, environmental quality, and environmental
3587 productivity for New Zealand and New Zealanders. While giving talks to
3588 community and business groups, Lillian realized <span class="quote">„<span class="quote">every single issue we
3589 addressed would have been easier to deal with if more people understood the
3590 basic facts.</span>“</span> But understanding the basic facts sometimes requires
3591 data and research that you often have to pay for.
3592     </p><p>
3593       Lillian began to imagine a website that lifted data up to a visual form that
3594 could be easily understood and freely accessed.  Initially launched as Wiki
3595 New Zealand, the original idea was that people could contribute their data
3596 and visuals via a wiki.  However, few people had graphs that could be used
3597 and shared, and there were no standards or consistency around the data and
3598 the visuals. Realizing the wiki model wasn’t working, Lillian brought the
3599 process of data aggregation, curation, and visual presentation in-house, and
3600 invested in the technology to help automate some of it. Wiki New Zealand
3601 became Figure.NZ, and efforts were reoriented toward providing services to
3602 those wanting to open their data and present it visually.
3603     </p><p>
3604       Here’s how it works. Figure.NZ sources data from other organizations,
3605 including corporations, public repositories, government departments, and
3606 academics. Figure.NZ imports and extracts that data, and then validates and
3607 standardizes it—all with a strong eye on what will be best for users. They
3608 then make the data available in a series of standardized forms, both human-
3609 and machine-readable, with rich metadata about the sources, the licenses,
3610 and data types. Figure.NZ has a chart-designing tool that makes simple bar,
3611 line, and area graphs from any data source.  The graphs are posted to the
3612 Figure.NZ website, and they can also be exported in a variety of formats for
3613 print or online use.  Figure.NZ makes its data and graphs available using
3614 the Attribution (CC BY) license. This allows others to reuse, revise, remix,
3615 and redistribute Figure.NZ data and graphs as long as they give attribution
3616 to the original source and to Figure.NZ.
3617     </p><p>
3618       Lillian characterizes the initial decision to use Creative Commons as
3619 naively fortunate. It was first recommended to her by a colleague. Lillian
3620 spent time looking at what Creative Commons offered and thought it looked
3621 good, was clear, and made common sense. It was easy to use and easy for
3622 others to understand. Over time, she’s come to realize just how fortunate
3623 and important that decision turned out to be. New Zealand’s government has
3624 an open-access and licensing framework called NZGOAL, which provides
3625 guidance for agencies when they release copyrighted and noncopyrighted work
3626 and material.<a href="#ftn.idm1218" class="footnote" name="idm1218"><sup class="footnote">[119]</sup></a> It aims to standardize
3627 the licensing of works with government copyright and how they can be reused,
3628 and it does this with Creative Commons licenses. As a result, 98 percent of
3629 all government-agency data is Creative Commons licensed, fitting in nicely
3630 with Figure.NZ’s decision.
3631     </p><p>
3632       Lillian thinks current ideas of what a business is are relatively new, only
3633 a hundred years old or so. She’s convinced that twenty years from now, we
3634 will see new and different models for business.  Figure.NZ is set up as a
3635 nonprofit charity. It is purpose-driven but also strives to pay people well
3636 and thinks like a business.  Lillian sees the charity-nonprofit status as an
3637 essential element for the mission and purpose of Figure.NZ. She believes
3638 Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
3639 nonprofit status assures people who have data and people who want to use it
3640 that they can rely on Figure.NZ’s motives. People see them as a trusted
3641 wrangler and source.
3642     </p><p>
3643       Although Figure.NZ is a social enterprise that openly licenses their data
3644 and graphs for everyone to use for free, they have taken care not to be
3645 perceived as a free service all around the table. Lillian believes hundreds
3646 of millions of dollars are spent by the government and organizations to
3647 collect data. However, very little money is spent on taking that data and
3648 making it accessible, understandable, and useful for decision making.
3649 Government uses some of the data for policy, but Lillian believes that it is
3650 underutilized and the potential value is much larger.  Figure.NZ is focused
3651 on solving that problem. They believe a portion of money allocated to
3652 collecting data should go into making sure that data is useful and generates
3653 value. If the government wants citizens to understand why certain decisions
3654 are being made and to be more aware about what the government is doing, why
3655 not transform the data it collects into easily understood visuals? It could
3656 even become a way for a government or any organization to differentiate,
3657 market, and brand itself.
3658     </p><p>
3659       Figure.NZ spends a lot of time seeking to understand the motivations of data
3660 collectors and to identify the channels where it can provide value. Every
3661 part of their business model has been focused on who is going to get value
3662 from the data and visuals.
3663     </p><p>
3664       Figure.NZ has multiple lines of business. They provide commercial services
3665 to organizations that want their data publicly available and want to use
3666 Figure.NZ as their publishing platform. People who want to publish open data
3667 appreciate Figure.NZ’s ability to do it faster, more easily, and better than
3668 they can. Customers are encouraged to help their users find, use, and make
3669 things from the data they make available on Figure.NZ’s website. Customers
3670 control what is released and the license terms (although Figure.NZ
3671 encourages Creative Commons licensing). Figure.NZ also serves customers who
3672 want a specific collection of charts created—for example, for their website
3673 or annual report. Charging the organizations that want to make their data
3674 available enables Figure.NZ to provide their site free to all users, to
3675 truly democratize data.
3676     </p><p>
3677       Lillian notes that the current state of most data is terrible and often not
3678 well understood by the people who have it. This sometimes makes it difficult
3679 for customers and Figure.NZ to figure out what it would cost to import,
3680 standardize, and display that data in a useful way. To deal with this,
3681 Figure.NZ uses <span class="quote">„<span class="quote">high-trust contracts,</span>“</span> where customers allocate
3682 a certain budget to the task that Figure.NZ is then free to draw from, as
3683 long as Figure.NZ frequently reports on what they’ve produced so the
3684 customer can determine the value for money. This strategy has helped build
3685 trust and transparency about the level of effort associated with doing work
3686 that has never been done before.
3687     </p><p>
3688       A second line of business is what Figure.NZ calls partners. ASB Bank and
3689 Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
3690 example, with their support Figure.NZ has been able to create Business
3691 Figures, a special way for businesses to find useful data without having to
3692 know what questions to ask.<a href="#ftn.idm1228" class="footnote" name="idm1228"><sup class="footnote">[120]</sup></a>
3693     </p><p>
3694       Figure.NZ also has patrons.<a href="#ftn.idm1232" class="footnote" name="idm1232"><sup class="footnote">[121]</sup></a> Patrons
3695 donate to topic areas they care about, directly enabling Figure.NZ to get
3696 data together to flesh out those areas. Patrons do not direct what data is
3697 included or excluded.
3698     </p><p>
3699       Figure.NZ also accepts philanthropic donations, which are used to provide
3700 more content, extend technology, and improve services, or are targeted to
3701 fund a specific effort or provide in-kind support.  As a charity, donations
3702 are tax deductible.
3703     </p><p>
3704       Figure.NZ has morphed and grown over time. With data aggregation, curation,
3705 and visualizing services all in-house, Figure.NZ has developed a deep
3706 expertise in taking random styles of data, standardizing it, and making it
3707 useful. Lillian realized that Figure.NZ could easily become a warehouse of
3708 seventy people doing data. But for Lillian, growth isn’t always good. In her
3709 view, bigger often means less effective. Lillian set artificial constraints
3710 on growth, forcing the organization to think differently and be more
3711 efficient. Rather than in-house growth, they are growing and building
3712 external relationships.
3713     </p><p>
3714       Figure.NZ’s website displays visuals and data associated with a wide range
3715 of categories including crime, economy, education, employment, energy,
3716 environment, health, information and communications technology, industry,
3717 tourism, and many others. A search function helps users find tables and
3718 graphs. Figure.NZ does not provide analysis or interpretation of the data or
3719 visuals.  Their goal is to teach people how to think, not think for them.
3720 Figure.NZ wants to create intuitive experiences, not user manuals.
3721     </p><p>
3722       Figure.NZ believes data and visuals should be useful. They provide their
3723 customers with a data collection template and teach them why it’s important
3724 and how to use it. They’ve begun putting more emphasis on tracking what
3725 users of their website want. They also get requests from social media and
3726 through email for them to share data for a specific topic—for example, can
3727 you share data for water quality? If they have the data, they respond
3728 quickly; if they don’t, they try and identify the organizations that would
3729 have that data and forge a relationship so they can be included on
3730 Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
3731 people to be curious about, access, and interpret data on topics they are
3732 interested in.
3733     </p><p>
3734       Lillian has a deep and profound vision for Figure.NZ that goes well beyond
3735 simply providing open-data services. She says things are different now. "We
3736 used to live in a world where it was really hard to share information
3737 widely. And in that world, the best future was created by having a few great
3738 leaders who essentially had access to the information and made decisions on
3739 behalf of others, whether it was on behalf of a country or companies.
3740     </p><p>
3741       "But now we live in a world where it’s really easy to share information
3742 widely and also to communicate widely. In the world we live in now, the best
3743 future is the one where everyone can make well-informed decisions.
3744     </p><p>
3745       "The use of numbers and data as a way of making well-informed decisions is
3746 one of the areas where there is the biggest gaps. We don’t really use
3747 numbers as a part of our thinking and part of our understanding yet.
3748     </p><p>
3749       "Part of the reason is the way data is spread across hundreds of sites. In
3750 addition, for the most part, deep thinking based on data is constrained to
3751 experts because most people don’t have data literacy. There once was a time
3752 when many citizens in society couldn’t read or write. However, as a society,
3753 we’ve now come to believe that reading and writing skills should be
3754 something all citizens have. We haven’t yet adopted a similar belief around
3755 numbers and data literacy. We largely still believe that only a few
3756 specially trained people can analyze and think with numbers.
3757     </p><p>
3758       "Figure.NZ may be the first organization to assert that everyone can use
3759 numbers in their thinking, and it’s built a technological platform along
3760 with trust and a network of relationships to make that possible. What you
3761 can see on Figure.NZ are tens of thousands of graphs, maps, and data.
3762     </p><p>
3763         <span class="quote">„<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
3764 analyze what they see around them. A way to be thoughtful and informed about
3765 society. A means of engaging in conversation and shaping decision making
3766 that transcends personal experience.  The long-term value and impact is
3767 almost impossible to measure, but the goal is to help citizens gain
3768 understanding and work together in more informed ways to shape the
3769 future.</span>“</span>
3770       </p><p>
3771       Lillian sees Figure.NZ’s model as having global potential. But for now,
3772 their focus is completely on making Figure.NZ work in New Zealand and to get
3773 the <span class="quote">„<span class="quote">network effect</span>“</span>— users dramatically increasing value for
3774 themselves and for others through use of their service. Creative Commons is
3775 core to making the network effect possible.
3776     </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>
3777         Knowledge Unlatched is a not-for-profit community interest company that
3778 brings libraries together to pool funds to publish open-access
3779 books. Founded in 2012 in the UK.
3780       </p><p>
3781           <a class="ulink" href="http://knowledgeunlatched.org" target="_top">http://knowledgeunlatched.org</a>
3782         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding (specialized)
3783       </p><p><span class="strong"><strong>Interview date</strong></span>: February 26, 2016
3784       </p><p><span class="strong"><strong>Interviewee</strong></span>: Frances Pinter, founder
3785       </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}
3786     \textit{
3787         Profile written by Paul Stacey
3788       }
3789     \end{flushright}</td></tr></table></div><p>
3790       The serial entrepreneur Dr. Frances Pinter has been at the forefront of
3791 innovation in the publishing industry for nearly forty years. She founded
3792 the UK-based Knowledge Unlatched with a mission to enable open access to
3793 scholarly books. For Frances, the current scholarly- book-publishing system
3794 is not working for anyone, and especially not for monographs in the
3795 humanities and social sciences. Knowledge Unlatched is committed to changing
3796 this and has been working with libraries to create a sustainable alternative
3797 model for publishing scholarly books, sharing the cost of making monographs
3798 (released under a Creative Commons license)  and savings costs over the long
3799 term. Since its launch, Knowledge Unlatched has received several awards,
3800 including the IFLA/Brill Open Access award in 2014 and a Curtin University
3801 Commercial Innovation Award for Innovation in Education in 2015.
3802     </p><p>
3803       Dr. Pinter has been in academic publishing most of her career.  About ten
3804 years ago, she became acquainted with the Creative Commons founder Lawrence
3805 Lessig and got interested in Creative Commons as a tool for both protecting
3806 content online and distributing it free to users.
3807     </p><p>
3808       Not long after, she ran a project in Africa convincing publishers in Uganda
3809 and South Africa to put some of their content online for free using a
3810 Creative Commons license and to see what happened to print sales. Sales went
3811 up, not down.
3812     </p><p>
3813       In 2008, Bloomsbury Academic, a new imprint of Bloomsbury Publishing in the
3814 United Kingdom, appointed her its founding publisher in London. As part of
3815 the launch, Frances convinced Bloomsbury to differentiate themselves by
3816 putting out monographs for free online under a Creative Commons license
3817 (BY-NC or BY-NC-ND, i.e., Attribution-NonCommercial or
3818 Attribution-NonCommercial-NoDerivs). This was seen as risky, as the biggest
3819 cost for publishers is getting a book to the stage where it can be
3820 printed. If everyone read the online book for free, there would be no
3821 print-book sales at all, and the costs associated with getting the book to
3822 print would be lost.  Surprisingly, Bloomsbury found that sales of the print
3823 versions of these books were 10 to 20 percent higher than normal. Frances
3824 found it intriguing that the Creative Commons–licensed free online book acts
3825 as a marketing vehicle for the print format.
3826     </p><p>
3827       Frances began to look at customer interest in the three forms of the book:
3828 1) the Creative Commons–licensed free online book in PDF form, 2) the
3829 printed book, and 3) a digital version of the book on an aggregator platform
3830 with enhanced features. She thought of this as the <span class="quote">„<span class="quote">ice cream
3831 model</span>“</span>: the free PDF was vanilla ice cream, the printed book was an
3832 ice cream cone, and the enhanced e-book was an ice cream sundae.
3833     </p><p>
3834       After a while, Frances had an epiphany—what if there was a way to get
3835 libraries to underwrite the costs of making these books up until they’re
3836 ready be printed, in other words, cover the fixed costs of getting to the
3837 first digital copy? Then you could either bring down the cost of the printed
3838 book, or do a whole bunch of interesting things with the printed book and
3839 e-book—the ice cream cone or sundae part of the model.
3840     </p><p>
3841       This idea is similar to the article-processing charge some open-access
3842 journals charge researchers to cover publishing costs.  Frances began to
3843 imagine a coalition of libraries paying for the prepress costs—a
3844 <span class="quote">„<span class="quote">book-processing charge</span>“</span>—and providing everyone in the world
3845 with an open-access version of the books released under a Creative Commons
3846 license.
3847     </p><p>
3848       This idea really took hold in her mind. She didn’t really have a name for it
3849 but began talking about it and making presentations to see if there was
3850 interest. The more she talked about it, the more people agreed it had
3851 appeal. She offered a bottle of champagne to anyone who could come up with a
3852 good name for the idea. Her husband came up with Knowledge Unlatched, and
3853 after two years of generating interest, she decided to move forward and
3854 launch a community interest company (a UK term for not-for-profit social
3855 enterprises) in 2012.
3856     </p><p>
3857       She describes the business model in a paper called Knowledge Unlatched:
3858 Toward an Open and Networked Future for Academic Publishing:
3859     </p><div class="orderedlist"><ol class="orderedlist compact" type="1"><li class="listitem"><p>
3860           Publishers offer titles for sale reflecting origination costs only via
3861 Knowledge Unlatched.
3862         </p></li><li class="listitem"><p>
3863           Individual libraries select titles either as individual titles or as
3864 collections (as they do from library suppliers now).
3865         </p></li><li class="listitem"><p>
3866           Their selections are sent to Knowledge Unlatched specifying the titles to be
3867 purchased at the stated price(s).
3868         </p></li><li class="listitem"><p>
3869           The price, called a Title Fee (set by publishers and negotiated by Knowledge
3870 Unlatched), is paid to publishers to cover the fixed costs of publishing
3871 each of the titles that were selected by a minimum number of libraries to
3872 cover the Title Fee.
3873         </p></li><li class="listitem"><p>
3874           Publishers make the selected titles available Open Access (on a Creative
3875 Commons or similar open license) and are then paid the Title Fee which is
3876 the total collected from the libraries.
3877         </p></li><li class="listitem"><p>
3878           Publishers make print copies, e-Pub, and other digital versions of selected
3879 titles available to member libraries at a discount that reflects their
3880 contribution to the Title Fee and incentivizes membership.<a href="#ftn.idm1285" class="footnote" name="idm1285"><sup class="footnote">[122]</sup></a>
3881         </p></li></ol></div><p>
3882       The first round of this model resulted in a collection of twenty-eight
3883 current titles from thirteen recognized scholarly publishers being
3884 unlatched. The target was to have two hundred libraries participate. The
3885 cost of the package per library was capped at $1,680, which was an average
3886 price of sixty dollars per book, but in the end they had nearly three
3887 hundred libraries sharing the costs, and the price per book came in at just
3888 under forty-three dollars.
3889     </p><p>
3890       The open-access, Creative Commons versions of these twenty-eight books are
3891 still available online.<a href="#ftn.idm1290" class="footnote" name="idm1290"><sup class="footnote">[123]</sup></a> Most books have
3892 been licensed with CC BY-NC or CC BY-NC-ND. Authors are the copyright
3893 holder, not the publisher, and negotiate choice of license as part of the
3894 publishing agreement.  Frances has found that most authors want to retain
3895 control over the commercial and remix use of their work. Publishers list the
3896 book in their catalogs, and the noncommercial restriction in the Creative
3897 Commons license ensures authors continue to get royalties on sales of
3898 physical copies.
3899     </p><p>
3900       There are three cost variables to consider for each round: the overall cost
3901 incurred by the publishers, total cost for each library to acquire all the
3902 books, and the individual price per book. The fee publishers charge for each
3903 title is a fixed charge, and Knowledge Unlatched calculates the total amount
3904 for all the books being unlatched at a time. The cost of an order for each
3905 library is capped at a maximum based on a minimum number of libraries
3906 participating. If the number of participating libraries exceeds the minimum,
3907 then the cost of the order and the price per book go down for each library.
3908     </p><p>
3909       The second round, recently completed, unlatched seventy-eight books from
3910 twenty-six publishers. For this round, Frances was experimenting with the
3911 size and shape of the offerings. Books were being bundled into eight small
3912 packages separated by subject (including Anthropology, History, Literature,
3913 Media and Communications, and Politics), of around ten books per package.
3914 Three hundred libraries around the world have to commit to at least six of
3915 the eight packages to enable unlatching. The average cost per book was just
3916 under fifty dollars. The unlatching process took roughly ten months. It
3917 started with a call to publishers for titles, followed by having a library
3918 task force select the titles, getting authors’ permissions, getting the
3919 libraries to pledge, billing the libraries, and finally, unlatching.
3920     </p><p>
3921       The longest part of the whole process is getting libraries to pledge and
3922 commit funds. It takes about five months, as library buy-in has to fit
3923 within acquisition cycles, budget cycles, and library-committee meetings.
3924     </p><p>
3925       Knowledge Unlatched informs and recruits libraries through social media,
3926 mailing lists, listservs, and library associations. Of the three hundred
3927 libraries that participated in the first round, 80 percent are also
3928 participating in the second round, and there are an additional eighty new
3929 libraries taking part. Knowledge Unlatched is also working not just with
3930 individual libraries but also library consortia, which has been getting even
3931 more libraries involved.
3932     </p><p>
3933       Knowledge Unlatched is scaling up, offering 150 new titles in the second
3934 half of 2016. It will also offer backlist titles, and in 2017 will start to
3935 make journals open access too.
3936     </p><p>
3937       Knowledge Unlatched deliberately chose monographs as the initial type of
3938 book to unlatch. Monographs are foundational and important, but also
3939 problematic to keep going in the standard closed publishing model.
3940     </p><p>
3941       The cost for the publisher to get to a first digital copy of a monograph is
3942 $5,000 to $50,000. A good one costs in the $10,000 to $15,000
3943 range. Monographs typically don’t sell a lot of copies. A publisher who in
3944 the past sold three thousand copies now typically sells only three
3945 hundred. That makes unlatching monographs a low risk for publishers. For the
3946 first round, it took five months to get thirteen publishers. For the second
3947 round, it took one month to get twenty-six.
3948     </p><p>
3949       Authors don’t generally make a lot of royalties from monographs.  Royalties
3950 range from zero dollars to 5 to 10 percent of receipts.  The value to the
3951 author is the awareness it brings to them; when their book is being read, it
3952 increases their reputation. Open access through unlatching generates many
3953 more downloads and therefore awareness. (On the Knowledge Unlatched website,
3954 you can find interviews with the twenty-eight round-one authors describing
3955 their experience and the benefits of taking part.)<a href="#ftn.idm1301" class="footnote" name="idm1301"><sup class="footnote">[124]</sup></a>
3956     </p><p>
3957       Library budgets are constantly being squeezed, partly due to the inflation
3958 of journal subscriptions. But even without budget constraints, academic
3959 libraries are moving away from buying physical copies. An academic library
3960 catalog entry is typically a URL to wherever the book is hosted. Or if they
3961 have enough electronic storage space, they may download the digital file
3962 into their digital repository. Only secondarily do they consider getting a
3963 print book, and if they do, they buy it separately from the digital version.
3964     </p><p>
3965       Knowledge Unlatched offers libraries a compelling economic argument. Many of
3966 the participating libraries would have bought a copy of the monograph
3967 anyway, but instead of paying $95 for a print copy or $150 for a digital
3968 multiple-use copy, they pay $50 to unlatch. It costs them less, and it opens
3969 the book to not just the participating libraries, but to the world.
3970     </p><p>
3971       Not only do the economics make sense, but there is very strong alignment
3972 with library mandates. The participating libraries pay less than they would
3973 have in the closed model, and the open-access book is available to all
3974 libraries. While this means nonparticipating libraries could be seen as free
3975 riders, in the library world, wealthy libraries are used to paying more than
3976 poor libraries and accept that part of their money should be spent to
3977 support open access. <span class="quote">„<span class="quote">Free ride</span>“</span> is more like community
3978 responsibility. By the end of March 2016, the round-one books had been
3979 downloaded nearly eighty thousand times in 175 countries.
3980     </p><p>
3981       For publishers, authors, and librarians, the Knowledge Unlatched model for
3982 monographs is a win-win-win.
3983     </p><p>
3984       In the first round, Knowledge Unlatched’s overheads were covered by
3985 grants. In the second round, they aim to demonstrate the model is
3986 sustainable. Libraries and publishers will each pay a 7.5 percent service
3987 charge that will go toward Knowledge Unlatched’s running costs. With plans
3988 to scale up in future rounds, Frances figures they can fully recover costs
3989 when they are unlatching two hundred books at a time. Moving forward,
3990 Knowledge Unlatched is making investments in technology and
3991 processes. Future plans include unlatching journals and older books.
3992     </p><p>
3993       Frances believes that Knowledge Unlatched is tapping into new ways of
3994 valuing academic content. It’s about considering how many people can find,
3995 access, and use your content without pay barriers. Knowledge Unlatched taps
3996 into the new possibilities and behaviors of the digital world. In the
3997 Knowledge Unlatched model, the content-creation process is exactly the same
3998 as it always has been, but the economics are different. For Frances,
3999 Knowledge Unlatched is connected to the past but moving into the future, an
4000 evolution rather than a revolution.
4001     </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>
4002         Lumen Learning is a for-profit company helping educational institutions use
4003 open educational resources (OER). Founded in 2013 in the U.S.
4004       </p><p>
4005           <a class="ulink" href="http://lumenlearning.com" target="_top">http://lumenlearning.com</a>
4006         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
4007 services, grant funding
4008       </p><p><span class="strong"><strong>Interview date</strong></span>: December 21, 2015
4009       </p><p><span class="strong"><strong>Interviewees</strong></span>: David Wiley and Kim Thanos,
4010 cofounders
4011       </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}
4012     \textit{
4013         Profile written by Paul Stacey
4014       }
4015     \end{flushright}</td></tr></table></div><p>
4016       Cofounded by open education visionary Dr. David Wiley and
4017 education-technology strategist Kim Thanos, Lumen Learning is dedicated to
4018 improving student success, bringing new ideas to pedagogy, and making
4019 education more affordable by facilitating adoption of open educational
4020 resources. In 2012, David and Kim partnered on a grant-funded project called
4021 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
4022 eight colleges predominantly serving at-risk students, with goals to
4023 dramatically reduce textbook costs and collaborate to improve the courses to
4024 help students succeed. David and Kim exceeded those goals: the cost of the
4025 required textbooks, replaced with OER, decreased to zero dollars, and
4026 average student-success rates improved by 5 to 10 percent when compared with
4027 previous years. After a second round of funding, a total of more than
4028 twenty-five institutions participated in and benefited from this project. It
4029 was career changing for David and Kim to see the impact this initiative had
4030 on low-income students. David and Kim sought further funding from the Bill
4031 and Melinda Gates Foundation, who asked them to define a plan to scale their
4032 work in a financially sustainable way. That is when they decided to create
4033 Lumen Learning.
4034     </p><p>
4035       David and Kim went back and forth on whether it should be a nonprofit or
4036 for- profit. A nonprofit would make it a more comfortable fit with the
4037 education sector but meant they’d be constantly fund-raising and seeking
4038 grants from philanthropies.  Also, grants usually require money to be used
4039 in certain ways for specific deliverables. If you learn things along the way
4040 that change how you think the grant money should be used, there often isn’t
4041 a lot of flexibility to do so.
4042     </p><p>
4043       But as a for-profit, they’d have to convince educational institutions to pay
4044 for what Lumen had to offer. On the positive side, they’d have more control
4045 over what to do with the revenue and investment money; they could make
4046 decisions to invest the funds or use them differently based on the situation
4047 and shifting opportunities. In the end, they chose the for-profit status,
4048 with its different model for and approach to sustainability.
4049     </p><p>
4050       Right from the start, David and Kim positioned Lumen Learning as a way to
4051 help institutions engage in open educational resources, or OER. OER are
4052 teaching, learning, and research materials, in all different media, that
4053 reside in the public domain or are released under an open license that
4054 permits free use and repurposing by others.
4055     </p><p>
4056       Originally, Lumen did custom contracts for each institution. This was
4057 complicated and challenging to manage. However, through that process
4058 patterns emerged which allowed them to generalize a set of approaches and
4059 offerings. Today they don’t customize as much as they used to, and instead
4060 they tend to work with customers who can use their off-the-shelf
4061 options. Lumen finds that institutions and faculty are generally very good
4062 at seeing the value Lumen brings and are willing to pay for it. Serving
4063 disadvantaged learner populations has led Lumen to be very pragmatic; they
4064 describe what they offer in quantitative terms—with facts and figures—and in
4065 a way that is very student-focused. Lumen Learning helps colleges and
4066 universities—
4067     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4068           replace expensive textbooks in high-enrollment courses with OER;
4069         </p></li><li class="listitem"><p>
4070           provide enrolled students day one access to Lumen’s fully customizable OER
4071 course materials through the institution’s learning-management system;
4072         </p></li><li class="listitem"><p>
4073           measure improvements in student success with metrics like passing rates,
4074 persistence, and course completion; and
4075         </p></li><li class="listitem"><p>
4076           collaborate with faculty to make ongoing improvements to OER based on
4077 student success research.
4078         </p></li></ul></div><p>
4079       Lumen has developed a suite of open, Creative Commons–licensed courseware in
4080 more than sixty-five subjects. All courses are freely and publicly available
4081 right off their website. They can be copied and used by others as long as
4082 they provide attribution to Lumen Learning following the terms of the
4083 Creative Commons license.
4084     </p><p>
4085       Then there are three types of bundled services that cost money.  One option,
4086 which Lumen calls Candela courseware, offers integration with the
4087 institution’s learning-management system, technical and pedagogical support,
4088 and tracking of effectiveness.  Candela courseware costs institutions ten
4089 dollars per enrolled student.
4090     </p><p>
4091       A second option is Waymaker, which offers the services of Candela but adds
4092 personalized learning technologies, such as study plans, automated messages,
4093 and assessments, and helps instructors find and support the students who
4094 need it most. Waymaker courses cost twenty-five dollars per enrolled
4095 student.
4096     </p><p>
4097       The third and emerging line of business for Lumen is providing guidance and
4098 support for institutions and state systems that are pursuing the development
4099 of complete OER degrees. Often called Z-Degrees, these programs eliminate
4100 textbook costs for students in all courses that make up the degree (both
4101 required and elective)  by replacing commercial textbooks and other
4102 expensive resources with OER.
4103     </p><p>
4104       Lumen generates revenue by charging for their value-added tools and services
4105 on top of their free courses, just as solar-power companies provide the
4106 tools and services that help people use a free resource—sunlight. And
4107 Lumen’s business model focuses on getting the institutions to pay, not the
4108 students. With projects they did prior to Lumen, David and Kim learned that
4109 students who have access to all course materials from day one have greater
4110 success. If students had to pay, Lumen would have to restrict access to
4111 those who paid. Right from the start, their stance was that they would not
4112 put their content behind a paywall. Lumen invests zero dollars in
4113 technologies and processes for restricting access—no digital rights
4114 management, no time bombs. While this has been a challenge from a
4115 business-model perspective, from an open-access perspective, it has
4116 generated immense goodwill in the community.
4117     </p><p>
4118       In most cases, development of their courses is funded by the institution
4119 Lumen has a contract with. When creating new courses, Lumen typically works
4120 with the faculty who are teaching the new course. They’re often part of the
4121 institution paying Lumen, but sometimes Lumen has to expand the team and
4122 contract faculty from other institutions. First, the faculty identifies all
4123 of the course’s learning outcomes. Lumen then searches for, aggregates, and
4124 curates the best OER they can find that addresses those learning needs,
4125 which the faculty reviews.
4126     </p><p>
4127       Sometimes faculty like the existing OER but not the way it is presented. The
4128 open licensing of existing OER allows Lumen to pick and choose from images,
4129 videos, and other media to adapt and customize the course. Lumen creates new
4130 content as they discover gaps in existing OER. Test-bank items and feedback
4131 for students on their progress are areas where new content is frequently
4132 needed.  Once a course is created, Lumen puts it on their platform with all
4133 the attributions and links to the original sources intact, and any of
4134 Lumen’s new content is given an Attribution (CC BY) license.
4135     </p><p>
4136       Using only OER made them experience firsthand how complex it could be to mix
4137 differently licensed work together. A common strategy with OER is to place
4138 the Creative Commons license and attribution information in the website’s
4139 footer, which stays the same for all pages. This doesn’t quite work,
4140 however, when mixing different OER together.
4141     </p><p>
4142       Remixing OER often results in multiple attributions on every page of every
4143 course—text from one place, images from another, and videos from yet
4144 another. Some are licensed as Attribution (CC BY), others as
4145 Attribution-ShareAlike (CC BY-SA). If this information is put within the
4146 text of the course, faculty members sometimes try to edit it and students
4147 find it a distraction. Lumen dealt with this challenge by capturing the
4148 license and attribution information as metadata, and getting it to show up
4149 at the end of each page.
4150     </p><p>
4151       Lumen’s commitment to open licensing and helping low-income students has led
4152 to strong relationships with institutions, open-education enthusiasts, and
4153 grant funders. People in their network generously increase the visibility of
4154 Lumen through presentations, word of mouth, and referrals. Sometimes the
4155 number of general inquiries exceed Lumen’s sales capacity.
4156     </p><p>
4157       To manage demand and ensure the success of projects, their strategy is to be
4158 proactive and focus on what’s going on in higher education in different
4159 regions of the United States, watching out for things happening at the
4160 system level in a way that fits with what Lumen offers. A great example is
4161 the Virginia community college system, which is building out
4162 Z-Degrees. David and Kim say there are nine other U.S. states with similar
4163 system-level activity where Lumen is strategically focusing its
4164 efforts. Where there are projects that would require a lot of resources on
4165 Lumen’s part, they prioritize the ones that would impact the largest number
4166 of students.
4167     </p><p>
4168       As a business, Lumen is committed to openness. There are two core
4169 nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
4170 Commons licenses, for all the materials it creates; and day-one access for
4171 students. Having clear nonnegotiables allows them to then engage with the
4172 education community to solve for other challenges and work with institutions
4173 to identify new business models that achieve institution goals, while
4174 keeping Lumen healthy.
4175     </p><p>
4176       Openness also means that Lumen’s OER must necessarily be nonexclusive and
4177 nonrivalrous. This represents several big challenges for the business model:
4178 Why should you invest in creating something that people will be reluctant to
4179 pay for? How do you ensure that the investment the diverse education
4180 community makes in OER is not exploited? Lumen thinks we all need to be
4181 clear about how we are benefiting from and contributing to the open
4182 community.
4183     </p><p>
4184       In the OER sector, there are examples of corporations, and even
4185 institutions, acting as free riders. Some simply take and use open resources
4186 without paying anything or contributing anything back.  Others give back the
4187 minimum amount so they can save face.  Sustainability will require those
4188 using open resources to give back an amount that seems fair or even give
4189 back something that is generous.
4190     </p><p>
4191       Lumen does track institutions accessing and using their free content. They
4192 proactively contact those institutions, with an estimate of how much their
4193 students are saving and encouraging them to switch to a paid model. Lumen
4194 explains the advantages of the paid model: a more interactive relationship
4195 with Lumen; integration with the institution’s learning-management system; a
4196 guarantee of support for faculty and students; and future sustainability
4197 with funding supporting the evolution and improvement of the OER they are
4198 using.
4199     </p><p>
4200       Lumen works hard to be a good corporate citizen in the OER community. For
4201 David and Kim, a good corporate citizen gives more than they take, adds
4202 unique value, and is very transparent about what they are taking from
4203 community, what they are giving back, and what they are monetizing. Lumen
4204 believes these are the building blocks of a sustainable model and strives
4205 for a correct balance of all these factors.
4206     </p><p>
4207       Licensing all the content they produce with CC BY is a key part of giving
4208 more value than they take. They’ve also worked hard at finding the right
4209 structure for their value-add and how to package it in a way that is
4210 understandable and repeatable.
4211     </p><p>
4212       As of the fall 2016 term, Lumen had eighty-six different open courses,
4213 working relationships with ninety-two institutions, and more than
4214 seventy-five thousand student enrollments. Lumen received early start-up
4215 funding from the Bill and Melinda Gates Foundation, the Hewlett Foundation,
4216 and the Shuttleworth Foundation. Since then, Lumen has also attracted
4217 investment funding. Over the last three years, Lumen has been roughly 60
4218 percent grant funded, 20 percent revenue earned, and 20 percent funded with
4219 angel capital. Going forward, their strategy is to replace grant funding
4220 with revenue.
4221     </p><p>
4222       In creating Lumen Learning, David and Kim say they’ve landed on solutions
4223 they never imagined, and there is still a lot of learning taking place. For
4224 them, open business models are an emerging field where we are all learning
4225 through sharing. Their biggest recommendations for others wanting to pursue
4226 the open model are to make your commitment to open resources public, let
4227 people know where you stand, and don’t back away from it. It really is about
4228 trust.
4229     </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>
4230         Jonathan Mann is a singer and songwriter who is most well known as the
4231 <span class="quote">„<span class="quote">Song A Day</span>“</span> guy. Based in the U.S.
4232       </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>
4233       </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
4234 services, pay-what-you-want, crowdfunding (subscription-based), charging for
4235 in-person version (speaking engagements and musical performances)
4236       </p><p><span class="strong"><strong>Interview date</strong></span>: February 22, 2016
4237       </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}
4238     \textit{
4239         Profile written by Sarah Hinchliff Pearson
4240       }
4241     \end{flushright}</td></tr></table></div><p>
4242       Jonathan Mann thinks of his business model as
4243 <span class="quote">„<span class="quote">hustling</span>“</span>—seizing nearly every opportunity he sees to make
4244 money. The bulk of his income comes from writing songs under commission for
4245 people and companies, but he has a wide variety of income sources. He has
4246 supporters on the crowdfunding site Patreon. He gets advertising revenue
4247 from YouTube and Bandcamp, where he posts all of his music. He gives paid
4248 speaking engagements about creativity and motivation. He has been hired by
4249 major conferences to write songs summarizing what speakers have said in the
4250 conference sessions.
4251     </p><p>
4252       His entrepreneurial spirit is coupled with a willingness to take action
4253 quickly. A perfect illustration of his ability to act fast happened in 2010,
4254 when he read that Apple was having a conference the following day to address
4255 a snafu related to the iPhone 4. He decided to write and post a song about
4256 the iPhone 4 that day, and the next day he got a call from the public
4257 relations people at Apple wanting to use and promote his video at the Apple
4258 conference. The song then went viral, and the experience landed him in Time
4259 magazine.
4260     </p><p>
4261       Jonathan’s successful <span class="quote">„<span class="quote">hustling</span>“</span> is also about old-fashioned
4262 persistence. He is currently in his eighth straight year of writing one song
4263 each day. He holds the Guinness World Record for consecutive daily
4264 songwriting, and he is widely known as the <span class="quote">„<span class="quote">song-a-day guy.</span>“</span>
4265     </p><p>
4266       He fell into this role by, naturally, seizing a random opportunity a friend
4267 alerted him to seven years ago—an event called Fun-A-Day, where people are
4268 supposed to create a piece of art every day for thirty-one days straight. He
4269 was in need of a new project, so he decided to give it a try by writing and
4270 posting a song each day.  He added a video component to the songs because he
4271 knew people were more likely to watch video online than simply listening to
4272 audio files.
4273     </p><p>
4274       He had a really good time doing the thirty-one-day challenge, so he decided
4275 to see if he could continue it for one year. He never stopped. He has
4276 written and posted a new song literally every day, seven days a week, since
4277 he began the project in 2009. When he isn’t writing songs that he is hired
4278 to write by clients, he writes songs about whatever is on his mind that
4279 day. His songs are catchy and mostly lighthearted, but they often contain at
4280 least an undercurrent of a deeper theme or meaning. Occasionally, they are
4281 extremely personal, like the song he cowrote with his exgirlfriend
4282 announcing their breakup. Rain or shine, in sickness or health, Jonathan
4283 posts and writes a song every day. If he is on a flight or otherwise
4284 incapable of getting Internet access in time to meet the deadline, he will
4285 prepare ahead and have someone else post the song for him.
4286     </p><p>
4287       Over time, the song-a-day gig became the basis of his livelihood.  In the
4288 beginning, he made money one of two ways. The first was by entering a wide
4289 variety of contests and winning a handful. The second was by having the
4290 occasional song and video go some varying degree of viral, which would bring
4291 more eyeballs and mean that there were more people wanting him to write
4292 songs for them. Today he earns most of his money this way.
4293     </p><p>
4294       His website explains his gig as <span class="quote">„<span class="quote">taking any message, from the super
4295 simple to the totally complicated, and conveying that message through a
4296 heartfelt, fun and quirky song.</span>“</span> He charges $500 to create a produced
4297 song and $300 for an acoustic song. He has been hired for product launches,
4298 weddings, conferences, and even Kickstarter campaigns like the one that
4299 funded the production of this book.
4300     </p><p>
4301       Jonathan can’t recall when exactly he first learned about Creative Commons,
4302 but he began applying CC licenses to his songs and videos as soon as he
4303 discovered the option. <span class="quote">„<span class="quote">CC seems like such a no-brainer,</span>“</span>
4304 Jonathan said. <span class="quote">„<span class="quote">I don’t understand how anything else would make
4305 sense. It seems like such an obvious thing that you would want your work to
4306 be able to be shared.</span>“</span>
4307     </p><p>
4308       His songs are essentially marketing for his services, so obviously the
4309 further his songs spread, the better. Using CC licenses helps grease the
4310 wheels, letting people know that Jonathan allows and encourages them to
4311 copy, interact with, and remix his music.  <span class="quote">„<span class="quote">If you let someone cover
4312 your song or remix it or use parts of it, that’s how music is supposed to
4313 work,</span>“</span> Jonathan said. <span class="quote">„<span class="quote">That is how music has worked since the
4314 beginning of time. Our me-me, mine-mine culture has undermined that.</span>“</span>
4315     </p><p>
4316       There are some people who cover his songs fairly regularly, and he would
4317 never shut that down. But he acknowledges there is a lot more he could do to
4318 build community. <span class="quote">„<span class="quote">There is all of this conventional wisdom about how
4319 to build an audience online, and I generally think I don’t do any of
4320 that,</span>“</span> Jonathan said.
4321     </p><p>
4322       He does have a fan community he cultivates on Bandcamp, but it isn’t his
4323 major focus. <span class="quote">„<span class="quote">I do have a core audience that has stuck around for a
4324 really long time, some even longer than I’ve been doing song-a-day,</span>“</span>
4325 he said. <span class="quote">„<span class="quote">There is also a transitional aspect that drop in and get
4326 what they need and then move on.</span>“</span> Focusing less on community building
4327 than other artists makes sense given Jonathan’s primary income source of
4328 writing custom songs for clients.
4329     </p><p>
4330       Jonathan recognizes what comes naturally to him and leverages those
4331 skills. Through the practice of daily songwriting, he realized he has a gift
4332 for distilling complicated subjects into simple concepts and putting them to
4333 music. In his song <span class="quote">„<span class="quote">How to Choose a Master Password,</span>“</span> Jonathan
4334 explained the process of creating a secure password in a silly, simple
4335 song. He was hired to write the song by a client who handed him a long
4336 technical blog post from which to draw the information. Like a good (and
4337 rare) journalist, he translated the technical concepts into something
4338 understandable.
4339     </p><p>
4340       When he is hired by a client to write a song, he first asks them to send a
4341 list of talking points and other information they want to include in the
4342 song. He puts all of that into a text file and starts moving things around,
4343 cutting and pasting until the message starts to come together. The first
4344 thing he tries to do is grok the core message and develop the chorus. Then
4345 he looks for connections or parts he can make rhyme. The entire process
4346 really does resemble good journalism, but of course the final product of his
4347 work is a song rather than news. <span class="quote">„<span class="quote">There is something about being
4348 challenged and forced to take information that doesn’t seem like it should
4349 be sung about or doesn’t seem like it lends itself to a song,</span>“</span> he
4350 said. <span class="quote">„<span class="quote">I find that creative challenge really satisfying. I enjoy
4351 getting lost in that process.</span>“</span>
4352     </p><p>
4353       Jonathan admits that in an ideal world, he would exclusively write the music
4354 he wanted to write, rather than what clients hire him to write. But his
4355 business model is about capitalizing on his strengths as a songwriter, and
4356 he has found a way to keep it interesting for himself.
4357     </p><p>
4358       Jonathan uses nearly every tool possible to make money from his art, but he
4359 does have lines he won’t cross. He won’t write songs about things he
4360 fundamentally does not believe in, and there are times he has turned down
4361 jobs on principle. He also won’t stray too much from his natural
4362 style. <span class="quote">„<span class="quote">My style is silly, so I can’t really accommodate people who
4363 want something super serious,</span>“</span> Jonathan said. <span class="quote">„<span class="quote">I do what I do
4364 very easily, and it’s part of who I am.</span>“</span> Jonathan hasn’t gotten into
4365 writing commercials for the same reasons; he is best at using his own unique
4366 style rather than mimicking others.
4367     </p><p>
4368       Jonathan’s song-a-day commitment exemplifies the power of habit and
4369 grit. Conventional wisdom about creative productivity, including advice in
4370 books like the best-seller The Creative Habit by Twyla Tharp, routinely
4371 emphasizes the importance of ritual and action. No amount of planning can
4372 replace the value of simple practice and just doing. Jonathan Mann’s work is
4373 a living embodiment of these principles.
4374     </p><p>
4375       When he speaks about his work, he talks about how much the song-a-day
4376 process has changed him. Rather than seeing any given piece of work as
4377 precious and getting stuck on trying to make it perfect, he has become
4378 comfortable with just doing. If today’s song is a bust, tomorrow’s song
4379 might be better.
4380     </p><p>
4381       Jonathan seems to have this mentality about his career more generally. He is
4382 constantly experimenting with ways to make a living while sharing his work
4383 as widely as possible, seeing what sticks. While he has major
4384 accomplishments he is proud of, like being in the Guinness World Records or
4385 having his song used by Steve Jobs, he says he never truly feels successful.
4386     </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
4387 extent, a creative person is not ever going to feel completely satisfied
4388 because then so much of what drives you would be gone.</span>“</span>
4389     </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>
4390         The Noun Project is a for-profit company offering an online platform to
4391 display visual icons from a global network of designers. Founded in 2010 in
4392 the U.S.
4393       </p><p>
4394           <a class="ulink" href="http://thenounproject.com" target="_top">http://thenounproject.com</a>
4395         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction
4396 fee, charging for custom services
4397       </p><p><span class="strong"><strong>Interview date</strong></span>: October 6, 2015
4398       </p><p><span class="strong"><strong>Interviewee</strong></span>: Edward Boatman, cofounder
4399       </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}
4400     \textit{
4401         Profile written by Paul Stacey
4402       }
4403     \end{flushright}</td></tr></table></div><p>
4404       The Noun Project creates and shares visual language. There are millions who
4405 use Noun Project symbols to simplify communication across borders,
4406 languages, and cultures.
4407     </p><p>
4408       The original idea for the Noun Project came to cofounder Edward Boatman
4409 while he was a student in architecture design school. He’d always done a lot
4410 of sketches and started to draw what used to fascinate him as a child, like
4411 trains, sequoias, and bulldozers.  He began thinking how great it would be
4412 if he had a simple image or small icon of every single object or concept on
4413 the planet.
4414     </p><p>
4415       When Edward went on to work at an architecture firm, he had to make a lot of
4416 presentation boards for clients. But finding high-quality sources for
4417 symbols and icons was difficult. He couldn’t find any website that could
4418 provide them. Perhaps his idea for creating a library of icons could
4419 actually help people in similar situations.
4420     </p><p>
4421       With his partner, Sofya Polyakov, he began collecting symbols for a website
4422 and writing a business plan. Inspiration came from the book Professor and
4423 the Madman, which chronicles the use of crowdsourcing to create the Oxford
4424 English Dictionary in 1870.  Edward began to imagine crowdsourcing icons and
4425 symbols from volunteer designers around the world.
4426     </p><p>
4427       Then Edward got laid off during the recession, which turned out to be a huge
4428 catalyst. He decided to give his idea a go, and in 2010 Edward and Sofya
4429 launched the Noun Project with a Kickstarter campaign, back when Kickstarter
4430 was in its infancy.<a href="#ftn.idm1428" class="footnote" name="idm1428"><sup class="footnote">[126]</sup></a> They thought it’d
4431 be a good way to introduce the global web community to their idea. Their
4432 goal was to raise $1,500, but in twenty days they got over $14,000. They
4433 realized their idea had the potential to be something much bigger.
4434     </p><p>
4435       They created a platform where symbols and icons could be uploaded, and
4436 Edward began recruiting talented designers to contribute their designs, a
4437 process he describes as a relatively easy sell. Lots of designers have old
4438 drawings just gathering <span class="quote">„<span class="quote">digital dust</span>“</span> on their hard
4439 drives. It’s easy to convince them to finally share them with the world.
4440     </p><p>
4441       The Noun Project currently has about seven thousand designers from around
4442 the world. But not all submissions are accepted. The Noun Project’s
4443 quality-review process means that only the best works become part of its
4444 collection. They make sure to provide encouraging, constructive feedback
4445 whenever they reject a piece of work, which maintains and builds the
4446 relationship they have with their global community of designers.
4447     </p><p>
4448       Creative Commons is an integral part of the Noun Project’s business model;
4449 this decision was inspired by Chris Anderson’s book Free: The Future of
4450 Radical Price, which introduced Edward to the idea that you could build a
4451 business model around free content.
4452     </p><p>
4453       Edward knew he wanted to offer a free visual language while still providing
4454 some protection and reward for its contributors. There is a tension between
4455 those two goals, but for Edward, Creative Commons licenses bring this
4456 idealism and business opportunity together elegantly. He chose the
4457 Attribution (CC BY) license, which means people can download the icons for
4458 free and modify them and even use them commercially. The requirement to give
4459 attribution to the original creator ensures that the creator can build a
4460 reputation and get global recognition for their work. And if they simply
4461 want to offer an icon that people can use without having to give credit,
4462 they can use CC0 to put the work into the public domain.
4463     </p><p>
4464       Noun Project’s business model and means of generating revenue have evolved
4465 significantly over time. Their initial plan was to sell T-shirts with the
4466 icons on it, which in retrospect Edward says was a horrible idea. They did
4467 get a lot of email from people saying they loved the icons but asking if
4468 they could pay a fee instead of giving attribution. Ad agencies (among
4469 others) wanted to keep marketing and presentation materials clean and free
4470 of attribution statements. For Edward, <span class="quote">„<span class="quote">That’s when our lightbulb went
4471 off.</span>“</span>
4472     </p><p>
4473       They asked their global network of designers whether they’d be open to
4474 receiving modest remuneration instead of attribution.  Designers saw it as a
4475 win-win. The idea that you could offer your designs for free and have a
4476 global audience and maybe even make some money was pretty exciting for most
4477 designers.
4478     </p><p>
4479       The Noun Project first adopted a model whereby using an icon without giving
4480 attribution would cost $1.99 per icon. The model’s second iteration added a
4481 subscription component, where there would be a monthly fee to access a
4482 certain number of icons—ten, fifty, a hundred, or five hundred. However,
4483 users didn’t like these hard-count options. They preferred to try out many
4484 similar icons to see which worked best before eventually choosing the one
4485 they wanted to use. So the Noun Project moved to an unlimited model, whereby
4486 users have unlimited access to the whole library for a flat monthly
4487 fee. This service is called NounPro and costs $9.99 per month. Edward says
4488 this model is working well—good for customers, good for creators, and good
4489 for the platform.
4490     </p><p>
4491       Customers then began asking for an application-programming interface (API),
4492 which would allow Noun Project icons and symbols to be directly accessed
4493 from within other applications. Edward knew that the icons and symbols would
4494 be valuable in a lot of different contexts and that they couldn’t possibly
4495 know all of them in advance, so they built an API with a lot of
4496 flexibility.  Knowing that most API applications would want to use the icons
4497 without giving attribution, the API was built with the aim of charging for
4498 its use. You can use what’s called the <span class="quote">„<span class="quote">Playground API</span>“</span> for
4499 free to test how it integrates with your application, but full
4500 implementation will require you to purchase the API Pro version.
4501     </p><p>
4502       The Noun Project shares revenue with its international designers.  For
4503 one-off purchases, the revenue is split 70 percent to the designer and 30
4504 percent to Noun Project.
4505     </p><p>
4506       The revenue from premium purchases (the subscription and API options) is
4507 split a little differently. At the end of each month, the total revenue from
4508 subscriptions is divided by Noun Project’s total number of downloads,
4509 resulting in a rate per download—for example, it could be $0.13 per download
4510 for that month. For each download, the revenue is split 40 percent to the
4511 designer and 60 percent to the Noun Project. (For API usage, it’s per use
4512 instead of per download.) Noun Project’s share is higher this time as it’s
4513 providing more service to the user.
4514     </p><p>
4515       The Noun Project tries to be completely transparent about their royalty
4516 structure.<a href="#ftn.idm1445" class="footnote" name="idm1445"><sup class="footnote">[127]</sup></a> They tend to over
4517 communicate with creators about it because building trust is the top
4518 priority.
4519     </p><p>
4520       For most creators, contributing to the Noun Project is not a full-time job
4521 but something they do on the side. Edward categorizes monthly earnings for
4522 creators into three broad categories: enough money to buy beer; enough to
4523 pay the bills; and most successful of all, enough to pay the rent.
4524     </p><p>
4525       Recently the Noun Project launched a new app called Lingo.  Designers can
4526 use Lingo to organize not just their Noun Project icons and symbols but also
4527 their photos, illustrations, UX designs, et cetera. You simply drag any
4528 visual item directly into Lingo to save it. Lingo also works for teams so
4529 people can share visuals with each other and search across their combined
4530 collections. Lingo is free for personal use. A pro version for $9.99 per
4531 month lets you add guests. A team version for $49.95 per month allows up to
4532 twenty-five team members to collaborate, and to view, use, edit, and add new
4533 assets to each other’s collections.  And if you subscribe to NounPro, you
4534 can access Noun Project from within Lingo.
4535     </p><p>
4536       The Noun Project gives a ton of value away for free. A very large percentage
4537 of their roughly one million members have a free account, but there are
4538 still lots of paid accounts coming from digital designers, advertising and
4539 design agencies, educators, and others who need to communicate ideas
4540 visually.
4541     </p><p>
4542       For Edward, <span class="quote">„<span class="quote">creating, sharing, and celebrating the world’s visual
4543 language</span>“</span> is the most important aspect of what they do; it’s their
4544 stated mission. It differentiates them from others who offer graphics,
4545 icons, or clip art.
4546     </p><p>
4547       Noun Project creators agree. When surveyed on why they participate in the
4548 Noun Project, this is how designers rank their reasons: 1)  to support the
4549 Noun Project mission, 2) to promote their own personal brand, and 3) to
4550 generate money. It’s striking to see that money comes third, and mission,
4551 first. If you want to engage a global network of contributors, it’s
4552 important to have a mission beyond making money.
4553     </p><p>
4554       In Edward’s view, Creative Commons is central to their mission of sharing
4555 and social good. Using Creative Commons makes the Noun Project’s mission
4556 genuine and has generated a lot of their initial traction and
4557 credibility. CC comes with a built-in community of users and fans.
4558     </p><p>
4559       Edward told us, <span class="quote">„<span class="quote">Don’t underestimate the power of a passionate
4560 community around your product or your business. They are going to go to bat
4561 for you when you’re getting ripped in the media. If you go down the road of
4562 choosing to work with Creative Commons, you’re taking the first step to
4563 building a great community and tapping into a really awesome community that
4564 comes with it. But you need to continue to foster that community through
4565 other initiatives and continue to nurture it.</span>“</span>
4566     </p><p>
4567       The Noun Project nurtures their creators’ second motivation—promoting a
4568 personal brand—by connecting every icon and symbol to the creator’s name and
4569 profile page; each profile features their full collection. Users can also
4570 search the icons by the creator’s name.
4571     </p><p>
4572       The Noun Project also builds community through Iconathons—hackathons for
4573 icons.<a href="#ftn.idm1459" class="footnote" name="idm1459"><sup class="footnote">[128]</sup></a> In partnership with a sponsoring
4574 organization, the Noun Project comes up with a theme (e.g., sustainable
4575 energy, food bank, guerrilla gardening, human rights) and a list of icons
4576 that are needed, which designers are invited to create at the event.  The
4577 results are vectorized, and added to the Noun Project using CC0 so they can
4578 be used by anyone for free.
4579     </p><p>
4580       Providing a free version of their product that satisfies a lot of their
4581 customers’ needs has actually enabled the Noun Project to build the paid
4582 version, using a service-oriented model. The Noun Project’s success lies in
4583 creating services and content that are a strategic mix of free and paid
4584 while staying true to their mission—creating, sharing, and celebrating the
4585 world’s visual language. Integrating Creative Commons into their model has
4586 been key to that goal.
4587     </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>
4588         The Open Data Institute is an independent nonprofit that connects, equips,
4589 and inspires people around the world to innovate with data. Founded in 2012
4590 in the UK.
4591       </p><p>
4592           <a class="ulink" href="http://theodi.org" target="_top">http://theodi.org</a>
4593         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant and government
4594 funding, charging for custom services, donations
4595       </p><p><span class="strong"><strong>Interview date</strong></span>: November 11, 2015
4596       </p><p><span class="strong"><strong>Interviewee</strong></span>: Jeni Tennison, technical
4597 director
4598       </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}
4599     \textit{
4600         Profile written by Paul Stacey
4601       }
4602     \end{flushright}</td></tr></table></div><p>
4603       Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
4604 London-based Open Data Institute (ODI) offers data-related training, events,
4605 consulting services, and research. For ODI, Creative Commons licenses are
4606 central to making their own business model and their customers’ open. CC BY
4607 (Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the
4608 public domain)  all play a critical role in ODI’s mission to help people
4609 around the world innovate with data.
4610     </p><p>
4611       Data underpins planning and decision making across all aspects of
4612 society. Weather data helps farmers know when to plant their crops, flight
4613 time data from airplane companies helps us plan our travel, data on local
4614 housing informs city planning. When this data is not only accurate and
4615 timely, but open and accessible, it opens up new possibilities. Open data
4616 can be a resource businesses use to build new products and services. It can
4617 help governments measure progress, improve efficiency, and target
4618 investments. It can help citizens improve their lives by better
4619 understanding what is happening around them.
4620     </p><p>
4621       The Open Data Institute’s 2012–17 business plan starts out by describing its
4622 vision to establish itself as a world-leading center and to research and be
4623 innovative with the opportunities created by the UK government’s open data
4624 policy. (The government was an early pioneer in open policy and open-data
4625 initiatives.) It goes on to say that the ODI wants to—
4626     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4627           demonstrate the commercial value of open government data and how open-data
4628 policies affect this;
4629         </p></li><li class="listitem"><p>
4630           develop the economic benefits case and business models for open data;
4631         </p></li><li class="listitem"><p>
4632           help UK businesses use open data; and
4633         </p></li><li class="listitem"><p>
4634           show how open data can improve public services.<a href="#ftn.idm1488" class="footnote" name="idm1488"><sup class="footnote">[129]</sup></a>
4635         </p></li></ul></div><p>
4636       ODI is very explicit about how it wants to make open business models, and
4637 defining what this means. Jeni Tennison, ODI’s technical director, puts it
4638 this way: <span class="quote">„<span class="quote">There is a whole ecosystem of open—open-source software,
4639 open government, open-access research—and a whole ecosystem of data. ODI’s
4640 work cuts across both, with an emphasis on where they overlap—with open
4641 data.</span>“</span> ODI’s particular focus is to show open data’s potential for
4642 revenue.
4643     </p><p>
4644       As an independent nonprofit, ODI secured £10 million over five years from
4645 the UK government via Innovate UK, an agency that promotes innovation in
4646 science and technology. For this funding, ODI has to secure matching funds
4647 from other sources, some of which were met through a $4.75-million
4648 investment from the Omidyar Network.
4649     </p><p>
4650       Jeni started out as a developer and technical architect for data.gov.uk, the
4651 UK government’s pioneering open-data initiative.  She helped make data sets
4652 from government departments available as open data. She joined ODI in 2012
4653 when it was just starting up, as one of six people. It now has a staff of
4654 about sixty.
4655     </p><p>
4656       ODI strives to have half its annual budget come from the core UK government
4657 and Omidyar grants, and the other half from project-based research and
4658 commercial work. In Jeni’s view, having this balance of revenue sources
4659 establishes some stability, but also keeps them motivated to go out and
4660 generate these matching funds in response to market needs.
4661     </p><p>
4662       On the commercial side, ODI generates funding through memberships, training,
4663 and advisory services.
4664     </p><p>
4665       You can join the ODI as an individual or commercial member.  Individual
4666 membership is pay-what-you-can, with options ranging from £1 to
4667 £100. Members receive a newsletter and related communications and a discount
4668 on ODI training courses and the annual summit, and they can display an
4669 ODI-supporter badge on their website. Commercial membership is divided into
4670 two tiers: small to medium size enterprises and nonprofits at £720 a year,
4671 and corporations and government organizations at £2,200 a year.  Commercial
4672 members have greater opportunities to connect and collaborate, explore the
4673 benefits of open data, and unlock new business opportunities. (All members
4674 are listed on their website.)<a href="#ftn.idm1498" class="footnote" name="idm1498"><sup class="footnote">[130]</sup></a>
4675     </p><p>
4676       ODI provides standardized open data training courses in which anyone can
4677 enroll. The initial idea was to offer an intensive and academically oriented
4678 diploma in open data, but it quickly became clear there was no market for
4679 that. Instead, they offered a five-day-long public training course, which
4680 has subsequently been reduced to three days; now the most popular course is
4681 one day long. The fee, in addition to the time commitment, can be a barrier
4682 for participation. Jeni says, <span class="quote">„<span class="quote">Most of the people who would be able to
4683 pay don’t know they need it. Most who know they need it can’t pay.</span>“</span>
4684 Public-sector organizations sometimes give vouchers to their employees so
4685 they can attend as a form of professional development.
4686     </p><p>
4687       ODI customizes training for clients as well, for which there is more
4688 demand. Custom training usually emerges through an established relationship
4689 with an organization. The training program is based on a definition of
4690 open-data knowledge as applicable to the organization and on the skills
4691 needed by their high-level executives, management, and technical staff. The
4692 training tends to generate high interest and commitment.
4693     </p><p>
4694       Education about open data is also a part of ODI’s annual summit event, where
4695 curated presentations and speakers showcase the work of ODI and its members
4696 across the entire ecosystem. Tickets to the summit are available to the
4697 public, and hundreds of people and organizations attend and participate. In
4698 2014, there were four thematic tracks and over 750 attendees.
4699     </p><p>
4700       In addition to memberships and training, ODI provides advisory services to
4701 help with technical-data support, technology development, change management,
4702 policies, and other areas. ODI has advised large commercial organizations,
4703 small businesses, and international governments; the focus at the moment is
4704 on government, but ODI is working to shift more toward commercial
4705 organizations.
4706     </p><p>
4707       On the commercial side, the following value propositions seem to resonate:
4708     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4709           Data-driven insights. Businesses need data from outside their business to
4710 get more insight. Businesses can generate value and more effectively pursue
4711 their own goals if they open up their own data too. Big data is a hot topic.
4712         </p></li><li class="listitem"><p>
4713           Open innovation. Many large-scale enterprises are aware they don’t innovate
4714 very well. One way they can innovate is to open up their data. ODI
4715 encourages them to do so even if it exposes problems and challenges. The key
4716 is to invite other people to help while still maintaining organizational
4717 autonomy.
4718         </p></li><li class="listitem"><p>
4719           Corporate social responsibility. While this resonates with businesses, ODI
4720 cautions against having it be the sole reason for making data open. If a
4721 business is just thinking about open data as a way to be transparent and
4722 accountable, they can miss out on efficiencies and opportunities.
4723         </p></li></ul></div><p>
4724       During their early years, ODI wanted to focus solely on the United
4725 Kingdom. But in their first year, large delegations of government visitors
4726 from over fifty countries wanted to learn more about the UK government’s
4727 open-data practices and how ODI saw that translating into economic
4728 value. They were contracted as a service provider to international
4729 governments, which prompted a need to set up international ODI
4730 <span class="quote">„<span class="quote">nodes.</span>“</span>
4731     </p><p>
4732       Nodes are franchises of the ODI at a regional or city level.  Hosted by
4733 existing (for-profit or not-for-profit) organizations, they operate locally
4734 but are part of the global network. Each ODI node adopts the charter, a set
4735 of guiding principles and rules under which ODI operates. They develop and
4736 deliver training, connect people and businesses through membership and
4737 events, and communicate open-data stories from their part of the
4738 world. There are twenty-seven different nodes across nineteen countries. ODI
4739 nodes are charged a small fee to be part of the network and to use the
4740 brand.
4741     </p><p>
4742       ODI also runs programs to help start-ups in the UK and across Europe develop
4743 a sustainable business around open data, offering mentoring, advice,
4744 training, and even office space.<a href="#ftn.idm1518" class="footnote" name="idm1518"><sup class="footnote">[131]</sup></a>
4745     </p><p>
4746       A big part of ODI’s business model revolves around community
4747 building. Memberships, training, summits, consulting services, nodes, and
4748 start-up programs create an ever-growing network of open-data users and
4749 leaders. (In fact, ODI even operates something called an Open Data Leaders
4750 Network.) For ODI, community is key to success. They devote significant time
4751 and effort to build it, not just online but through face-to-face events.
4752     </p><p>
4753       ODI has created an online tool that organizations can use to assess the
4754 legal, practical, technical, and social aspects of their open data. If it is
4755 of high quality, the organization can earn ODI’s Open Data Certificate, a
4756 globally recognized mark that signals that their open data is useful,
4757 reliable, accessible, discoverable, and supported.<a href="#ftn.idm1524" class="footnote" name="idm1524"><sup class="footnote">[132]</sup></a>
4758     </p><p>
4759       Separate from commercial activities, the ODI generates funding through
4760 research grants. Research includes looking at evidence on the impact of open
4761 data, development of open-data tools and standards, and how to deploy open
4762 data at scale.
4763     </p><p>
4764       Creative Commons 4.0 licenses cover database rights and ODI recommends CC
4765 BY, CC BY-SA, and CC0 for data releases. ODI encourages publishers of data
4766 to use Creative Commons licenses rather than creating new <span class="quote">„<span class="quote">open
4767 licenses</span>“</span> of their own.
4768     </p><p>
4769       For ODI, open is at the heart of what they do. They also release any
4770 software code they produce under open-source-software licenses, and
4771 publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
4772 to connect and equip people around the world so they can innovate with
4773 data. Disseminating stories, research, guidance, and code under an open
4774 license is essential for achieving that mission. It also demonstrates that
4775 it is perfectly possible to generate sustainable revenue streams that do not
4776 rely on restrictive licensing of content, data, or code.  People pay to have
4777 ODI experts provide training to them, not for the content of the training;
4778 people pay for the advice ODI gives them, not for the methodologies they
4779 use. Producing open content, data, and source code helps establish
4780 credibility and creates leads for the paid services that they
4781 offer. According to Jeni, <span class="quote">„<span class="quote">The biggest lesson we have learned is that
4782 it is completely possible to be open, get customers, and make money.</span>“</span>
4783     </p><p>
4784       To serve as evidence of a successful open business model and return on
4785 investment, ODI has a public dashboard of key performance indicators. Here
4786 are a few metrics as of April 27, 2016:
4787     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4788           Total amount of cash investments unlocked in direct investments in ODI,
4789 competition funding, direct contracts, and partnerships, and income that ODI
4790 nodes and ODI start-ups have generated since joining the ODI program: £44.5
4791 million
4792         </p></li><li class="listitem"><p>
4793           Total number of active members and nodes across the globe: 1,350
4794         </p></li><li class="listitem"><p>
4795           Total sales since ODI began: £7.44 million
4796         </p></li><li class="listitem"><p>
4797           Total number of unique people reached since ODI began, in person and online:
4798 2.2 million
4799         </p></li><li class="listitem"><p>
4800           Total Open Data Certificates created: 151,000
4801         </p></li><li class="listitem"><p>
4802           Total number of people trained by ODI and its nodes since ODI began:
4803 5,080<a href="#ftn.idm1546" class="footnote" name="idm1546"><sup class="footnote">[133]</sup></a>
4804         </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>
4805         Opendesk is a for-profit company offering an online platform that connects
4806 furniture designers around the world with customers and local makers who
4807 bring the designs to life.  Founded in 2014 in the UK.
4808       </p><p>
4809           <a class="ulink" href="http://www.opendesk.cc" target="_top">http://www.opendesk.cc</a>
4810         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
4811       </p><p><span class="strong"><strong>Interview date</strong></span>: November 4, 2015
4812       </p><p><span class="strong"><strong>Interviewees</strong></span>: Nick Ierodiaconou and Joni
4813 Steiner, cofounders
4814       </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}
4815     \textit{
4816         Profile written by Paul Stacey
4817       }
4818     \end{flushright}</td></tr></table></div><p>
4819       Opendesk is an online platform that connects furniture designers around the
4820 world not just with customers but also with local registered makers who
4821 bring the designs to life. Opendesk and the designer receive a portion of
4822 every sale that is made by a maker.
4823     </p><p>
4824       Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as
4825 architects together. They also made goods. Their first client was Mint
4826 Digital, who had an interest in open licensing. Nick and Joni were exploring
4827 digital fabrication, and Mint’s interest in open licensing got them to
4828 thinking how the open-source world may interact and apply to physical
4829 goods. They sought to design something for their client that was also
4830 reproducible. As they put it, they decided to <span class="quote">„<span class="quote">ship the recipe, but
4831 not the goods.</span>“</span> They created the design using software, put it under
4832 an open license, and had it manufactured locally near the client. This was
4833 the start of the idea for Opendesk. The idea for Wikihouse—another open
4834 project dedicated to accessible housing for all—started as discussions
4835 around the same table. The two projects ultimately went on separate paths,
4836 with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit
4837 company.
4838     </p><p>
4839       When Nick and Joni set out to create Opendesk, there were a lot of questions
4840 about the viability of distributed manufacturing. No one was doing it in a
4841 way that was even close to realistic or competitive. The design community
4842 had the intent, but fulfilling this vision was still a long way away.
4843     </p><p>
4844       And now this sector is emerging, and Nick and Joni are highly interested in
4845 the commercialization aspects of it. As part of coming up with a business
4846 model, they began investigating intellectual property and licensing
4847 options. It was a thorny space, especially for designs. Just what aspect of
4848 a design is copyrightable? What is patentable? How can allowing for digital
4849 sharing and distribution be balanced against the designer’s desire to still
4850 hold ownership? In the end, they decided there was no need to reinvent the
4851 wheel and settled on using Creative Commons.
4852     </p><p>
4853       When designing the Opendesk system, they had two goals. They wanted anyone,
4854 anywhere in the world, to be able to download designs so that they could be
4855 made locally, and they wanted a viable model that benefited designers when
4856 their designs were sold. Coming up with a business model was going to be
4857 complex.
4858     </p><p>
4859       They gave a lot of thought to three angles—the potential for social sharing,
4860 allowing designers to choose their license, and the impact these choices
4861 would have on the business model.
4862     </p><p>
4863       In support of social sharing, Opendesk actively advocates for (but doesn’t
4864 demand) open licensing. And Nick and Joni are agnostic about which Creative
4865 Commons license is used; it’s up to the designer. They can be proprietary or
4866 choose from the full suite of Creative Commons licenses, deciding for
4867 themselves how open or closed they want to be.
4868     </p><p>
4869       For the most part, designers love the idea of sharing content.  They
4870 understand that you get positive feedback when you’re attributed, what Nick
4871 and Joni called <span class="quote">„<span class="quote">reputational glow.</span>“</span> And Opendesk does an
4872 awesome job profiling the designers.<a href="#ftn.idm1572" class="footnote" name="idm1572"><sup class="footnote">[134]</sup></a>
4873     </p><p>
4874       While designers are largely OK with personal sharing, there is a concern
4875 that someone will take the design and manufacture the furniture in bulk,
4876 with the designer not getting any benefits. So most Opendesk designers
4877 choose the Attribution-NonCommercial license (CC BY-NC).
4878     </p><p>
4879       Anyone can download a design and make it themselves, provided it’s for
4880 noncommercial use — and there have been many, many downloads.  Or users can
4881 buy the product from Opendesk, or from a registered maker in Opendesk’s
4882 network, for on-demand personal fabrication.  The network of Opendesk makers
4883 currently is made up of those who do digital fabrication using a
4884 computer-controlled CNC (Computer Numeric Control) machining device that
4885 cuts shapes out of wooden sheets according to the specifications in the
4886 design file.
4887     </p><p>
4888       Makers benefit from being part of Opendesk’s network. Making furniture for
4889 local customers is paid work, and Opendesk generates business for them. Joni
4890 said, <span class="quote">„<span class="quote">Finding a whole network and community of makers was pretty easy
4891 because we built a site where people could write in about their
4892 capabilities. Building the community by learning from the maker community is
4893 how we have moved forward.</span>“</span> Opendesk now has relationships with
4894 hundreds of makers in countries all around the world.<a href="#ftn.idm1579" class="footnote" name="idm1579"><sup class="footnote">[135]</sup></a>
4895     </p><p>
4896       The makers are a critical part of the Opendesk business model.  Their model
4897 builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
4898 website:
4899     </p><p>
4900       When customers buy an Opendesk product directly from a registered maker,
4901 they pay:
4902     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4903           the manufacturing cost as set by the maker (this covers material and labour
4904 costs for the product to be manufactured and any extra assembly costs
4905 charged by the maker)
4906         </p></li><li class="listitem"><p>
4907           a design fee for the designer (a design fee that is paid to the designer
4908 every time their design is used)
4909         </p></li><li class="listitem"><p>
4910           a percentage fee to the Opendesk platform (this supports the infrastructure
4911 and ongoing development of the platform that helps us build out our
4912 marketplace)
4913         </p></li><li class="listitem"><p>
4914           a percentage fee to the channel through which the sale is made (at the
4915 moment this is Opendesk, but in the future we aim to open this up to
4916 third-party sellers who can sell Opendesk products through their own
4917 channels—this covers sales and marketing fees for the relevant channel)
4918         </p></li><li class="listitem"><p>
4919           a local delivery service charge (the delivery is typically charged by the
4920 maker, but in some cases may be paid to a third-party delivery partner)
4921         </p></li><li class="listitem"><p>
4922           charges for any additional services the customer chooses, such as on-site
4923 assembly (additional services are discretionary—in many cases makers will be
4924 happy to quote for assembly on-site and designers may offer bespoke design
4925 options)
4926         </p></li><li class="listitem"><p>
4927           local sales taxes (variable by customer and maker location)<a href="#ftn.idm1599" class="footnote" name="idm1599"><sup class="footnote">[136]</sup></a>
4928         </p></li></ul></div><p>
4929       They then go into detail how makers’ quotes are created:
4930     </p><p>
4931       When a customer wants to buy an Opendesk . . . they are provided with a
4932 transparent breakdown of fees including the manufacturing cost, design fee,
4933 Opendesk platform fee and channel fees. If a customer opts to buy by getting
4934 in touch directly with a registered local maker using a downloaded Opendesk
4935 file, the maker is responsible for ensuring the design fee, Opendesk
4936 platform fee and channel fees are included in any quote at the time of
4937 sale.  Percentage fees are always based on the underlying manufacturing cost
4938 and are typically apportioned as follows:
4939     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4940           manufacturing cost: fabrication, finishing and any other costs as set by the
4941 maker (excluding any services like delivery or on-site assembly)
4942         </p></li><li class="listitem"><p>
4943           design fee: 8 percent of the manufacturing cost
4944         </p></li><li class="listitem"><p>
4945           platform fee: 12 percent of the manufacturing cost
4946         </p></li><li class="listitem"><p>
4947           channel fee: 18 percent of the manufacturing cost
4948         </p></li><li class="listitem"><p>
4949           sales tax: as applicable (depends on product and location)
4950         </p></li></ul></div><p>
4951       Opendesk shares revenue with their community of designers.  According to
4952 Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
4953 percent is more generous, and providing a higher value to the designer.
4954     </p><p>
4955       The Opendesk website features stories of designers and makers.  Denis Fuzii
4956 published the design for the Valovi Chair from his studio in São Paulo. His
4957 designs have been downloaded over five thousand times in ninety-five
4958 countries. I.J. CNC Services is Ian Jinks, a professional maker based in the
4959 United Kingdom. Opendesk now makes up a large proportion of his business.
4960     </p><p>
4961       To manage resources and remain effective, Opendesk has so far focused on a
4962 very narrow niche—primarily office furniture of a certain simple aesthetic,
4963 which uses only one type of material and one manufacturing technique. This
4964 allows them to be more strategic and more disruptive in the market, by
4965 getting things to market quickly with competitive prices. It also reflects
4966 their vision of creating reproducible and functional pieces.
4967     </p><p>
4968       On their website, Opendesk describes what they do as <span class="quote">„<span class="quote">open
4969 making</span>“</span>: <span class="quote">„<span class="quote">Designers get a global distribution channel. Makers
4970 get profitable jobs and new customers. You get designer products without the
4971 designer price tag, a more social, eco-friendly alternative to
4972 mass-production and an affordable way to buy custom-made products.</span>“</span>
4973     </p><p>
4974       Nick and Joni say that customers like the fact that the furniture has a
4975 known provenance. People really like that their furniture was designed by a
4976 certain international designer but was made by a maker in their local
4977 community; it’s a great story to tell. It certainly sets apart Opendesk
4978 furniture from the usual mass-produced items from a store.
4979     </p><p>
4980       Nick and Joni are taking a community-based approach to define and evolve
4981 Opendesk and the <span class="quote">„<span class="quote">open making</span>“</span> business model.  They’re
4982 engaging thought leaders and practitioners to define this new movement. They
4983 have a separate Open Making site, which includes a manifesto, a field guide,
4984 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
4985 and business practices they’d like to see used.
4986     </p><p>
4987       Nick and Joni talked a lot with us about intellectual property (IP) and
4988 commercialization. Many of their designers fear the idea that someone could
4989 take one of their design files and make and sell infinite number of pieces
4990 of furniture with it. As a consequence, most Opendesk designers choose the
4991 Attribution-NonCommercial license (CC BY-NC).
4992     </p><p>
4993       Opendesk established a set of principles for what their community considers
4994 commercial and noncommercial use. Their website states:
4995     </p><p>
4996       It is unambiguously commercial use when anyone:
4997     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
4998           charges a fee or makes a profit when making an Opendesk
4999         </p></li><li class="listitem"><p>
5000           sells (or bases a commercial service on) an Opendesk
5001         </p></li></ul></div><p>
5002       It follows from this that noncommercial use is when you make an Opendesk
5003 yourself, with no intention to gain commercial advantage or monetary
5004 compensation. For example, these qualify as noncommercial:
5005     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5006           you are an individual with your own CNC machine, or access to a shared CNC
5007 machine, and will personally cut and make a few pieces of furniture yourself
5008         </p></li><li class="listitem"><p>
5009           you are a student (or teacher) and you use the design files for educational
5010 purposes or training (and do not intend to sell the resulting pieces)
5011         </p></li><li class="listitem"><p>
5012           you work for a charity and get furniture cut by volunteers, or by employees
5013 at a fab lab or maker space
5014         </p></li></ul></div><p>
5015       Whether or not people technically are doing things that implicate IP, Nick
5016 and Joni have found that people tend to comply with the wishes of creators
5017 out of a sense of fairness. They have found that behavioral economics can
5018 replace some of the thorny legal issues. In their business model, Nick and
5019 Joni are trying to suspend the focus on IP and build an open business model
5020 that works for all stakeholders—designers, channels, manufacturers, and
5021 customers. For them, the value Opendesk generates hangs off
5022 <span class="quote">„<span class="quote">open,</span>“</span> not IP.
5023     </p><p>
5024       The mission of Opendesk is about relocalizing manufacturing, which changes
5025 the way we think about how goods are made.  Commercialization is integral to
5026 their mission, and they’ve begun to focus on success metrics that track how
5027 many makers and designers are engaged through Opendesk in revenue-making
5028 work.
5029     </p><p>
5030       As a global platform for local making, Opendesk’s business model has been
5031 built on honesty, transparency, and inclusivity. As Nick and Joni describe
5032 it, they put ideas out there that get traction and then have faith in
5033 people.
5034     </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>
5035         OpenStax is a nonprofit that provides free, openly licensed textbooks for
5036 high-enrollment introductory college courses and Advanced Placement
5037 courses. Founded in 2012 in the U.S.
5038       </p><p>
5039           <a class="ulink" href="http://www.openstaxcollege.org" target="_top">http://www.openstaxcollege.org</a>
5040         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding, charging
5041 for custom services, charging for physical copies (textbook sales)
5042       </p><p><span class="strong"><strong>Interview date</strong></span>: December 16, 2015
5043       </p><p><span class="strong"><strong>Interviewee</strong></span>: David Harris,
5044 editor-in-chief
5045       </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}
5046     \textit{
5047         Profile written by Paul Stacey
5048       }
5049     \end{flushright}</td></tr></table></div><p>
5050       OpenStax is an extension of a program called Connexions, which was started
5051 in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of
5052 Electrical and Computer Engineering at Rice University in Houston,
5053 Texas. Frustrated by the limitations of traditional textbooks and courses,
5054 Dr. Baraniuk wanted to provide authors and learners a way to share and
5055 freely adapt educational materials such as courses, books, and
5056 reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
5057 best libraries of customizable educational materials, all licensed with
5058 Creative Commons and available to anyone, anywhere, anytime—for free.
5059     </p><p>
5060       In 2008, while in a senior leadership role at WebAssign and looking at ways
5061 to reduce the risk that came with relying on publishers, David Harris began
5062 investigating open educational resources (OER) and discovered Connexions. A
5063 year and a half later, Connexions received a grant to help grow the use of
5064 OER so that it could meet the needs of students who couldn’t afford
5065 textbooks. David came on board to spearhead this effort.  Connexions became
5066 OpenStax CNX; the program to create open textbooks became OpenStax College,
5067 now simply called OpenStax.
5068     </p><p>
5069       David brought with him a deep understanding of the best practices of
5070 publishing along with where publishers have inefficiencies. In David’s view,
5071 peer review and high standards for quality are critically important if you
5072 want to scale easily. Books have to have logical scope and sequence, they
5073 have to exist as a whole and not in pieces, and they have to be easy to
5074 find. The working hypothesis for the launch of OpenStax was to
5075 professionally produce a turnkey textbook by investing effort up front, with
5076 the expectation that this would lead to rapid growth through easy downstream
5077 adoptions by faculty and students.
5078     </p><p>
5079       In 2012, OpenStax College launched as a nonprofit with the aim of producing
5080 high-quality, peer-reviewed full-color textbooks that would be available for
5081 free for the twenty-five most heavily attended college courses in the
5082 nation. Today they are fast approaching that number. There is data that
5083 proves the success of their original hypothesis on how many students they
5084 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
5085 with no sales force!
5086     </p><p>
5087       OpenStax textbooks are all Attribution (CC BY) licensed, and each textbook
5088 is available as a PDF, an e-book, or web pages. Those who want a physical
5089 copy can buy one for an affordable price. Given the cost of education and
5090 student debt in North America, free or very low-cost textbooks are very
5091 appealing. OpenStax encourages students to talk to their professor and
5092 librarians about these textbooks and to advocate for their use.
5093     </p><p>
5094       Teachers are invited to try out a single chapter from one of the textbooks
5095 with students. If that goes well, they’re encouraged to adopt the entire
5096 book. They can simply paste a URL into their course syllabus, for free and
5097 unlimited access. And with the CC BY license, teachers are free to delete
5098 chapters, make changes, and customize any book to fit their needs.
5099     </p><p>
5100       Any teacher can post corrections, suggest examples for difficult concepts,
5101 or volunteer as an editor or author. As many teachers also want supplemental
5102 material to accompany a textbook, OpenStax also provides slide
5103 presentations, test banks, answer keys, and so on.
5104     </p><p>
5105       Institutions can stand out by offering students a lower-cost education
5106 through the use of OpenStax textbooks; there’s even a textbook-savings
5107 calculator they can use to see how much students would save. OpenStax keeps
5108 a running list of institutions that have adopted their
5109 textbooks.<a href="#ftn.idm1671" class="footnote" name="idm1671"><sup class="footnote">[139]</sup></a>
5110     </p><p>
5111       Unlike traditional publishers’ monolithic approach of controlling
5112 intellectual property, distribution, and so many other aspects, OpenStax has
5113 adopted a model that embraces open licensing and relies on an extensive
5114 network of partners.
5115     </p><p>
5116       Up-front funding of a professionally produced all-color turnkey textbook is
5117 expensive. For this part of their model, OpenStax relies on
5118 philanthropy. They have initially been funded by the William and Flora
5119 Hewlett Foundation, the Laura and John Arnold Foundation, the Bill and
5120 Melinda Gates Foundation, the 20 Million Minds Foundation, the Maxfield
5121 Foundation, the Calvin K. Kazanjian Foundation, and Rice University. To
5122 develop additional titles and supporting technology is probably still going
5123 to require philanthropic investment.
5124     </p><p>
5125       However, ongoing operations will not rely on foundation grants but instead
5126 on funds received through an ecosystem of over forty partners, whereby a
5127 partner takes core content from OpenStax and adds features that it can
5128 create revenue from. For example, WebAssign, an online homework and
5129 assessment tool, takes the physics book and adds algorithmically generated
5130 physics problems, with problem-specific feedback, detailed solutions, and
5131 tutorial support. WebAssign resources are available to students for a fee.
5132     </p><p>
5133       Another example is Odigia, who has turned OpenStax books into interactive
5134 learning experiences and created additional tools to measure and promote
5135 student engagement. Odigia licenses its learning platform to
5136 institutions. Partners like Odigia and WebAssign give a percentage of the
5137 revenue they earn back to OpenStax, as mission-support fees. OpenStax has
5138 already published revisions of their titles, such as Introduction to
5139 Sociology 2e, using these funds.
5140     </p><p>
5141       In David’s view, this approach lets the market operate at peak
5142 efficiency. OpenStax’s partners don’t have to worry about developing
5143 textbook content, freeing them up from those development costs and letting
5144 them focus on what they do best.  With OpenStax textbooks available at no
5145 cost, they can provide their services at a lower cost—not free, but still
5146 saving students money. OpenStax benefits not only by receiving
5147 mission-support fees but through free publicity and marketing. OpenStax
5148 doesn’t have a sales force; partners are out there showcasing their
5149 materials.
5150     </p><p>
5151       OpenStax’s cost of sales to acquire a single student is very, very low and
5152 is a fraction of what traditional players in the market face. This year,
5153 Tyton Partners is actually evaluating the costs of sales for an OER effort
5154 like OpenStax in comparison with incumbents. David looks forward to sharing
5155 these findings with the community.
5156     </p><p>
5157       While OpenStax books are available online for free, many students still want
5158 a print copy. Through a partnership with a print and courier company,
5159 OpenStax offers a complete solution that scales.  OpenStax sells tens of
5160 thousands of print books. The price of an OpenStax sociology textbook is
5161 about twenty-eight dollars, a fraction of what sociology textbooks usually
5162 cost. OpenStax keeps the prices low but does aim to earn a small margin on
5163 each book sold, which also contributes to ongoing operations.
5164     </p><p>
5165       Campus-based bookstores are part of the OpenStax solution.  OpenStax
5166 collaborates with NACSCORP (the National Association of College Stores
5167 Corporation) to provide print versions of their textbooks in the
5168 stores. While the overall cost of the textbook is significantly less than a
5169 traditional textbook, bookstores can still make a profit on sales. Sometimes
5170 students take the savings they have from the lower-priced book and use it to
5171 buy other things in the bookstore. And OpenStax is trying to break the
5172 expensive behavior of excessive returns by having a no-returns policy. This
5173 is working well, since the sell-through of their print titles is virtually a
5174 hundred percent.
5175     </p><p>
5176       David thinks of the OpenStax model as <span class="quote">„<span class="quote">OER 2.0.</span>“</span> So what is OER
5177 1.0? Historically in the OER field, many OER initiatives have been locally
5178 funded by institutions or government ministries. In David’s view, this
5179 results in content that has high local value but is infrequently adopted
5180 nationally. It’s therefore difficult to show payback over a time scale that
5181 is reasonable.
5182     </p><p>
5183       OER 2.0 is about OER intended to be used and adopted on a national level
5184 right from the start. This requires a bigger investment up front but pays
5185 off through wide geographic adoption. The OER 2.0 process for OpenStax
5186 involves two development models. The first is what David calls the
5187 acquisition model, where OpenStax purchases the rights from a publisher or
5188 author for an already published book and then extensively revises it. The
5189 OpenStax physics textbook, for example, was licensed from an author after
5190 the publisher released the rights back to the authors. The second model is
5191 to develop a book from scratch, a good example being their biology book.
5192     </p><p>
5193       The process is similar for both models. First they look at the scope and
5194 sequence of existing textbooks. They ask questions like what does the
5195 customer need? Where are students having challenges? Then they identify
5196 potential authors and put them through a rigorous evaluation—only one in ten
5197 authors make it through.  OpenStax selects a team of authors who come
5198 together to develop a template for a chapter and collectively write the
5199 first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
5200 books with just a single author as David says it risks the project going
5201 longer than scheduled.) The draft is peer-reviewed with no less than three
5202 reviewers per chapter. A second draft is generated, with artists producing
5203 illustrations and visuals to go along with the text. The book is then
5204 copyedited to ensure grammatical correctness and a singular voice. Finally,
5205 it goes into production and through a final proofread. The whole process is
5206 very time-consuming.
5207     </p><p>
5208       All the people involved in this process are paid. OpenStax does not rely on
5209 volunteers. Writers, reviewers, illustrators, and editors are all paid an
5210 up-front fee—OpenStax does not use a royalty model. A best-selling author
5211 might make more money under the traditional publishing model, but that is
5212 only maybe 5 percent of all authors. From David’s perspective, 95 percent of
5213 all authors do better under the OER 2.0 model, as there is no risk to them
5214 and they earn all the money up front.
5215     </p><p>
5216       David thinks of the Attribution license (CC BY) as the <span class="quote">„<span class="quote">innovation
5217 license.</span>“</span> It’s core to the mission of OpenStax, letting people use
5218 their textbooks in innovative ways without having to ask for permission. It
5219 frees up the whole market and has been central to OpenStax being able to
5220 bring on partners.  OpenStax sees a lot of customization of their
5221 materials. By enabling frictionless remixing, CC BY gives teachers control
5222 and academic freedom.
5223     </p><p>
5224       Using CC BY is also a good example of using strategies that traditional
5225 publishers can’t. Traditional publishers rely on copyright to prevent others
5226 from making copies and heavily invest in digital rights management to ensure
5227 their books aren’t shared.  By using CC BY, OpenStax avoids having to deal
5228 with digital rights management and its costs. OpenStax books can be copied
5229 and shared over and over again. CC BY changes the rules of engagement and
5230 takes advantage of traditional market inefficiencies.
5231     </p><p>
5232       As of September 16, 2016, OpenStax has achieved some impressive
5233 results. From the OpenStax at a Glance fact sheet from their recent press
5234 kit:
5235     </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
5236           Books published: 23
5237         </p></li><li class="listitem"><p>
5238           Students who have used OpenStax: 1.6 million
5239         </p></li><li class="listitem"><p>
5240           Money saved for students: $155 million
5241         </p></li><li class="listitem"><p>
5242           Money saved for students in the 2016/17 academic year: $77 million
5243         </p></li><li class="listitem"><p>
5244           Schools that have used OpenStax: 2,668 (This number reflects all
5245 institutions using at least one OpenStax textbook. Out of 2,668 schools, 517
5246 are two-year colleges, 835 four-year colleges and universities, and 344
5247 colleges and universities outside the U.S.)
5248         </p></li></ul></div><p>
5249       While OpenStax has to date been focused on the United States, there is
5250 overseas adoption especially in the science, technology, engineering, and
5251 math (STEM) fields. Large scale adoption in the United States is seen as a
5252 necessary precursor to international interest.
5253     </p><p>
5254       OpenStax has primarily focused on introductory-level college courses where
5255 there is high enrollment, but they are starting to think about verticals—a
5256 broad offering for a specific group or need. David thinks it would be
5257 terrific if OpenStax could provide access to free textbooks through the
5258 entire curriculum of a nursing degree, for example.
5259     </p><p>
5260       Finally, for OpenStax success is not just about the adoption of their
5261 textbooks and student savings. There is a human aspect to the work that is
5262 hard to quantify but incredibly important. They get emails from students
5263 saying how OpenStax saved them from making difficult choices like buying
5264 food or a textbook. OpenStax would also like to assess the impact their
5265 books have on learning efficiency, persistence, and completion. By building
5266 an open business model based on Creative Commons, OpenStax is making it
5267 possible for every student who wants access to education to get it.
5268     </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>
5269         Amanda Palmer is a musician, artist, and writer. Based in the U.S.
5270       </p><p>
5271           <a class="ulink" href="http://amandapalmer.net" target="_top">http://amandapalmer.net</a>
5272         </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
5273 (subscription-based), pay-what-you-want, charging for physical copies (book
5274 and album sales), charg-ing for in-person version (performances), selling
5275 merchandise
5276       </p><p><span class="strong"><strong>Interview date</strong></span>: December 15, 2015
5277       </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}
5278     \textit{
5279         Profile written by Sarah Hinchliff Pearson
5280       }
5281     \end{flushright}</td></tr></table></div><p>
5282       Since the beginning of her career, Amanda Palmer has been on what she calls
5283 a <span class="quote">„<span class="quote">journey with no roadmap,</span>“</span> continually experimenting to find
5284 new ways to sustain her creative work.<a href="#ftn.idm1718" class="footnote" name="idm1718"><sup class="footnote">[140]</sup></a>
5285     </p><p>
5286       In her best-selling book, The Art of Asking, Amanda articulates exactly what
5287 she has been and continues to strive for—<span class="quote">„<span class="quote">the ideal sweet spot
5288 . . . in which the artist can share freely and directly feel the
5289 reverberations of their artistic gifts to the community, and make a living
5290 doing that.</span>“</span>
5291     </p><p>
5292       While she seems to have successfully found that sweet spot for herself,
5293 Amanda is the first to acknowledge there is no silver bullet. She thinks the
5294 digital age is both an exciting and frustrating time for creators. <span class="quote">„<span class="quote">On
5295 the one hand, we have this beautiful shareability,</span>“</span> Amanda
5296 said. <span class="quote">„<span class="quote">On the other, you’ve got a bunch of confused artists wondering
5297 how to make money to buy food so we can make more art.</span>“</span>
5298     </p><p>
5299       Amanda began her artistic career as a street performer. She would dress up
5300 in an antique wedding gown, paint her face white, stand on a stack of milk
5301 crates, and hand out flowers to strangers as part of a silent dramatic
5302 performance. She collected money in a hat. Most people walked by her without
5303 stopping, but an essential few stopped to watch and drop some money into her
5304 hat to show their appreciation. Rather than dwelling on the majority of
5305 people who ignored her, she felt thankful for those who stopped.  <span class="quote">„<span class="quote">All
5306 I needed was . . . some people,</span>“</span> she wrote in her book. <span class="quote">„<span class="quote">Enough
5307 people. Enough to make it worth coming back the next day, enough people to
5308 help me make rent and put food on the table. Enough so I could keep making
5309 art.</span>“</span>
5310     </p><p>
5311       Amanda has come a long way from her street-performing days, but her career
5312 remains dominated by that same sentiment—finding ways to reach <span class="quote">„<span class="quote">her
5313 crowd</span>“</span> and feeling gratitude when she does. With her band the Dresden
5314 Dolls, Amanda tried the traditional path of signing with a record label. It
5315 didn’t take for a variety of reasons, but one of them was that the label had
5316 absolutely no interest in Amanda’s view of success. They wanted hits, but
5317 making music for the masses was never what Amanda and the Dresden Dolls set
5318 out to do.
5319     </p><p>
5320       After leaving the record label in 2008, she began experimenting with
5321 different ways to make a living. She released music directly to the public
5322 without involving a middle man, releasing digital files on a <span class="quote">„<span class="quote">pay what
5323 you want</span>“</span> basis and selling CDs and vinyl. She also made money from
5324 live performances and merchandise sales. Eventually, in 2012 she decided to
5325 try her hand at the sort of crowdfunding we know so well today. Her
5326 Kickstarter project started with a goal of $100,000, and she made $1.2
5327 million. It remains one of the most successful Kickstarter projects of all
5328 time.
5329     </p><p>
5330       Today, Amanda has switched gears away from crowdfunding for specific
5331 projects to instead getting consistent financial support from her fan base
5332 on Patreon, a crowdfunding site that allows artists to get recurring
5333 donations from fans. More than eight thousand people have signed up to
5334 support her so she can create music, art, and any other creative
5335 <span class="quote">„<span class="quote">thing</span>“</span> that she is inspired to make. The recurring pledges are
5336 made on a <span class="quote">„<span class="quote">per thing</span>“</span> basis. All of the content she makes is
5337 made freely available under an Attribution-NonCommercial-ShareAlike license
5338 (CC BY-NC-SA).
5339     </p><p>
5340       Making her music and art available under Creative Commons licensing
5341 undoubtedly limits her options for how she makes a living. But sharing her
5342 work has been part of her model since the beginning of her career, even
5343 before she discovered Creative Commons. Amanda says the Dresden Dolls used
5344 to get ten emails per week from fans asking if they could use their music
5345 for different projects. They said yes to all of the requests, as long as it
5346 wasn’t for a completely for-profit venture. At the time, they used a
5347 short-form agreement written by Amanda herself. <span class="quote">„<span class="quote">I made everyone sign
5348 that contract so at least I wouldn’t be leaving the band vulnerable to
5349 someone later going on and putting our music in a Camel cigarette
5350 ad,</span>“</span> Amanda said. Once she discovered Creative Commons, adopting the
5351 licenses was an easy decision because it gave them a more formal,
5352 standardized way of doing what they had been doing all along. The
5353 NonCommercial licenses were a natural fit.
5354     </p><p>
5355       Amanda embraces the way her fans share and build upon her music.  In The Art
5356 of Asking, she wrote that some of her fans’ unofficial videos using her
5357 music surpass the official videos in number of views on YouTube. Rather than
5358 seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">„<span class="quote">We
5359 got into this because we wanted to share the joy of music,</span>“</span> she said.
5360     </p><p>
5361       This is symbolic of how nearly everything she does in her career is
5362 motivated by a desire to connect with her fans. At the start of her career,
5363 she and the band would throw concerts at house parties. As the gatherings
5364 grew, the line between fans and friends was completely blurred. <span class="quote">„<span class="quote">Not
5365 only did most our early fans know where I lived and where we practiced, but
5366 most of them had also been in my kitchen,</span>“</span> Amanda wrote in The Art of
5367 Asking.
5368     </p><p>
5369       Even though her fan base is now huge and global, she continues to seek this
5370 sort of human connection with her fans. She seeks out face-to-face contact
5371 with her fans every chance she can get. Her hugely successful Kickstarter
5372 featured fifty concerts at house parties for backers. She spends hours in
5373 the signing line after shows. It helps that Amanda has the kind of dynamic,
5374 engaging personality that instantly draws people to her, but a big component
5375 of her ability to connect with people is her willingness to
5376 listen. <span class="quote">„<span class="quote">Listening fast and caring immediately is a skill unto
5377 itself,</span>“</span> Amanda wrote.
5378     </p><p>
5379       Another part of the connection fans feel with Amanda is how much they know
5380 about her life. Rather than trying to craft a public persona or image, she
5381 essentially lives her life as an open book.  She has written openly about
5382 incredibly personal events in her life, and she isn’t afraid to be
5383 vulnerable. Having that kind of trust in her fans—the trust it takes to be
5384 truly honest—begets trust from her fans in return. When she meets fans for
5385 the first time after a show, they can legitimately feel like they know her.
5386     </p><p><span class="quote">„<span class="quote">With social media, we’re so concerned with the picture looking
5387 palatable and consumable that we forget that being human and showing the
5388 flaws and exposing the vulnerability actually create a deeper connection
5389 than just looking fantastic,</span>“</span> Amanda said. <span class="quote">„<span class="quote">Everything in our
5390 culture is telling us otherwise. But my experience has shown me that the
5391 risk of making yourself vulnerable is almost always worth it.</span>“</span>
5392     </p><p>
5393       Not only does she disclose intimate details of her life to them, she sleeps
5394 on their couches, listens to their stories, cries with them. In short, she
5395 treats her fans like friends in nearly every possible way, even when they
5396 are complete strangers. This mentality—that fans are friends—is completely
5397 intertwined with Amanda’s success as an artist. It is also intertwined with
5398 her use of Creative Commons licenses. Because that is what you do with your
5399 friends—you share.
5400     </p><p>
5401       After years of investing time and energy into building trust with her fans,
5402 she has a strong enough relationship with them to ask for support—through
5403 pay-what-you-want donations, Kickstarter, Patreon, or even asking them to
5404 lend a hand at a concert. As Amanda explains it, crowdfunding (which is
5405 really what all of these different things are) is about asking for support
5406 from people who know and trust you. People who feel personally invested in
5407 your success.
5408     </p><p><span class="quote">„<span class="quote">When you openly, radically trust people, they not only take care of
5409 you, they become your allies, your family,</span>“</span> she wrote. There really
5410 is a feeling of solidarity within her core fan base. From the beginning,
5411 Amanda and her band encouraged people to dress up for their shows. They
5412 consciously cultivated a feeling of belonging to their <span class="quote">„<span class="quote">weird little
5413 family.</span>“</span>
5414     </p><p>
5415       This sort of intimacy with fans is not possible or even desirable for every
5416 creator. <span class="quote">„<span class="quote">I don’t take for granted that I happen to be the type of
5417 person who loves cavorting with strangers,</span>“</span> Amanda said. <span class="quote">„<span class="quote">I
5418 recognize that it’s not necessarily everyone’s idea of a good time. Everyone
5419 does it differently. Replicating what I have done won’t work for others if
5420 it isn’t joyful to them. It’s about finding a way to channel energy in a way
5421 that is joyful to you.</span>“</span>
5422     </p><p>
5423       Yet while Amanda joyfully interacts with her fans and involves them in her
5424 work as much as possible, she does keep one job primarily to herself—writing
5425 the music. She loves the creativity with which her fans use and adapt her
5426 work, but she intentionally does not involve them at the first stage of
5427 creating her artistic work. And, of course, the songs and music are what
5428 initially draw people to Amanda Palmer. It is only once she has connected to
5429 people through her music that she can then begin to build ties with them on
5430 a more personal level, both in person and online. In her book, Amanda
5431 describes it as casting a net. It starts with the art and then the bond
5432 strengthens with human connection.
5433     </p><p>
5434       For Amanda, the entire point of being an artist is to establish and maintain
5435 this connection. <span class="quote">„<span class="quote">It sounds so corny,</span>“</span> she said, <span class="quote">„<span class="quote">but my
5436 experience in forty years on this planet has pointed me to an obvious
5437 truth—that connection with human beings feels so much better and more
5438 fulfilling than approaching art through a capitalist lens. There is no more
5439 satisfying end goal than having someone tell you that what you do is
5440 genuinely of value to them.</span>“</span>
5441     </p><p>
5442       As she explains it, when a fan gives her a ten-dollar bill, usually what
5443 they are saying is that the money symbolizes some deeper value the music
5444 provided them. For Amanda, art is not just a product; it’s a
5445 relationship. Viewed from this lens, what Amanda does today is not that
5446 different from what she did as a young street performer. She shares her
5447 music and other artistic gifts.  She shares herself. And then rather than
5448 forcing people to help her, she lets them.
5449     </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>
5450         PLOS (Public Library of Science) is a nonprofit that publishes a library of
5451 academic journals and other scientific literature.  Founded in 2000 in the
5452 U.S.
5453       </p><p>
5454           <a class="ulink" href="http://plos.org" target="_top">http://plos.org</a>
5455         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
5456 an author processing charge to be featured in the journal
5457       </p><p><span class="strong"><strong>Interview date</strong></span>: March 7, 2016
5458       </p><p><span class="strong"><strong>Interviewee</strong></span>: Louise Page, publisher
5459       </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
5460     \textit{
5461         Profile written by Paul Stacey
5462       }
5463     \end{flushright}</td></tr></table></div><p>
5464       The Public Library of Science (PLOS) began in 2000 when three leading
5465 scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
5466 online petition. They were calling for scientists to stop submitting papers
5467 to journals that didn’t make the full text of their papers freely available
5468 immediately or within six months. Although tens of thousands signed the
5469 petition, most did not follow through. In August 2001, Patrick and Michael
5470 announced that they would start their own nonprofit publishing operation to
5471 do just what the petition promised. With start-up grant support from the
5472 Gordon and Betty Moore Foundation, PLOS was launched to provide new
5473 open-access journals for biomedicine, with research articles being released
5474 under Attribution (CC BY) licenses.
5475     </p><p>
5476       Traditionally, academic publishing begins with an author submitting a
5477 manuscript to a publisher. After in-house technical and ethical
5478 considerations, the article is then peer-reviewed to determine if the
5479 quality of the work is acceptable for publishing.  Once accepted, the
5480 publisher takes the article through the process of copyediting, typesetting,
5481 and eventual publishing in a print or online publication. Traditional
5482 journal publishers recover costs and earn profit by charging a subscription
5483 fee to libraries or an access fee to users wanting to read the journal or
5484 article.
5485     </p><p>
5486       For Louise Page, the current publisher of PLOS, this traditional model
5487 results in inequity. Access is restricted to those who can pay. Most
5488 research is funded through government-appointed agencies, that is, with
5489 public funds. It’s unjust that the public who funded the research would be
5490 required to pay again to access the results. Not everyone can afford the
5491 ever-escalating subscription fees publishers charge, especially when library
5492 budgets are being reduced. Restricting access to the results of scientific
5493 research slows the dissemination of this research and advancement of the
5494 field. It was time for a new model.
5495     </p><p>
5496       That new model became known as open access. That is, free and open
5497 availability on the Internet. Open-access research articles are not behind a
5498 paywall and do not require a login. A key benefit of open access is that it
5499 allows people to freely use, copy, and distribute the articles, as they are
5500 primarily published under an Attribution (CC BY) license (which only
5501 requires the user to provide appropriate attribution). And more importantly,
5502 policy makers, clinicians, entrepreneurs, educators, and students around the
5503 world have free and timely access to the latest research immediately on
5504 publication.
5505     </p><p>
5506       However, open access requires rethinking the business model of research
5507 publication. Rather than charge a subscription fee to access the journal,
5508 PLOS decided to turn the model on its head and charge a publication fee,
5509 known as an article-processing charge.  This up-front fee, generally paid by
5510 the funder of the research or the author’s institution, covers the expenses
5511 such as editorial oversight, peer-review management, journal production,
5512 online hosting, and support for discovery. Fees are per article and are
5513 billed upon acceptance for publishing. There are no additional charges based
5514 on word length, figures, or other elements.
5515     </p><p>
5516       Calculating the article-processing charge involves taking all the costs
5517 associated with publishing the journal and determining a cost per article
5518 that collectively recovers costs. For PLOS’s journals in biology, medicine,
5519 genetics, computational biology, neglected tropical diseases, and pathogens,
5520 the article-processing charge ranges from $2,250 to
5521 $2,900. Article-publication charges for PLOS ONE, a journal started in 2006,
5522 are just under $1,500.
5523     </p><p>
5524       PLOS believes that lack of funds should not be a barrier to
5525 publication. Since its inception, PLOS has provided fee support for
5526 individuals and institutions to help authors who can’t afford the
5527 article-processing charges.
5528     </p><p>
5529       Louise identifies marketing as one area of big difference between PLOS and
5530 traditional journal publishers. Traditional journals have to invest heavily
5531 in staff, buildings, and infrastructure to market their journal and convince
5532 customers to subscribe.  Restricting access to subscribers means that tools
5533 for managing access control are necessary. They spend millions of dollars on
5534 access-control systems, staff to manage them, and sales staff.  With PLOS’s
5535 open-access publishing, there’s no need for these massive expenses; the
5536 articles are free, open, and accessible to all upon
5537 publication. Additionally, traditional publishers tend to spend more on
5538 marketing to libraries, who ultimately pay the subscription fees. PLOS
5539 provides a better service for authors by promoting their research directly
5540 to the research community and giving the authors exposure. And this
5541 encourages other authors to submit their work for publication.
5542     </p><p>
5543       For Louise, PLOS would not exist without the Attribution license (CC
5544 BY). This makes it very clear what rights are associated with the content
5545 and provides a safe way for researchers to make their work available while
5546 ensuring they get recognition (appropriate attribution). For PLOS, all of
5547 this aligns with how they think research content should be published and
5548 disseminated.
5549     </p><p>
5550       PLOS also has a broad open-data policy. To get their research paper
5551 published, PLOS authors must also make their data available in a public
5552 repository and provide a data-availability statement.
5553     </p><p>
5554       Business-operation costs associated with the open-access model still largely
5555 follow the existing publishing model. PLOS journals are online only, but the
5556 editorial, peer-review, production, typesetting, and publishing stages are
5557 all the same as for a traditional publisher. The editorial teams must be top
5558 notch. PLOS has to function as well as or better than other premier
5559 journals, as researchers have a choice about where to publish.
5560     </p><p>
5561       Researchers are influenced by journal rankings, which reflect the place of a
5562 journal within its field, the relative difficulty of being published in that
5563 journal, and the prestige associated with it. PLOS journals rank high, even
5564 though they are relatively new.
5565     </p><p>
5566       The promotion and tenure of researchers are partially based how many times
5567 other researchers cite their articles. Louise says when researchers want to
5568 discover and read the work of others in their field, they go to an online
5569 aggregator or search engine, and not typically to a particular journal. The
5570 CC BY licensing of PLOS research articles ensures easy access for readers
5571 and generates more discovery and citations for authors.
5572     </p><p>
5573       Louise believes that open access has been a huge success, progressing from a
5574 movement led by a small cadre of researchers to something that is now
5575 widespread and used in some form by every journal publisher. PLOS has had a
5576 big impact. In 2012 to 2014, they published more open-access articles than
5577 BioMed Central, the original open-access publisher, or anyone else.
5578     </p><p>
5579       PLOS further disrupted the traditional journal-publishing model by
5580 pioneering the concept of a megajournal. The PLOS ONE megajournal, launched
5581 in 2006, is an open-access peer-reviewed academic journal that is much
5582 larger than a traditional journal, publishing thousands of articles per year
5583 and benefiting from economies of scale. PLOS ONE has a broad scope, covering
5584 science and medicine as well as social sciences and the humanities. The
5585 review and editorial process is less subjective. Articles are accepted for
5586 publication based on whether they are technically sound rather than
5587 perceived importance or relevance. This is very important in the current
5588 debate about the integrity and reproducibility of research because negative
5589 or null results can then be published as well, which are generally rejected
5590 by traditional journals. PLOS ONE, like all the PLOS journals, is online
5591 only with no print version. PLOS passes on the financial savings accrued
5592 through economies of scale to researchers and the public by lowering the
5593 article-processing charges, which are below that of other journals. PLOS ONE
5594 is the biggest journal in the world and has really set the bar for
5595 publishing academic journal articles on a large scale. Other publishers see
5596 the value of the PLOS ONE model and are now offering their own
5597 multidisciplinary forums for publishing all sound science.
5598     </p><p>
5599       Louise outlined some other aspects of the research-journal business model
5600 PLOS is experimenting with, describing each as a kind of slider that could
5601 be adjusted to change current practice.
5602     </p><p>
5603       One slider is time to publication. Time to publication may shorten as
5604 journals get better at providing quicker decisions to authors.  However,
5605 there is always a trade-off with scale, as the bigger the volume of
5606 articles, the more time the approval process inevitably takes.
5607     </p><p>
5608       Peer review is another part of the process that could change. It’s possible
5609 to redefine what peer review actually is, when to review, and what
5610 constitutes the final article for publication. Louise talked about the
5611 potential to shift to an open-review process, placing the emphasis on
5612 transparency rather than double-blind reviews. Louise thinks we’re moving
5613 into a direction where it’s actually beneficial for an author to know who is
5614 reviewing their paper and for the reviewer to know their review will be
5615 public. An open-review process can also ensure everyone gets credit; right
5616 now, credit is limited to the publisher and author.
5617     </p><p>
5618       Louise says research with negative outcomes is almost as important as
5619 positive results. If journals published more research with negative
5620 outcomes, we’d learn from what didn’t work. It could also reduce how much
5621 the research wheel gets reinvented around the world.
5622     </p><p>
5623       Another adjustable practice is the sharing of articles at early preprint
5624 stages. Publication of research in a peer-reviewed journal can take a long
5625 time because articles must undergo extensive peer review. The need to
5626 quickly circulate current results within a scientific community has led to a
5627 practice of distributing pre-print documents that have not yet undergone
5628 peer review. Preprints broaden the peer-review process, allowing authors to
5629 receive early feedback from a wide group of peers, which can help revise and
5630 prepare the article for submission.  Offsetting the advantages of preprints
5631 are author concerns over ensuring their primacy of being first to come up
5632 with findings based on their research. Other researches may see findings the
5633 preprint author has not yet thought of. However, preprints help researchers
5634 get their discoveries out early and establish precedence. A big challenge is
5635 that researchers don’t have a lot of time to comment on preprints.
5636     </p><p>
5637       What constitutes a journal article could also change. The idea of a research
5638 article as printed, bound, and in a library stack is outdated. Digital and
5639 online open up new possibilities, such as a living document evolving over
5640 time, inclusion of audio and video, and interactivity, like discussion and
5641 recommendations. Even the size of what gets published could change. With
5642 these changes the current form factor for what constitutes a research
5643 article would undergo transformation.
5644     </p><p>
5645       As journals scale up, and new journals are introduced, more and more
5646 information is being pushed out to readers, making the experience feel like
5647 drinking from a fire hose. To help mitigate this, PLOS aggregates and
5648 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
5649 Metrics, which helps users assess research most relevant to the field
5650 itself, based on indicators like usage, citations, social bookmarking and
5651 dissemination activity, media and blog coverage, discussions, and
5652 ratings.<a href="#ftn.idm1799" class="footnote" name="idm1799"><sup class="footnote">[142]</sup></a> Louise believes that the
5653 journal model could evolve to provide a more friendly and interactive user
5654 experience, including a way for readers to communicate with authors.
5655     </p><p>
5656       The big picture for PLOS going forward is to combine and adjust these
5657 experimental practices in ways that continue to improve accessibility and
5658 dissemination of research, while ensuring its integrity and reliability. The
5659 ways they interlink are complex.  The process of change and adjustment is
5660 not linear. PLOS sees itself as a very flexible publisher interested in
5661 exploring all the permutations research-publishing can take, with authors
5662 and readers who are open to experimentation.
5663     </p><p>
5664       For PLOS, success is not about revenue. Success is about proving that
5665 scientific research can be communicated rapidly and economically at scale,
5666 for the benefit of researchers and society.  The CC BY license makes it
5667 possible for PLOS to publish in a way that is unfettered, open, and fast,
5668 while ensuring that the authors get credit for their work. More than two
5669 million scientists, scholars, and clinicians visit PLOS every month, with
5670 more than 135,000 quality articles to peruse for free.
5671     </p><p>
5672       Ultimately, for PLOS, its authors, and its readers, success is about making
5673 research discoverable, available, and reproducible for the advancement of
5674 science.
5675     </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>
5676         The Rijksmuseum is a Dutch national museum dedicated to art and
5677 history. Founded in 1800 in the Netherlands
5678       </p><p>
5679           <a class="ulink" href="http://www.rijksmuseum.nl" target="_top">http://www.rijksmuseum.nl</a>
5680         </p><p><span class="strong"><strong>Revenue model</strong></span>: grants and government
5681 funding, charging for in-person version (museum admission), selling
5682 merchandise
5683       </p><p><span class="strong"><strong>Interview date</strong></span>: December 11, 2015
5684       </p><p><span class="strong"><strong>Interviewee</strong></span>: Lizzy Jongma, the data
5685 manager of the collections information department
5686       </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}
5687     \textit{
5688         Profile written by Paul Stacey
5689       }
5690     \end{flushright}</td></tr></table></div><p>
5691       The Rijksmuseum, a national museum in the Netherlands dedicated to art and
5692 history, has been housed in its current building since 1885. The monumental
5693 building enjoyed more than 125 years of intensive use before needing a
5694 thorough overhaul. In 2003, the museum was closed for renovations. Asbestos
5695 was found in the roof, and although the museum was scheduled to be closed
5696 for only three to four years, renovations ended up taking ten years. During
5697 this time, the collection was moved to a different part of Amsterdam, which
5698 created a physical distance with the curators. Out of necessity, they
5699 started digitally photographing the collection and creating metadata
5700 (information about each object to put into a database). With the renovations
5701 going on for so long, the museum became largely forgotten by the public. Out
5702 of these circumstances emerged a new and more open model for the museum.
5703     </p><p>
5704       By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager,
5705 staff were fed up with the situation the museum was in.  They also realized
5706 that even with the new and larger space, it still wouldn’t be able to show
5707 very much of the whole collection—eight thousand of over one million works
5708 representing just 1 percent. Staff began exploring ways to express
5709 themselves, to have something to show for all of the work they had been
5710 doing.  The Rijksmuseum is primarily funded by Dutch taxpayers, so was there
5711 a way for the museum provide benefit to the public while it was closed? They
5712 began thinking about sharing Rijksmuseum’s collection using information
5713 technology. And they put up a card-catalog like database of the entire
5714 collection online.
5715     </p><p>
5716       It was effective but a bit boring. It was just data. A hackathon they were
5717 invited to got them to start talking about events like that as having
5718 potential. They liked the idea of inviting people to do cool stuff with
5719 their collection. What about giving online access to digital representations
5720 of the one hundred most important pieces in the Rijksmuseum collection? That
5721 eventually led to why not put the whole collection online?
5722     </p><p>
5723       Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
5724 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
5725 across Europe, Europeana had become an important online platform. In October
5726 2010 Creative Commons released CC0 and its public-domain mark as tools
5727 people could use to identify works as free of known copyright. Europeana was
5728 the first major adopter, using CC0 to release metadata about their
5729 collection and the public domain mark for millions of digital works in their
5730 collection. Lizzy says the Rijksmuseum initially found this change in
5731 business practice a bit scary, but at the same time it stimulated even more
5732 discussion on whether the Rijksmuseum should follow suit.
5733     </p><p>
5734       They realized that they don’t <span class="quote">„<span class="quote">own</span>“</span> the collection and couldn’t
5735 realistically monitor and enforce compliance with the restrictive licensing
5736 terms they currently had in place. For example, many copies and versions of
5737 Vermeer’s Milkmaid (part of their collection) were already online, many of
5738 them of very poor quality. They could spend time and money policing its use,
5739 but it would probably be futile and wouldn’t make people stop using their
5740 images online. They ended up thinking it’s an utter waste of time to hunt
5741 down people who use the Rijksmuseum collection. And anyway, restricting
5742 access meant the people they were frustrating the most were schoolkids.
5743     </p><p>
5744       In 2011 the Rijksmuseum began making their digital photos of works known to
5745 be free of copyright available online, using Creative Commons CC0 to place
5746 works in the public domain. A medium-resolution image was offered for free,
5747 but a high-resolution version cost forty euros. People started paying, but
5748 Lizzy says getting the money was frequently a nightmare, especially from
5749 overseas customers. The administrative costs often offset revenue, and
5750 income above costs was relatively low. In addition, having to pay for an
5751 image of a work in the public domain from a collection owned by the Dutch
5752 government (i.e., paid for by the public) was contentious and frustrating
5753 for some. Lizzy says they had lots of fierce debates about what to do.
5754     </p><p>
5755       In 2013 the Rijksmuseum changed its business model. They Creative Commons
5756 licensed their highest-quality images and released them online for
5757 free. Digitization still cost money, however; they decided to define
5758 discrete digitization projects and find sponsors willing to fund each
5759 project. This turned out to be a successful strategy, generating high
5760 interest from sponsors and lower administrative effort for the
5761 Rijksmuseum. They started out making 150,000 high-quality images of their
5762 collection available, with the goal to eventually have the entire collection
5763 online.
5764     </p><p>
5765       Releasing these high-quality images for free reduced the number of
5766 poor-quality images that were proliferating. The high-quality image of
5767 Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
5768 month. On the Internet, images from a source like the Rijksmuseum are more
5769 trusted, and releasing them with a Creative Commons CC0 means they can
5770 easily be found in other platforms. For example, Rijksmuseum images are now
5771 used in thousands of Wikipedia articles, receiving ten to eleven million
5772 views per month. This extends Rijksmuseum’s reach far beyond the scope of
5773 its website. Sharing these images online creates what Lizzy calls the
5774 <span class="quote">„<span class="quote">Mona Lisa effect,</span>“</span> where a work of art becomes so famous that
5775 people want to see it in real life by visiting the actual museum.
5776     </p><p>
5777       Every museum tends to be driven by the number of physical visitors. The
5778 Rijksmuseum is primarily publicly funded, receiving roughly 70 percent of
5779 its operating budget from the government.  But like many museums, it must
5780 generate the rest of the funding through other means. The admission fee has
5781 long been a way to generate revenue generation, including for the
5782 Rijksmuseum.
5783     </p><p>
5784       As museums create a digital presence for themselves and put up digital
5785 representations of their collection online, there’s frequently a worry that
5786 it will lead to a drop in actual physical visits. For the Rijksmuseum, this
5787 has not turned out to be the case. Lizzy told us the Rijksmuseum used to get
5788 about one million visitors a year before closing and now gets more than two
5789 million a year. Making the collection available online has generated
5790 publicity and acts as a form of marketing. The Creative Commons mark
5791 encourages reuse as well. When the image is found on protest leaflets, milk
5792 cartons, and children’s toys, people also see what museum the image comes
5793 from and this increases the museum’s visibility.
5794     </p><p>
5795       In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
5796 a new web presence that would be different from any other museum’s. In
5797 addition to redesigning their main website to be mobile friendly and
5798 responsive to devices like the iPad, the Rijksmuseum also created the
5799 Rijksstudio, where users and artists could use and do various things with
5800 the Rijksmuseum collection.<a href="#ftn.idm1834" class="footnote" name="idm1834"><sup class="footnote">[144]</sup></a>
5801     </p><p>
5802       The Rijksstudio gives users access to over two hundred thousand high-quality
5803 digital representations of masterworks from the collection. Users can zoom
5804 in to any work and even clip small parts of images they like. Rijksstudio is
5805 a bit like Pinterest.  You can <span class="quote">„<span class="quote">like</span>“</span> works and compile your
5806 personal favorites, and you can share them with friends or download them
5807 free of charge. All the images in the Rijksstudio are copyright and royalty
5808 free, and users are encouraged to use them as they like, for private or even
5809 commercial purposes.
5810     </p><p>
5811       Users have created over 276,000 Rijksstudios, generating their own themed
5812 virtual exhibitions on a wide variety of topics ranging from tapestries to
5813 ugly babies and birds. Sets of images have also been created for educational
5814 purposes including use for school exams.
5815     </p><p>
5816       Some contemporary artists who have works in the Rijksmuseum collection
5817 contacted them to ask why their works were not included in the
5818 Rijksstudio. The answer was that contemporary artists’ works are still bound
5819 by copyright. The Rijksmuseum does encourage contemporary artists to use a
5820 Creative Commons license for their works, usually a CC BY-SA license
5821 (Attribution-ShareAlike), or a CC BY-NC (Attribution-NonCommercial) if they
5822 want to preclude commercial use. That way, their works can be made available
5823 to the public, but within limits the artists have specified.
5824     </p><p>
5825       The Rijksmuseum believes that art stimulates entrepreneurial activity. The
5826 line between creative and commercial can be blurry.  As Lizzy says, even
5827 Rembrandt was commercial, making his livelihood from selling his
5828 paintings. The Rijksmuseum encourages entrepreneurial commercial use of the
5829 images in Rijksstudio.  They’ve even partnered with the DIY marketplace Etsy
5830 to inspire people to sell their creations. One great example you can find on
5831 Etsy is a kimono designed by Angie Johnson, who used an image of an
5832 elaborate cabinet along with an oil painting by Jan Asselijn called The
5833 Threatened Swan.<a href="#ftn.idm1842" class="footnote" name="idm1842"><sup class="footnote">[145]</sup></a>
5834     </p><p>
5835       In 2013 the Rijksmuseum organized their first high-profile design
5836 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
5837 invites the public to use Rijksstudio images to make new creative designs. A
5838 jury of renowned designers and curators selects ten finalists and three
5839 winners. The final award comes with a prize of €10,000. The second edition
5840 in 2015 attracted a staggering 892 top-class entries. Some award winners end
5841 up with their work sold through the Rijksmuseum store, such as the 2014
5842 entry featuring makeup based on a specific color scheme of a work of
5843 art.<a href="#ftn.idm1851" class="footnote" name="idm1851"><sup class="footnote">[147]</sup></a> The Rijksmuseum has been thrilled
5844 with the results.  Entries range from the fun to the weird to the
5845 inspirational. The third international edition of the Rijksstudio Award
5846 started in September 2016.
5847     </p><p>
5848       For the next iteration of the Rijksstudio, the Rijksmuseum is considering an
5849 upload tool, for people to upload their own works of art, and enhanced
5850 social elements so users can interact with each other more.
5851     </p><p>
5852       Going with a more open business model generated lots of publicity for the
5853 Rijksmuseum. They were one of the first museums to open up their collection
5854 (that is, give free access) with high-quality images. This strategy, along
5855 with the many improvements to the Rijksmuseum’s website, dramatically
5856 increased visits to their website from thirty-five thousand visits per month
5857 to three hundred thousand.
5858     </p><p>
5859       The Rijksmuseum has been experimenting with other ways to invite the public
5860 to look at and interact with their collection. On an international day
5861 celebrating animals, they ran a successful bird-themed event. The museum put
5862 together a showing of two thousand works that featured birds and invited
5863 bird-watchers to identify the birds depicted. Lizzy notes that while museum
5864 curators know a lot about the works in their collections, they may not know
5865 about certain details in the paintings such as bird species. Over eight
5866 hundred different birds were identified, including a specific species of
5867 crane bird that was unknown to the scientific community at the time of the
5868 painting.
5869     </p><p>
5870       For the Rijksmuseum, adopting an open business model was scary.  They came
5871 up with many worst-case scenarios, imagining all kinds of awful things
5872 people might do with the museum’s works. But Lizzy says those fears did not
5873 come true because <span class="quote">„<span class="quote">ninety-nine percent of people have respect for
5874 great art.</span>“</span> Many museums think they can make a lot of money by
5875 selling things related to their collection. But in Lizzy’s experience,
5876 museums are usually bad at selling things, and sometimes efforts to generate
5877 a small amount of money block something much bigger—the real value that the
5878 collection has. For Lizzy, clinging to small amounts of revenue is being
5879 penny-wise but pound-foolish. For the Rijksmuseum, a key lesson has been to
5880 never lose sight of its vision for the collection. Allowing access to and
5881 use of their collection has generated great promotional value—far more than
5882 the previous practice of charging fees for access and use. Lizzy sums up
5883 their experience: <span class="quote">„<span class="quote">Give away; get something in return.  Generosity
5884 makes people happy to join you and help out.</span>“</span>
5885     </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
5886 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2014" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2014</a>;
5887 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>
5888         Shareable is an online magazine about sharing. Founded in 2009 in the U.S.
5889       </p><p>
5890           <a class="ulink" href="http://www.shareable.net" target="_top">http://www.shareable.net</a>
5891         </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding,
5892 crowdfunding (project-based), donations, sponsorships
5893       </p><p><span class="strong"><strong>Interview date</strong></span>: February 24, 2016
5894       </p><p><span class="strong"><strong>Interviewee</strong></span>: Neal Gorenflo, cofounder and
5895 executive editor
5896       </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}
5897     \textit{
5898         Profile written by Sarah Hinchliff Pearson
5899       }
5900     \end{flushright}</td></tr></table></div><p>
5901       In 2013, Shareable faced an impasse. The nonprofit online publication had
5902 helped start a sharing movement four years prior, but over time, they
5903 watched one part of the movement stray from its ideals. As giants like Uber
5904 and Airbnb gained ground, attention began to center on the <span class="quote">„<span class="quote">sharing
5905 economy</span>“</span> we know now—profit-driven, transactional, and loaded with
5906 venture-capital money. Leaders of corporate start-ups in this domain invited
5907 Shareable to advocate for them. The magazine faced a choice: ride the wave
5908 or stand on principle.
5909     </p><p>
5910       As an organization, Shareable decided to draw a line in the sand.  In 2013,
5911 the cofounder and executive editor Neal Gorenflo wrote an opinion piece in
5912 the PandoDaily that charted Shareable’s new critical stance on the Silicon
5913 Valley version of the sharing economy, while contrasting it with aspects of
5914 the real sharing economy like open-source software, participatory budgeting
5915 (where citizens decide how a public budget is spent), cooperatives, and
5916 more. He wrote, <span class="quote">„<span class="quote">It’s not so much that collaborative consumption is
5917 dead, it’s more that it risks dying as it gets absorbed by the
5918 <span class="quote">‚<span class="quote">Borg.</span>‘</span></span>“</span>
5919     </p><p>
5920       Neal said their public critique of the corporate sharing economy defined
5921 what Shareable was and is. He does not think the magazine would still be
5922 around had they chosen differently. <span class="quote">„<span class="quote">We would have gotten another type
5923 of audience, but it would have spelled the end of us,</span>“</span> he
5924 said. <span class="quote">„<span class="quote">We are a small, mission-driven organization. We would never
5925 have been able to weather the criticism that Airbnb and Uber are getting
5926 now.</span>“</span>
5927     </p><p>
5928       Interestingly, impassioned supporters are only a small sliver of Shareable’s
5929 total audience. Most are casual readers who come across a Shareable story
5930 because it happens to align with a project or interest they have. But
5931 choosing principles over the possibility of riding the coattails of the
5932 major corporate players in the sharing space saved Shareable’s
5933 credibility. Although they became detached from the corporate sharing
5934 economy, the online magazine became the voice of the <span class="quote">„<span class="quote">real sharing
5935 economy</span>“</span> and continued to grow their audience.
5936     </p><p>
5937       Shareable is a magazine, but the content they publish is a means to
5938 furthering their role as a leader and catalyst of a movement.  Shareable
5939 became a leader in the movement in 2009. <span class="quote">„<span class="quote">At that time, there was a
5940 sharing movement bubbling beneath the surface, but no one was connecting the
5941 dots,</span>“</span> Neal said. <span class="quote">„<span class="quote">We decided to step into that space and take
5942 on that role.</span>“</span> The small team behind the nonprofit publication truly
5943 believed sharing could be central to solving some of the major problems
5944 human beings face—resource inequality, social isolation, and global warming.
5945     </p><p>
5946       They have worked hard to find ways to tell stories that show different
5947 metrics for success. <span class="quote">„<span class="quote">We wanted to change the notion of what
5948 constitutes the good life,</span>“</span> Neal said. While they started out with a
5949 very broad focus on sharing generally, today they emphasize stories about
5950 the physical commons like <span class="quote">„<span class="quote">sharing cities</span>“</span> (i.e., urban areas
5951 managed in a sustainable, cooperative way), as well as digital platforms
5952 that are run democratically. They particularly focus on how-to content that
5953 help their readers make changes in their own lives and communities.
5954     </p><p>
5955       More than half of Shareable’s stories are written by paid journalists that
5956 are contracted by the magazine.  <span class="quote">„<span class="quote">Particularly in content areas that
5957 are a priority for us, we really want to go deep and control the
5958 quality,</span>“</span> Neal said. The rest of the content is either contributed by
5959 guest writers, often for free, or written by other publications from their
5960 network of content publishers. Shareable is a member of the Post Growth
5961 Alliance, which facilitates the sharing of content and audiences among a
5962 large and growing group of mostly nonprofits.  Each organization gets a
5963 chance to present stories to the group, and the organizations can use and
5964 promote each other’s stories.  Much of the content created by the network is
5965 licensed with Creative Commons.
5966     </p><p>
5967       All of Shareable’s original content is published under the Attribution
5968 license (CC BY), meaning it can be used for any purpose as long as credit is
5969 given to Shareable. Creative Commons licensing is aligned with Shareable’s
5970 vision, mission, and identity. That alone explains the organization’s
5971 embrace of the licenses for their content, but Neal also believes CC
5972 licensing helps them increase their reach. <span class="quote">„<span class="quote">By using CC
5973 licensing,</span>“</span> he said, <span class="quote">„<span class="quote">we realized we could reach far more
5974 people through a formal and informal network of republishers or
5975 affiliates. That has definitely been the case. It’s hard for us to measure
5976 the reach of other media properties, but most of the outlets who republish
5977 our work have much bigger audiences than we do.</span>“</span>
5978     </p><p>
5979       In addition to their regular news and commentary online, Shareable has also
5980 experimented with book publishing. In 2012, they worked with a traditional
5981 publisher to release Share or Die: Voices of the Get Lost Generation in an
5982 Age of Crisis. The CC-licensed book was available in print form for purchase
5983 or online for free. To this day, the book—along with their CC-licensed guide
5984 Policies for Shareable Cities—are two of the biggest generators of traffic
5985 on their website.
5986     </p><p>
5987       In 2016, Shareable self-published a book of curated Shareable stories called
5988 How to: Share, Save Money and Have Fun. The book was available for sale, but
5989 a PDF version of the book was available for free. Shareable plans to offer
5990 the book in upcoming fund-raising campaigns.
5991     </p><p>
5992       This recent book is one of many fund-raising experiments Shareable has
5993 conducted in recent years. Currently, Shareable is primarily funded by
5994 grants from foundations, but they are actively moving toward a more
5995 diversified model. They have organizational sponsors and are working to
5996 expand their base of individual donors.  Ideally, they will eventually be a
5997 hundred percent funded by their audience. Neal believes being fully
5998 community-supported will better represent their vision of the world.
5999     </p><p>
6000       For Shareable, success is very much about their impact on the world. This is
6001 true for Neal, but also for everyone who works for Shareable. <span class="quote">„<span class="quote">We
6002 attract passionate people,</span>“</span> Neal said.  At times, that means
6003 employees work so hard they burn out. Neal tries to stress to the Shareable
6004 team that another part of success is having fun and taking care of yourself
6005 while you do something you love. <span class="quote">„<span class="quote">A central part of human beings is
6006 that we long to be on a great adventure with people we love,</span>“</span> he
6007 said.  <span class="quote">„<span class="quote">We are a species who look over the horizon and imagine and
6008 create new worlds, but we also seek the comfort of hearth and home.</span>“</span>
6009     </p><p>
6010       In 2013, Shareable ran its first crowdfunding campaign to launch their
6011 Sharing Cities Network. Neal said at first they were on pace to fail
6012 spectacularly. They called in their advisers in a panic and asked for
6013 help. The advice they received was simple—<span class="quote">„<span class="quote">Sit your ass in a chair and
6014 start making calls.</span>“</span> That’s exactly what they did, and they ended up
6015 reaching their $50,000 goal. Neal said the campaign helped them reach new
6016 people, but the vast majority of backers were people in their existing base.
6017     </p><p>
6018       For Neal, this symbolized how so much of success comes down to
6019 relationships. Over time, Shareable has invested time and energy into the
6020 relationships they have forged with their readers and supporters. They have
6021 also invested resources into building relationships between their readers
6022 and supporters.
6023     </p><p>
6024       Shareable began hosting events in 2010. These events were designed to bring
6025 the sharing community together. But over time they realized they could reach
6026 far more people if they helped their readers to host their own
6027 events. <span class="quote">„<span class="quote">If we wanted to go big on a conference, there was a huge risk
6028 and huge staffing needs, plus only a fraction of our community could travel
6029 to the event,</span>“</span> Neal said. Enabling others to create their own events
6030 around the globe allowed them to scale up their work more effectively and
6031 reach far more people. Shareable has catalyzed three hundred different
6032 events reaching over twenty thousand people since implementing this strategy
6033 three years ago. Going forward, Shareable is focusing the network on
6034 creating and distributing content meant to spur local action. For instance,
6035 Shareable will publish a new CC-licensed book in 2017 filled with ideas for
6036 their network to implement.
6037     </p><p>
6038       Neal says Shareable stumbled upon this strategy, but it seems to perfectly
6039 encapsulate just how the commons is supposed to work.  Rather than a
6040 one-size-fits-all approach, Shareable puts the tools out there for people
6041 take the ideas and adapt them to their own communities.
6042     </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>
6043         Siyavula is a for-profit educational-technology company that creates
6044 textbooks and integrated learning experiences. Founded in 2012 in South
6045 Africa.
6046       </p><p>
6047           <a class="ulink" href="http://www.siyavula.com" target="_top">http://www.siyavula.com</a>
6048         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
6049 services, sponsorships
6050       </p><p><span class="strong"><strong>Interview date</strong></span>: April 5, 2016
6051       </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Horner, CEO
6052       </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}
6053     \textit{
6054         Profile written by Paul Stacey
6055       }
6056     \end{flushright}</td></tr></table></div><p>
6057       Openness is a key principle for Siyavula. They believe that every learner
6058 and teacher should have access to high-quality educational resources, as
6059 this forms the basis for long-term growth and development. Siyavula has been
6060 a pioneer in creating high-quality open textbooks on mathematics and science
6061 subjects for grades 4 to 12 in South Africa.
6062     </p><p>
6063       In terms of creating an open business model that involves Creative Commons,
6064 Siyavula—and its founder, Mark Horner—have been around the block a few
6065 times. Siyavula has significantly shifted directions and strategies to
6066 survive and prosper. Mark says it’s been very organic.
6067     </p><p>
6068       It all started in 2002, when Mark and several other colleagues at the
6069 University of Cape Town in South Africa founded the Free High School Science
6070 Texts project. Most students in South Africa high schools didn’t have access
6071 to high-quality, comprehensive science and math textbooks, so Mark and his
6072 colleagues set out to write them and make them freely available.
6073     </p><p>
6074       As physicists, Mark and his colleagues were advocates of open-source
6075 software. To make the books open and free, they adopted the Free Software
6076 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
6077 documents, to author the books. Over a period of five years, the Free High
6078 School Science Texts project produced math and physical-science textbooks
6079 for grades 10 to 12.
6080     </p><p>
6081       In 2007, the Shuttleworth Foundation offered funding support to make the
6082 textbooks available for trial use at more schools.  Surveys before and after
6083 the textbooks were adopted showed there were no substantial criticisms of
6084 the textbooks’ pedagogical content. This pleased both the authors and
6085 Shuttleworth; Mark remains incredibly proud of this accomplishment.
6086     </p><p>
6087       But the development of new textbooks froze at this stage. Mark shifted his
6088 focus to rural schools, which didn’t have textbooks at all, and looked into
6089 the printing and distribution options. A few sponsors came on board but not
6090 enough to meet the need.
6091     </p><p>
6092       In 2007, Shuttleworth and the Open Society Institute convened a group of
6093 open-education activists for a small but lively meeting in Cape Town. One
6094 result was the Cape Town Open Education Declaration, a statement of
6095 principles, strategies, and commitment to help the open-education movement
6096 grow.<a href="#ftn.idm1930" class="footnote" name="idm1930"><sup class="footnote">[149]</sup></a> Shuttleworth also invited Mark to
6097 run a project writing open content for all subjects for K–12 in
6098 English. That project became Siyavula.
6099     </p><p>
6100       They wrote six original textbooks. A small publishing company offered
6101 Shuttleworth the option to buy out the publisher’s existing K–9 content for
6102 every subject in South African schools in both English and Afrikaans. A deal
6103 was struck, and all the acquired content was licensed with Creative Commons,
6104 significantly expanding the collection beyond the six original books.
6105     </p><p>
6106       Mark wanted to build out the remaining curricula collaboratively through
6107 communities of practice—that is, with fellow educators and writers. Although
6108 sharing is fundamental to teaching, there can be a few challenges when you
6109 create educational resources collectively. One concern is legal. It is
6110 standard practice in education to copy diagrams and snippets of text, but of
6111 course this doesn’t always comply with copyright law. Another concern is
6112 transparency. Sharing what you’ve authored means everyone can see it and
6113 opens you up to criticism. To alleviate these concerns, Mark adopted a
6114 team-based approach to authoring and insisted the curricula be based
6115 entirely on resources with Creative Commons licenses, thereby ensuring they
6116 were safe to share and free from legal repercussions.
6117     </p><p>
6118       Not only did Mark want the resources to be shareable, he wanted all teachers
6119 to be able to remix and edit the content. Mark and his team had to come up
6120 with an open editable format and provide tools for editing. They ended up
6121 putting all the books they’d acquired and authored on a platform called
6122 Connexions.<a href="#ftn.idm1936" class="footnote" name="idm1936"><sup class="footnote">[150]</sup></a> Siyavula trained many
6123 teachers to use Connexions, but it proved to be too complex and the
6124 textbooks were rarely edited.
6125     </p><p>
6126       Then the Shuttleworth Foundation decided to completely restructure its work
6127 as a foundation into a fellowship model (for reasons completely unrelated to
6128 Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
6129 an independent entity and took ownership over it as a Shuttleworth fellow.
6130     </p><p>
6131       Mark and his team experimented with several different strategies.  They
6132 tried creating an authoring and hosting platform called Full Marks so that
6133 teachers could share assessment items. They tried creating a service called
6134 Open Press, where teachers could ask for open educational resources to be
6135 aggregated into a package and printed for them. These services never really
6136 panned out.
6137     </p><p>
6138       Then the South African government approached Siyavula with an interest in
6139 printing out the original six Free High School Science Texts (math and
6140 physical-science textbooks for grades 10 to 12)  for all high school
6141 students in South Africa. Although at this point Siyavula was a bit
6142 discouraged by open educational resources, they saw this as a big
6143 opportunity.
6144     </p><p>
6145       They began to conceive of the six books as having massive marketing
6146 potential for Siyavula. Printing Siyavula books for every kid in South
6147 Africa would give their brand huge exposure and could drive vast amounts of
6148 traffic to their website. In addition to print books, Siyavula could also
6149 make the books available on their website, making it possible for learners
6150 to access them using any device—computer, tablet, or mobile phone.
6151     </p><p>
6152       Mark and his team began imagining what they could develop beyond what was in
6153 the textbooks as a service they charge for. One key thing you can’t do well
6154 in a printed textbook is demonstrate solutions. Typically, a one-line answer
6155 is given at the end of the book but nothing on the process for arriving at
6156 that solution.  Mark and his team developed practice items and detailed
6157 solutions, giving learners plenty of opportunity to test out what they’ve
6158 learned. Furthermore, an algorithm could adapt these practice items to the
6159 individual needs of each learner. They called this service Intelligent
6160 Practice and embedded links to it in the open textbooks.
6161     </p><p>
6162       The costs for using Intelligent Practice were set very low, making it
6163 accessible even to those with limited financial means. Siyavula was going
6164 for large volumes and wide-scale use rather than an expensive product
6165 targeting only the high end of the market.
6166     </p><p>
6167       The government distributed the books to 1.5 million students, but there was
6168 an unexpected wrinkle: the books were delivered late.  Rather than wait,
6169 schools who could afford it provided students with a different textbook. The
6170 Siyavula books were eventually distributed, but with well-off schools mainly
6171 using a different book, the primary market for Siyavula’s Intelligent
6172 Practice service inadvertently became low-income learners.
6173     </p><p>
6174       Siyavula’s site did see a dramatic increase in traffic. They got five
6175 hundred thousand visitors per month to their math site and the same number
6176 to their science site. Two-fifths of the traffic was reading on a
6177 <span class="quote">„<span class="quote">feature phone</span>“</span> (a nonsmartphone with no apps). People on basic
6178 phones were reading math and science on a two-inch screen at all hours of
6179 the day. To Mark, it was quite amazing and spoke to a need they were
6180 servicing.
6181     </p><p>
6182       At first, the Intelligent Practice services could only be paid using a
6183 credit card. This proved problematic, especially for those in the low-income
6184 demographic, as credit cards were not prevalent.  Mark says Siyavula got a
6185 harsh business-model lesson early on. As he describes it, it’s not just
6186 about product, but how you sell it, who the market is, what the price is,
6187 and what the barriers to entry are.
6188     </p><p>
6189       Mark describes this as the first version of Siyavula’s business model: open
6190 textbooks serving as marketing material and driving traffic to your site,
6191 where you can offer a related service and convert some people into a paid
6192 customer.
6193     </p><p>
6194       For Mark a key decision for Siyavula’s business was to focus on how they can
6195 add value on top of their basic service. They’ll charge only if they are
6196 adding unique value. The actual content of the textbook isn’t unique at all,
6197 so Siyavula sees no value in locking it down and charging for it. Mark
6198 contrasts this with traditional publishers who charge over and over again
6199 for the same content without adding value.
6200     </p><p>
6201       Version two of Siyavula’s business model was a big, ambitious idea—scale
6202 up. They also decided to sell the Intelligent Practice service to schools
6203 directly. Schools can subscribe on a per-student, per-subject basis. A
6204 single subscription gives a learner access to a single subject, including
6205 practice content from every grade available for that subject. Lower
6206 subscription rates are provided when there are over two hundred students,
6207 and big schools have a price cap. A 40 percent discount is offered to
6208 schools where both the science and math departments subscribe.
6209     </p><p>
6210       Teachers get a dashboard that allows them to monitor the progress of an
6211 entire class or view an individual learner’s results. They can see the
6212 questions that learners are working on, identify areas of difficulty, and be
6213 more strategic in their teaching. Students also have their own personalized
6214 dashboard, where they can view the sections they’ve practiced, how many
6215 points they’ve earned, and how their performance is improving.
6216     </p><p>
6217       Based on the success of this effort, Siyavula decided to substantially
6218 increase the production of open educational resources so they could provide
6219 the Intelligent Practice service for a wider range of books. Grades 10 to 12
6220 math and science books were reworked each year, and new books created for
6221 grades 4 to 6 and later grades 7 to 9.
6222     </p><p>
6223       In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula
6224 produced a series of natural sciences and technology workbooks for grades 4
6225 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
6226 teacher’s guides and other resources.
6227     </p><p>
6228       Through this experience, Siyavula learned they could get sponsors to help
6229 fund openly licensed textbooks. It helped that Siyavula had by this time
6230 nailed the production model. It cost roughly $150,000 to produce a book in
6231 two languages. Sponsors liked the social-benefit aspect of textbooks
6232 unlocked via a Creative Commons license. They also liked the exposure their
6233 brand got. For roughly $150,000, their logo would be visible on books
6234 distributed to over one million students.
6235     </p><p>
6236       The Siyavula books that are reviewed, approved, and branded by the
6237 government are freely and openly available on Siyavula’s website under an
6238 Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
6239 cannot be modified. Non-government-branded books are available under an
6240 Attribution license (CC BY), allowing others to modify and redistribute the
6241 books.
6242     </p><p>
6243       Although the South African government paid to print and distribute hard
6244 copies of the books to schoolkids, Siyavula itself received no funding from
6245 the government. Siyavula initially tried to convince the government to
6246 provide them with five rand per book (about US35¢). With those funds, Mark
6247 says that Siyavula could have run its entire operation, built a
6248 community-based model for producing more books, and provide Intelligent
6249 Practice for free to every child in the country. But after a lengthy
6250 negotiation, the government said no.
6251     </p><p>
6252       Using Siyavula books generated huge savings for the government.  Providing
6253 students with a traditionally published grade 12 science or math textbook
6254 costs around 250 rand per book (about US$18).  Providing the Siyavula
6255 version cost around 36 rand (about $2.60), a savings of over 200 rand per
6256 book. But none of those savings were passed on to Siyavula. In retrospect,
6257 Mark thinks this may have turned out in their favor as it allowed them to
6258 remain independent from the government.
6259     </p><p>
6260       Just as Siyavula was planning to scale up the production of open textbooks
6261 even more, the South African government changed its textbook policy. To save
6262 costs, the government declared there would be only one authorized textbook
6263 for each grade and each subject. There was no guarantee that Siyavula’s
6264 would be chosen.  This scared away potential sponsors.
6265     </p><p>
6266       Rather than producing more textbooks, Siyavula focused on improving its
6267 Intelligent Practice technology for its existing books. Mark calls this
6268 version three of Siyavula’s business model—focusing on the technology that
6269 provides the revenue-generating service and generating more users of this
6270 service. Version three got a significant boost in 2014 with an investment by
6271 the Omidyar Network (the philanthropic venture started by eBay founder
6272 Pierre Omidyar and his spouse), and continues to be the model Siyavula uses
6273 today.
6274     </p><p>
6275       Mark says sales are way up, and they are really nailing Intelligent
6276 Practice. Schools continue to use their open textbooks. The
6277 government-announced policy that there would be only one textbook per
6278 subject turned out to be highly contentious and is in limbo.
6279     </p><p>
6280       Siyavula is exploring a range of enhancements to their business model. These
6281 include charging a small amount for assessment services provided over the
6282 phone, diversifying their market to all English-speaking countries in
6283 Africa, and setting up a consortium that makes Intelligent Practice free to
6284 all kids by selling the nonpersonal data Intelligent Practice collects.
6285     </p><p>
6286       Siyavula is a for-profit business but one with a social mission.  Their
6287 shareholders’ agreement lists lots of requirements around openness for
6288 Siyavula, including stipulations that content always be put under an open
6289 license and that they can’t charge for something that people volunteered to
6290 do for them. They believe each individual should have access to the
6291 resources and support they need to achieve the education they
6292 deserve. Having educational resources openly licensed with Creative Commons
6293 means they can fulfill their social mission, on top of which they can build
6294 revenue-generating services to sustain the ongoing operation of Siyavula. In
6295 terms of open business models, Mark and Siyavula may have been around the
6296 block a few times, but both he and the company are stronger for it.
6297     </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>
6298         SparkFun is an online electronics retailer specializing in open
6299 hardware. Founded in 2003 in the U.S.
6300       </p><p>
6301           <a class="ulink" href="http://www.sparkfun.com" target="_top">http://www.sparkfun.com</a>
6302         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
6303 copies (electronics sales)
6304       </p><p><span class="strong"><strong>Interview date</strong></span>: February 29, 2016
6305       </p><p><span class="strong"><strong>Interviewee</strong></span>: Nathan Seidle, founder
6306       </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}
6307     \textit{
6308         Profile written by Sarah Hinchliff Pearson
6309       }
6310     \end{flushright}</td></tr></table></div><p>
6311       SparkFun founder and former CEO Nathan Seidle has a picture of himself
6312 holding up a clone of a SparkFun product in an electronics market in China,
6313 with a huge grin on his face. He was traveling in China when he came across
6314 their LilyPad wearable technology being made by someone else. His reaction
6315 was glee.
6316     </p><p><span class="quote">„<span class="quote">Being copied is the greatest earmark of flattery and success,</span>“</span>
6317 Nathan said. <span class="quote">„<span class="quote">I thought it was so cool that they were selling to a
6318 market we were never going to get access to otherwise. It was evidence of
6319 our impact on the world.</span>“</span>
6320     </p><p>
6321       This worldview runs through everything SparkFun does. SparkFun is an
6322 electronics manufacturer. The company sells its products directly to the
6323 public online, and it bundles them with educational tools to sell to schools
6324 and teachers. SparkFun applies Creative Commons licenses to all of its
6325 schematics, images, tutorial content, and curricula, so anyone can make
6326 their products on their own. Being copied is part of the design.
6327     </p><p>
6328       Nathan believes open licensing is good for the world. <span class="quote">„<span class="quote">It touches on
6329 our natural human instinct to share,</span>“</span> he said.  But he also strongly
6330 believes it makes SparkFun better at what they do. They encourage copying,
6331 and their products are copied at a very fast rate, often within ten to
6332 twelve weeks of release.  This forces the company to compete on something
6333 other than product design, or what most commonly consider their intellectual
6334 property.
6335     </p><p><span class="quote">„<span class="quote">We compete on business principles,</span>“</span> Nathan said.
6336 <span class="quote">„<span class="quote">Claiming your territory with intellectual property allows you to get
6337 comfy and rest on your laurels. It gives you a safety net. We took away that
6338 safety net.</span>“</span>
6339     </p><p>
6340       The result is an intense company-wide focus on product development and
6341 improvement. <span class="quote">„<span class="quote">Our products are so much better than they were five
6342 years ago,</span>“</span> Nathan said. <span class="quote">„<span class="quote">We used to just sell products. Now
6343 it’s a product plus a video, a seventeen-page hookup guide, and example
6344 firmware on three different platforms to get you up and running faster. We
6345 have gotten better because we had to in order to compete. As painful as it
6346 is for us, it’s better for the customers.</span>“</span>
6347     </p><p>
6348       SparkFun parts are available on eBay for lower prices. But people come
6349 directly to SparkFun because SparkFun makes their lives easier. The example
6350 code works; there is a service number to call; they ship replacement parts
6351 the day they get a service call. They invest heavily in service and
6352 support. <span class="quote">„<span class="quote">I don’t believe businesses should be competing with IP
6353 [intellectual property] barriers,</span>“</span> Nathan said. <span class="quote">„<span class="quote">This is the
6354 stuff they should be competing on.</span>“</span>
6355     </p><p>
6356       SparkFun’s company history began in Nathan’s college dorm room. He spent a
6357 lot of time experimenting with and building electronics, and he realized
6358 there was a void in the market. <span class="quote">„<span class="quote">If you wanted to place an order for
6359 something,</span>“</span> he said, <span class="quote">„<span class="quote">you first had to search far and wide to
6360 find it, and then you had to call or fax someone.</span>“</span> In 2003, during
6361 his third year of college, he registered <a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a>
6362 and started reselling products out of his bedroom. After he graduated, he
6363 started making and selling his own products.
6364     </p><p>
6365       Once he started designing his own products, he began putting the software
6366 and schematics online to help with technical support.  After doing some
6367 research on licensing options, he chose Creative Commons licenses because he
6368 was drawn to the <span class="quote">„<span class="quote">human-readable deeds</span>“</span> that explain the
6369 licensing terms in simple terms.  SparkFun still uses CC licenses for all of
6370 the schematics and firmware for the products they create.
6371     </p><p>
6372       The company has grown from a solo project to a corporation with 140
6373 employees. In 2015, SparkFun earned $33 million in revenue.  Selling
6374 components and widgets to hobbyists, professionals, and artists remains a
6375 major part of SparkFun’s business. They sell their own products, but they
6376 also partner with Arduino (also profiled in this book) by manufacturing
6377 boards for resale using Arduino’s brand.
6378     </p><p>
6379       SparkFun also has an educational department dedicated to creating a hands-on
6380 curriculum to teach students about electronics using prototyping
6381 parts. Because SparkFun has always been dedicated to enabling others to
6382 re-create and fix their products on their own, the more recent focus on
6383 introducing young people to technology is a natural extension of their core
6384 business.
6385     </p><p><span class="quote">„<span class="quote">We have the burden and opportunity to educate the next generation of
6386 technical citizens,</span>“</span> Nathan said. <span class="quote">„<span class="quote">Our goal is to affect the
6387 lives of three hundred and fifty thousand high school students by
6388 2020.</span>“</span>
6389     </p><p>
6390       The Creative Commons license underlying all of SparkFun’s products is
6391 central to this mission. The license not only signals a willingness to
6392 share, but it also expresses a desire for others to get in and tinker with
6393 their products, both to learn and to make their products better. SparkFun
6394 uses the Attribution-ShareAlike license (CC BY-SA), which is a
6395 <span class="quote">„<span class="quote">copyleft</span>“</span> license that allows people to do anything with the
6396 content as long as they provide credit and make any adaptations available
6397 under the same licensing terms.
6398     </p><p>
6399       From the beginning, Nathan has tried to create a work environment at
6400 SparkFun that he himself would want to work in. The result is what appears
6401 to be a pretty fun workplace. The U.S. company is based in Boulder,
6402 Colorado. They have an eighty-thousand-square-foot facility (approximately
6403 seventy-four-hundred square meters), where they design and manufacture their
6404 products. They offer public tours of the space several times a week, and
6405 they open their doors to the public for a competition once a year.
6406     </p><p>
6407       The public event, called the Autonomous Vehicle Competition, brings in a
6408 thousand to two thousand customers and other technology enthusiasts from
6409 around the area to race their own self-created bots against each other,
6410 participate in training workshops, and socialize. From a business
6411 perspective, Nathan says it’s a terrible idea. But they don’t hold the event
6412 for business reasons. <span class="quote">„<span class="quote">The reason we do it is because I get to travel
6413 and have interactions with our customers all the time, but most of our
6414 employees don’t,</span>“</span> he said. <span class="quote">„<span class="quote">This event gives our employees the
6415 opportunity to get face-to-face contact with our customers.</span>“</span> The
6416 event infuses their work with a human element, which makes it more
6417 meaningful.
6418     </p><p>
6419       Nathan has worked hard to imbue a deeper meaning into the work SparkFun
6420 does. The company is, of course, focused on being fiscally responsible, but
6421 they are ultimately driven by something other than money. <span class="quote">„<span class="quote">Profit is
6422 not the goal; it is the outcome of a well-executed plan,</span>“</span> Nathan
6423 said. <span class="quote">„<span class="quote">We focus on having a bigger impact on the world.</span>“</span> Nathan
6424 believes they get some of the brightest and most amazing employees because
6425 they aren’t singularly focused on the bottom line.
6426     </p><p>
6427       The company is committed to transparency and shares all of its financials
6428 with its employees. They also generally strive to avoid being another
6429 soulless corporation. They actively try to reveal the humans behind the
6430 company, and they work to ensure people coming to their site don’t find only
6431 unchanging content.
6432     </p><p>
6433       SparkFun’s customer base is largely made up of industrious electronics
6434 enthusiasts. They have customers who are regularly involved in the company’s
6435 customer support, independently responding to questions in forums and
6436 product-comment sections.  Customers also bring product ideas to the
6437 company. SparkFun regularly sifts through suggestions from customers and
6438 tries to build on them where they can. <span class="quote">„<span class="quote">From the beginning, we have
6439 been listening to the community,</span>“</span> Nathan said.  <span class="quote">„<span class="quote">Customers
6440 would identify a pain point, and we would design something to address
6441 it.</span>“</span>
6442     </p><p>
6443       However, this sort of customer engagement does not always translate to
6444 people actively contributing to SparkFun’s projects.  The company has a
6445 public repository of software code for each of its devices online. On a
6446 particularly active project, there will only be about two dozen people
6447 contributing significant improvements. The vast majority of projects are
6448 relatively untouched by the public. <span class="quote">„<span class="quote">There is a theory that if you
6449 open-source it, they will come,</span>“</span> Nathan said. <span class="quote">„<span class="quote">That’s not
6450 really true.</span>“</span>
6451     </p><p>
6452       Rather than focusing on cocreation with their customers, SparkFun instead
6453 focuses on enabling people to copy, tinker, and improve products on their
6454 own. They heavily invest in tutorials and other material designed to help
6455 people understand how the products work so they can fix and improve things
6456 independently. <span class="quote">„<span class="quote">What gives me joy is when people take open-source
6457 layouts and then build their own circuit boards from our designs,</span>“</span>
6458 Nathan said.
6459     </p><p>
6460       Obviously, opening up the design of their products is a necessary step if
6461 their goal is to empower the public. Nathan also firmly believes it makes
6462 them more money because it requires them to focus on how to provide maximum
6463 value. Rather than designing a new product and protecting it in order to
6464 extract as much money as possible from it, they release the keys necessary
6465 for others to build it themselves and then spend company time and resources
6466 on innovation and service. From a short-term perspective, SparkFun may lose
6467 a few dollars when others copy their products. But in the long run, it makes
6468 them a more nimble, innovative business. In other words, it makes them the
6469 kind of company they set out to be.
6470     </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>
6471         TeachAIDS is a nonprofit that creates educational materials designed to
6472 teach people around the world about HIV and AIDS.  Founded in 2005 in the
6473 U.S.
6474       </p><p>
6475           <a class="ulink" href="http://teachaids.org" target="_top">http://teachaids.org</a>
6476         </p><p><span class="strong"><strong>Revenue model</strong></span>: sponsorships
6477       </p><p><span class="strong"><strong>Interview date</strong></span>: March 24, 2016
6478       </p><p><span class="strong"><strong>Interviewees</strong></span>: Piya Sorcar, the CEO, and
6479 Shuman Ghosemajumder, the chair
6480       </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}
6481     \textit{
6482         Profile written by Sarah Hinchliff Pearson
6483       }
6484     \end{flushright}</td></tr></table></div><p>
6485       TeachAIDS is an unconventional media company with a conventional revenue
6486 model. Like most media companies, they are subsidized by
6487 advertising. Corporations pay to have their logos appear on the educational
6488 materials TeachAIDS distributes.
6489     </p><p>
6490       But unlike most media companies, Teach-AIDS is a nonprofit organization with
6491 a purely social mission. TeachAIDS is dedicated to educating the global
6492 population about HIV and AIDS, particularly in parts of the world where
6493 education efforts have been historically unsuccessful. Their educational
6494 content is conveyed through interactive software, using methods based on the
6495 latest research about how people learn. TeachAIDS serves content in more
6496 than eighty countries around the world. In each instance, the content is
6497 translated to the local language and adjusted to conform to local norms and
6498 customs. All content is free and made available under a Creative Commons
6499 license.
6500     </p><p>
6501       TeachAIDS is a labor of love for founder and CEO Piya Sorcar, who earns a
6502 salary of one dollar per year from the nonprofit. The project grew out of
6503 research she was doing while pursuing her doctorate at Stanford
6504 University. She was reading reports about India, noting it would be the next
6505 hot zone of people living with HIV. Despite international and national
6506 entities pouring in hundreds of millions of dollars on HIV-prevention
6507 efforts, the reports showed knowledge levels were still low. People were
6508 unaware of whether the virus could be transmitted through coughing and
6509 sneezing, for instance. Supported by an interdisciplinary team of experts at
6510 Stanford, Piya conducted similar studies, which corroborated the previous
6511 research. They found that the primary cause of the limited understanding was
6512 that HIV, and issues relating to it, were often considered too taboo to
6513 discuss comprehensively. The other major problem was that most of the
6514 education on this topic was being taught through television advertising,
6515 billboards, and other mass-media campaigns, which meant people were only
6516 receiving bits and pieces of information.
6517     </p><p>
6518       In late 2005, Piya and her team used research-based design to create new
6519 educational materials and worked with local partners in India to help
6520 distribute them. As soon as the animated software was posted online, Piya’s
6521 team started receiving requests from individuals and governments who were
6522 interested in bringing this model to more countries. <span class="quote">„<span class="quote">We realized
6523 fairly quickly that educating large populations about a topic that was
6524 considered taboo would be challenging. We began by identifying optimal local
6525 partners and worked toward creating an effective, culturally appropriate
6526 education,</span>“</span> Piya said.
6527     </p><p>
6528       Very shortly after the initial release, Piya’s team decided to spin the
6529 endeavor into an independent nonprofit out of Stanford University. They also
6530 decided to use Creative Commons licenses on the materials.
6531     </p><p>
6532       Given their educational mission, TeachAIDS had an obvious interest in seeing
6533 the materials as widely shared as possible. But they also needed to preserve
6534 the integrity of the medical information in the content. They chose the
6535 Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which essentially
6536 gives the public the right to distribute only verbatim copies of the
6537 content, and for noncommercial purposes. <span class="quote">„<span class="quote">We wanted attribution for
6538 TeachAIDS, and we couldn’t stand by derivatives without vetting
6539 them,</span>“</span> the cofounder and chair Shuman Ghosemajumder said.  <span class="quote">„<span class="quote">It
6540 was almost a no-brainer to go with a CC license because it was a
6541 plug-and-play solution to this exact problem. It has allowed us to scale our
6542 materials safely and quickly worldwide while preserving our content and
6543 protecting us at the same time.</span>“</span>
6544     </p><p>
6545       Choosing a license that does not allow adaptation of the content was an
6546 outgrowth of the careful precision with which TeachAIDS crafts their
6547 content. The organization invests heavily in research and testing to
6548 determine the best method of conveying the information. <span class="quote">„<span class="quote">Creating
6549 high-quality content is what matters most to us,</span>“</span> Piya
6550 said. <span class="quote">„<span class="quote">Research drives everything we do.</span>“</span>
6551     </p><p>
6552       One important finding was that people accept the message best when it comes
6553 from familiar voices they trust and admire. To achieve this, TeachAIDS
6554 researches cultural icons that would best resonate with their target
6555 audiences and recruits them to donate their likenesses and voices for use in
6556 the animated software. The celebrities involved vary for each localized
6557 version of the materials.
6558     </p><p>
6559       Localization is probably the single-most important aspect of the way
6560 TeachAIDS creates its content. While each regional version builds from the
6561 same core scientific materials, they pour a lot of resources into
6562 customizing the content for a particular population. Because they use a CC
6563 license that does not allow the public to adapt the content, TeachAIDS
6564 retains careful control over the localization process. The content is
6565 translated into the local language, but there are also changes in substance
6566 and format to reflect cultural differences. This process results in minor
6567 changes, like choosing different idioms based on the local language, and
6568 significant changes, like creating gendered versions for places where people
6569 are more likely to accept information from someone of the same gender.
6570     </p><p>
6571       The localization process relies heavily on volunteers. Their volunteer base
6572 is deeply committed to the cause, and the organization has had better luck
6573 controlling the quality of the materials when they tap volunteers instead of
6574 using paid translators. For quality control, TeachAIDS has three separate
6575 volunteer teams translate the materials from English to the local language
6576 and customize the content based on local customs and norms. Those three
6577 versions are then analyzed and combined into a single master
6578 translation. TeachAIDS has additional teams of volunteers then translate
6579 that version back into English to see how well it lines up with the original
6580 materials. They repeat this process until they reach a translated version
6581 that meets their standards. For the Tibetan version, they went through this
6582 cycle eleven times.
6583     </p><p>
6584       TeachAIDS employs full-time employees, contractors, and volunteers, all in
6585 different capacities and organizational configurations. They are careful to
6586 use people from diverse backgrounds to create the materials, including
6587 teachers, students, and doctors, as well as individuals experienced in
6588 working in the NGO space. This diversity and breadth of knowledge help
6589 ensure their materials resonate with people from all walks of life.
6590 Additionally, TeachAIDS works closely with film writers and directors to
6591 help keep the concepts entertaining and easy to understand. The inclusive,
6592 but highly controlled, creative process is undertaken entirely by people who
6593 are specifically brought on to help with a particular project, rather than
6594 ongoing staff. The final product they create is designed to require zero
6595 training for people to implement in practice. <span class="quote">„<span class="quote">In our research, we
6596 found we can’t depend on people passing on the information correctly, even
6597 if they have the best of intentions,</span>“</span> Piya said.  <span class="quote">„<span class="quote">We need
6598 materials where you can push play and they will work.</span>“</span>
6599     </p><p>
6600       Piya’s team was able to produce all of these versions over several years
6601 with a head count that never exceeded eight full-time employees. The
6602 organization is able to reduce costs by relying heavily on volunteers and
6603 in-kind donations. Nevertheless, the nonprofit needed a sustainable revenue
6604 model to subsidize content creation and physical distribution of the
6605 materials. Charging even a low price was simply not an
6606 option. <span class="quote">„<span class="quote">Educators from various nonprofits around the world were just
6607 creating their own materials using whatever they could find for free
6608 online,</span>“</span> Shuman said. <span class="quote">„<span class="quote">The only way to persuade them to use our
6609 highly effective model was to make it completely free.</span>“</span>
6610     </p><p>
6611       Like many content creators offering their work for free, they settled on
6612 advertising as a funding model. But they were extremely careful not to let
6613 the advertising compromise their credibility or undermine the heavy
6614 investment they put into creating quality content. Sponsors of the content
6615 have no ability to influence the substance of the content, and they cannot
6616 even create advertising content. Sponsors only get the right to have their
6617 logo appear before and after the educational content. All of the content
6618 remains branded as TeachAIDS.
6619     </p><p>
6620       TeachAIDS is careful not to seek funding to cover the costs of a specific
6621 project. Instead, sponsorships are structured as unrestricted donations to
6622 the nonprofit. This gives the nonprofit more stability, but even more
6623 importantly, it enables them to subsidize projects being localized for an
6624 area with no sponsors.  <span class="quote">„<span class="quote">If we just created versions based on where we
6625 could get sponsorships, we would only have materials for wealthier
6626 countries,</span>“</span> Shuman said.
6627     </p><p>
6628       As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">„<span class="quote">When we go into a new
6629 country, various companies hear about us and reach out to us,</span>“</span> Piya
6630 said. <span class="quote">„<span class="quote">We don’t have to do much to find or attract them.</span>“</span> They
6631 believe the sponsorships are easy to sell because they offer so much value
6632 to sponsors. TeachAIDS sponsorships give corporations the chance to reach
6633 new eyeballs with their brand, but at a much lower cost than other
6634 advertising channels. The audience for TeachAIDS content also tends to skew
6635 young, which is often a desirable demographic for brands. Unlike traditional
6636 advertising, the content is not time-sensitive, so an investment in a
6637 sponsorship can benefit a brand for many years to come.
6638     </p><p>
6639       Importantly, the value to corporate sponsors goes beyond commercial
6640 considerations. As a nonprofit with a clearly articulated social mission,
6641 corporate sponsorships are donations to a cause. <span class="quote">„<span class="quote">This is something
6642 companies can be proud of internally,</span>“</span> Shuman said. Some companies
6643 have even built publicity campaigns around the fact that they have sponsored
6644 these initiatives.
6645     </p><p>
6646       The core mission of TeachAIDS—ensuring global access to life-saving
6647 education—is at the root of everything the organization does. It underpins
6648 the work; it motivates the funders. The CC license on the materials they
6649 create furthers that mission, allowing them to safely and quickly scale
6650 their materials worldwide. <span class="quote">„<span class="quote">The Creative Commons license has been a
6651 game changer for TeachAIDS,</span>“</span> Piya said.
6652     </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>
6653         Tribe of Noise is a for-profit online music platform serving the film, TV,
6654 video, gaming, and in-store-media industries. Founded in 2008 in the
6655 Netherlands.
6656       </p><p>
6657           <a class="ulink" href="http://www.tribeofnoise.com" target="_top">http://www.tribeofnoise.com</a>
6658         </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
6659       </p><p><span class="strong"><strong>Interview date</strong></span>: January 26, 2016
6660       </p><p><span class="strong"><strong>Interviewee</strong></span>: Hessel van Oorschot,
6661 cofounder
6662       </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}
6663     \textit{
6664         Profile written by Paul Stacey
6665       }
6666     \end{flushright}</td></tr></table></div><p>
6667       In the early 2000s, Hessel van Oorschot was an entrepreneur running a
6668 business where he coached other midsize entrepreneurs how to create an
6669 online business. He also coauthored a number of workbooks for small- to
6670 medium-size enterprises to use to optimize their business for the
6671 Web. Through this early work, Hessel became familiar with the principles of
6672 open licensing, including the use of open-source software and Creative
6673 Commons.
6674     </p><p>
6675       In 2005, Hessel and Sandra Brandenburg launched a niche video-production
6676 initiative. Almost immediately, they ran into issues around finding and
6677 licensing music tracks. All they could find was standard, cold
6678 stock-music. They thought of looking up websites where you could license
6679 music directly from the musician without going through record labels or
6680 agents. But in 2005, the ability to directly license music from a rights
6681 holder was not readily available.
6682     </p><p>
6683       They hired two lawyers to investigate further, and while they uncovered five
6684 or six examples, Hessel found the business models lacking. The lawyers
6685 expressed interest in being their legal team should they decide to pursue
6686 this as an entrepreneurial opportunity. Hessel says, <span class="quote">„<span class="quote">When lawyers are
6687 interested in a venture like this, you might have something special.</span>“</span>
6688 So after some more research, in early 2008, Hessel and Sandra decided to
6689 build a platform.
6690     </p><p>
6691       Building a platform posed a real chicken-and-egg problem. The platform had
6692 to build an online community of music-rights holders and, at the same time,
6693 provide the community with information and ideas about how the new economy
6694 works. Community willingness to try new music business models requires a
6695 trust relationship.
6696     </p><p>
6697       In July 2008, Tribe of Noise opened its virtual doors with a couple hundred
6698 musicians willing to use the CC BY-SA license (Attribution-ShareAlike) for a
6699 limited part of their repertoire.  The two entrepreneurs wanted to take the
6700 pain away for media makers who wanted to license music and solve the
6701 problems the two had personally experienced finding this music.
6702     </p><p>
6703       As they were growing the community, Hessel got a phone call from a company
6704 that made in-store music playlists asking if they had enough music licensed
6705 with Creative Commons that they could use.  Stores need quality,
6706 good-listening music but not necessarily hits, a bit like a radio show
6707 without the DJ. This opened a new opportunity for Tribe of Noise. They
6708 started their In-store Music Service, using music (licensed with CC BY-SA)
6709 uploaded by the Tribe of Noise community of musicians.<a href="#ftn.idm2090" class="footnote" name="idm2090"><sup class="footnote">[152]</sup></a>
6710     </p><p>
6711       In most countries, artists, authors, and musicians join a collecting society
6712 that manages the licensing and helps collect the royalties. Copyright
6713 collecting societies in the European Union usually hold monopolies in their
6714 respective national markets. In addition, they require their members to
6715 transfer exclusive administration rights to them of all of their works.
6716 This complicates the picture for Tribe of Noise, who wants to represent
6717 artists, or at least a portion of their repertoire.  Hessel and his legal
6718 team reached out to collecting societies, starting with those in the
6719 Netherlands. What would be the best legal way forward that would respect the
6720 wishes of composers and musicians who’d be interested in trying out new
6721 models like the In-store Music Service? Collecting societies at first were
6722 hesitant and said no, but Tribe of Noise persisted arguing that they
6723 primarily work with unknown artists and provide them exposure in parts of
6724 the world where they don’t get airtime normally and a source of revenue—and
6725 this convinced them that it was OK. However, Hessel says, <span class="quote">„<span class="quote">We are
6726 still fighting for a good cause every single day.</span>“</span>
6727     </p><p>
6728       Instead of building a large sales force, Tribe of Noise partnered with big
6729 organizations who have lots of clients and can act as a kind of Tribe of
6730 Noise reseller. The largest telecom network in the Netherlands, for example,
6731 sells Tribe’s In-store Music Service subscriptions to their business
6732 clients, which include fashion retailers and fitness centers. They have a
6733 similar deal with the leading trade association representing hotels and
6734 restaurants in the country. Hessel hopes to <span class="quote">„<span class="quote">copy and paste</span>“</span>
6735 this service into other countries where collecting societies understand what
6736 you can do with Creative Commons. Outside of the Netherlands, early
6737 adoptions have happened in Scandinavia, Belgium, and the U.S.
6738     </p><p>
6739       Tribe of Noise doesn’t pay the musicians up front; they get paid when their
6740 music ends up in Tribe of Noise’s in-store music channels. The musicians’
6741 share is 42.5 percent. It’s not uncommon in a traditional model for the
6742 artist to get only 5 to 10 percent, so a share of over 40 percent is a
6743 significantly better deal.  Here’s how they give an example on their
6744 website:
6745     </p><p>
6746       A few of your songs [licensed with CC BY-SA], for example five in total, are
6747 selected for a bespoke in-store music channel broadcasting at a large
6748 retailer with 1,000 stores nationwide. In this case the overall playlist
6749 contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
6750 agreed with this retailer is US$12 per month per play-out. So if 42.5% is
6751 shared with the Tribe musicians in this playlist and your share is 1.43%,
6752 you end up with US$12 * 1000 stores * 0.425 * 0.0143 = US$73 per
6753 month.<a href="#ftn.idm2099" class="footnote" name="idm2099"><sup class="footnote">[153]</sup></a>
6754     </p><p>
6755       Tribe of Noise has another model that does not involve Creative Commons. In
6756 a survey with members, most said they liked the exposure using Creative
6757 Commons gets them and the way it lets them reach out to others to share and
6758 remix. However, they had a bit of a mental struggle with Creative Commons
6759 licenses being perpetual.  A lot of musicians have the mind-set that one day
6760 one of their songs may become an overnight hit. If that happened the CC
6761 BY-SA license would preclude them getting rich off the sale of that song.
6762     </p><p>
6763       Hessel’s legal team took this feedback and created a second model and
6764 separate area of the platform called Tribe of Noise Pro. Songs uploaded to
6765 Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
6766 instead created a <span class="quote">„<span class="quote">nonexclusive exploitation</span>“</span> contract, similar
6767 to a Creative Commons license but allowing musicians to opt out whenever
6768 they want. When you opt out, Tribe of Noise agrees to take your music off
6769 the Tribe of Noise platform within one to two months. This lets the musician
6770 reuse their song for a better deal.
6771     </p><p>
6772       Tribe of Noise Pro is primarily geared toward media makers who are looking
6773 for music. If they buy a license from this catalog, they don’t have to state
6774 the name of the creator; they just license the song for a specific
6775 amount. This is a big plus for media makers.  And musicians can pull their
6776 repertoire at any time. Hessel sees this as a more direct and clean deal.
6777     </p><p>
6778       Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and
6779 the community area of Tribe of Noises. There aren’t that many artists who
6780 upload only to Tribe of Noise Pro, which has a smaller repertoire of music
6781 than the community area.
6782     </p><p>
6783       Hessel sees the two as complementary. Both are needed for the model to
6784 work. With a whole generation of musicians interested in the sharing
6785 economy, the community area of Tribe of Noise is where they can build trust,
6786 create exposure, and generate money. And after that, musicians may become
6787 more interested in exploring other models like Tribe of Noise Pro.
6788     </p><p>
6789       Every musician who joins Tribe of Noise gets their own home page and free
6790 unlimited Web space to upload as much of their own music as they like. Tribe
6791 of Noise is also a social network; fellow musicians and professionals can
6792 vote for, comment on, and like your music. Community managers interact with
6793 and support members, and music supervisors pick and choose from the uploaded
6794 songs for in-store play or to promote them to media producers. Members
6795 really like having people working for the platform who truly engage with
6796 them.
6797     </p><p>
6798       Another way Tribe of Noise creates community and interest is with contests,
6799 which are organized in partnership with Tribe of Noise clients. The client
6800 specifies what they want, and any member can submit a song. Contests usually
6801 involve prizes, exposure, and money. In addition to building member
6802 engagement, contests help members learn how to work with clients: listening
6803 to them, understanding what they want, and creating a song to meet that
6804 need.
6805     </p><p>
6806       Tribe of Noise now has twenty-seven thousand members from 192 countries, and
6807 many are exploring do-it-yourself models for generating revenue. Some came
6808 from music labels and publishers, having gone through the traditional way of
6809 music licensing and now seeing if this new model makes sense for
6810 them. Others are young musicians, who grew up with a DIY mentality and see
6811 little reason to sign with a third party or hand over some of the
6812 control. Still a small but growing group of Tribe members are pursuing a
6813 hybrid model by licensing some of their songs under CC BY-SA and opting in
6814 others with collecting societies like ASCAP or BMI.
6815     </p><p>
6816       It’s not uncommon for performance-rights organizations, record labels, or
6817 music publishers to sign contracts with musicians based on exclusivity. Such
6818 an arrangement prevents those musicians from uploading their music to Tribe
6819 of Noise. In the United States, you can have a collecting society handle
6820 only some of your tracks, whereas in many countries in Europe, a collecting
6821 society prefers to represent your entire repertoire (although the European
6822 Commission is making some changes). Tribe of Noise deals with this issue all
6823 the time and gives you a warning whenever you upload a song. If collecting
6824 societies are willing to be open and flexible and do the most they can for
6825 their members, then they can consider organizations like Tribe of Noise as a
6826 nice add-on, generating more exposure and revenue for the musicians they
6827 represent. So far, Tribe of Noise has been able to make all this work
6828 without litigation.
6829     </p><p>
6830       For Hessel the key to Tribe of Noise’s success is trust. The fact that
6831 Creative Commons licenses work the same way all over the world and have been
6832 translated into all languages really helps build that trust. Tribe of Noise
6833 believes in creating a model where they work together with musicians. They
6834 can only do that if they have a live and kicking community, with people who
6835 think that the Tribe of Noise team has their best interests in
6836 mind. Creative Commons makes it possible to create a new business model for
6837 music, a model that’s based on trust.
6838     </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>
6839         The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia
6840 and its sister projects. Founded in 2003 in the U.S.
6841       </p><p>
6842           <a class="ulink" href="http://wikimediafoundation.org" target="_top">http://wikimediafoundation.org</a>
6843         </p><p><span class="strong"><strong>Revenue model</strong></span>: donations
6844       </p><p><span class="strong"><strong>Interview date</strong></span>: December 18, 2015
6845       </p><p><span class="strong"><strong>Interviewees</strong></span>: Luis Villa, former Chief
6846 Officer of Community Engagement, and Stephen LaPorte, legal counsel
6847       </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}
6848     \textit{
6849         Profile written by Sarah Hinchliff Pearson
6850       }
6851     \end{flushright}</td></tr></table></div><p>
6852       Nearly every person with an online presence knows Wikipedia.
6853     </p><p>
6854       In many ways, it is the preeminent open project: The online encyclopedia is
6855 created entirely by volunteers. Anyone in the world can edit the
6856 articles. All of the content is available for free to anyone online. All of
6857 the content is released under a Creative Commons license that enables people
6858 to reuse and adapt it for any purpose.
6859     </p><p>
6860       As of December 2016, there were more than forty-two million articles in the
6861 295 language editions of the online encyclopedia, according to—what
6862 else?—the Wikipedia article about Wikipedia.
6863     </p><p>
6864       The Wikimedia Foundation is a U.S.-based nonprofit organization that owns
6865 the Wikipedia domain name and hosts the site, along with many other related
6866 sites like Wikidata and Wikimedia Commons. The foundation employs about two
6867 hundred and eighty people, who all work to support the projects it
6868 hosts. But the true heart of Wikipedia and its sister projects is its
6869 community. The numbers of people in the community are variable, but about
6870 seventy-five thousand volunteers edit and improve Wikipedia articles every
6871 month. Volunteers are organized in a variety of ways across the globe,
6872 including formal Wikimedia chapters (mostly national), groups focused on a
6873 particular theme, user groups, and many thousands who are not connected to a
6874 particular organization.
6875     </p><p>
6876       As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">„<span class="quote">There is a common
6877 saying that Wikipedia works in practice but not in theory.</span>“</span> While it
6878 undoubtedly has its challenges and flaws, Wikipedia and its sister projects
6879 are a striking testament to the power of human collaboration.
6880     </p><p>
6881       Because of its extraordinary breadth and scope, it does feel a bit like a
6882 unicorn. Indeed, there is nothing else like Wikipedia.  Still, much of what
6883 makes the projects successful—community, transparency, a strong mission,
6884 trust—are consistent with what it takes to be successfully Made with
6885 Creative Commons more generally. With Wikipedia, everything just happens at
6886 an unprecedented scale.
6887     </p><p>
6888       The story of Wikipedia has been told many times. For our purposes, it is
6889 enough to know the experiment started in 2001 at a small scale, inspired by
6890 the crazy notion that perhaps a truly open, collaborative project could
6891 create something meaningful. At this point, Wikipedia is so ubiquitous and
6892 ingrained in our digital lives that the fact of its existence seems less
6893 remarkable. But outside of software, Wikipedia is perhaps the single most
6894 stunning example of successful community cocreation. Every day, seven
6895 thousand new articles are created on Wikipedia, and nearly fifteen thousand
6896 edits are made every hour.
6897     </p><p>
6898       The nature of the content the community creates is ideal for asynchronous
6899 cocreation. <span class="quote">„<span class="quote">An encyclopedia is something where incremental community
6900 improvement really works,</span>“</span> Luis Villa, former Chief Officer of
6901 Community Engagement, told us. The rules and processes that govern
6902 cocreation on Wikipedia and its sister projects are all community-driven and
6903 vary by language edition. There are entire books written on the intricacies
6904 of their systems, but generally speaking, there are very few exceptions to
6905 the rule that anyone can edit any article, even without an account on their
6906 system. The extensive peer-review process includes elaborate systems to
6907 resolve disputes, methods for managing particularly controversial subject
6908 areas, talk pages explaining decisions, and much, much more. The Wikimedia
6909 Foundation’s decision to leave governance of the projects to the community
6910 is very deliberate. <span class="quote">„<span class="quote">We look at the things that the community can do
6911 well, and we want to let them do those things,</span>“</span> Stephen told
6912 us. Instead, the foundation focuses its time and resources on what the
6913 community cannot do as effectively, like the software engineering that
6914 supports the technical infrastructure of the sites. In 2015-16, about half
6915 of the foundation’s budget went to direct support for the Wikimedia sites.
6916     </p><p>
6917       Some of that is directed at servers and general IT support, but the
6918 foundation also invests a significant amount on architecture designed to
6919 help the site function as effectively as possible.  <span class="quote">„<span class="quote">There is a
6920 constantly evolving system to keep the balance in place to avoid Wikipedia
6921 becoming the world’s biggest graffiti wall,</span>“</span> Luis said. Depending on
6922 how you measure it, somewhere between 90 to 98 percent of edits to Wikipedia
6923 are positive. Some portion of that success is attributable to the tools
6924 Wikimedia has in place to try to incentivize good actors.  <span class="quote">„<span class="quote">The secret
6925 to having any healthy community is bringing back the right people,</span>“</span>
6926 Luis said. <span class="quote">„<span class="quote">Vandals tend to get bored and go away. That is partially
6927 our model working, and partially just human nature.</span>“</span> Most of the
6928 time, people want to do the right thing.
6929     </p><p>
6930       Wikipedia not only relies on good behavior within its community and on its
6931 sites, but also by everyone else once the content leaves Wikipedia. All of
6932 the text of Wikipedia is available under an Attribution-ShareAlike license
6933 (CC BY-SA), which means it can be used for any purpose and modified so long
6934 as credit is given and anything new is shared back with the public under the
6935 same license. In theory, that means anyone can copy the content and start a
6936 new Wikipedia. But as Stephen explained, <span class="quote">„<span class="quote">Being open has only made
6937 Wikipedia bigger and stronger. The desire to protect is not always what is
6938 best for everyone.</span>“</span>
6939     </p><p>
6940       Of course, the primary reason no one has successfully co-opted Wikipedia is
6941 that copycat efforts do not have the Wikipedia community to sustain what
6942 they do. Wikipedia is not simply a source of up-to-the-minute content on
6943 every given topic—it is also a global patchwork of humans working together
6944 in a million different ways, in a million different capacities, for a
6945 million different reasons. While many have tried to guess what makes
6946 Wikipedia work as well it does, the fact is there is no single
6947 explanation. <span class="quote">„<span class="quote">In a movement as large as ours, there is an incredible
6948 diversity of motivations,</span>“</span> Stephen said. For example, there is one
6949 editor of the English Wikipedia edition who has corrected a single
6950 grammatical error in articles more than forty-eight thousand
6951 times.<a href="#ftn.idm2145" class="footnote" name="idm2145"><sup class="footnote">[154]</sup></a> Only a fraction of Wikipedia
6952 users are also editors.  But editing is not the only way to contribute to
6953 Wikipedia.  <span class="quote">„<span class="quote">Some donate text, some donate images, some donate
6954 financially,</span>“</span> Stephen told us. <span class="quote">„<span class="quote">They are all
6955 contributors.</span>“</span>
6956     </p><p>
6957       But the vast majority of us who use Wikipedia are not contributors; we are
6958 passive readers. The Wikimedia Foundation survives primarily on individual
6959 donations, with about $15 as the average. Because Wikipedia is one of the
6960 ten most popular websites in terms of total page views, donations from a
6961 small portion of that audience can translate into a lot of money. In the
6962 2015-16 fiscal year, they received more than $77 million from more than five
6963 million donors.
6964     </p><p>
6965       The foundation has a fund-raising team that works year-round to raise money,
6966 but the bulk of their revenue comes in during the December campaign in
6967 Australia, Canada, Ireland, New Zealand, the United Kingdom, and the United
6968 States. They engage in extensive user testing and research to maximize the
6969 reach of their fund-raising campaigns. Their basic fund-raising message is
6970 simple: We provide our readers and the world immense value, so give
6971 back. Every little bit helps. With enough eyeballs, they are right.
6972     </p><p>
6973       The vision of the Wikimedia Foundation is a world in which every single
6974 human being can freely share in the sum of all knowledge.  They work to
6975 realize this vision by empowering people around the globe to create
6976 educational content made freely available under an open license or in the
6977 public domain. Stephen and Luis said the mission, which is rooted in the
6978 same philosophy behind Creative Commons, drives everything the foundation
6979 does.
6980     </p><p>
6981       The philosophy behind the endeavor also enables the foundation to be
6982 financially sustainable. It instills trust in their readership, which is
6983 critical for a revenue strategy that relies on reader donations. It also
6984 instills trust in their community.
6985     </p><p>
6986       Any given edit on Wikipedia could be motivated by nearly an infinite number
6987 of reasons. But the social mission of the project is what binds the global
6988 community together. <span class="quote">„<span class="quote">Wikipedia is an example of how a mission can
6989 motivate an entire movement,</span>“</span> Stephen told us.
6990     </p><p>
6991       Of course, what results from that movement is one of the Internet’s great
6992 public resources. <span class="quote">„<span class="quote">The Internet has a lot of businesses and stores,
6993 but it is missing the digital equivalent of parks and open public
6994 spaces,</span>“</span> Stephen said.  <span class="quote">„<span class="quote">Wikipedia has found a way to be that
6995 open public space.</span>“</span>
6996     </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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7099 new epilogue. New York: Portfolio, 2012.
7100   </p><p>
7101     Grant, Adam. Give and Take: Why Helping Others Drives Our Success.  New
7102 York: Viking, 2013.
7103   </p><p>
7104     Haiven, Max. Crises of Imagination, Crises of Power: Capitalism, Creativity
7105 and the Commons. New York: Zed Books, 2014.
7106   </p><p>
7107     Harris, Malcom, ed. Share or Die: Voices of the Get Lost Generation in the
7108 Age of Crisis. With Neal Gorenflo. Gabriola Island, BC: New Society, 2012.
7109   </p><p>
7110     Hermida, Alfred. Tell Everyone: Why We Share and Why It Matters.  Toronto:
7111 Doubleday Canada, 2014.
7112   </p><p>
7113     Hyde, Lewis. Common as Air: Revolution, Art, and Ownership. New York:
7114 Farrar, Straus and Giroux, 2010.
7115   </p><p>
7116     ———. The Gift: Creativity and the Artist in the Modern World. 2nd Vintage
7117 Books edition. New York: Vintage Books, 2007.
7118   </p><p>
7119     Kelley, Tom, and David Kelley. Creative Confidence: Unleashing the Potential
7120 within Us All. New York: Crown, 2013.
7121   </p><p>
7122     Kelly, Marjorie. Owning Our Future: The Emerging Ownership Revolution;
7123 Journeys to a Generative Economy. San Francisco: Berrett-Koehler, 2012.
7124   </p><p>
7125     Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and Get
7126 Discovered. New York: Workman, 2014.
7127   </p><p>
7128     ———. Steal Like an Artist: 10 Things Nobody Told You about Being
7129 Creative. New York: Workman, 2012.
7130   </p><p>
7131     Kramer, Bryan. Shareology: How Sharing Is Powering the Human Economy. New
7132 York: Morgan James, 2016.
7133   </p><p>
7134     Lee, David. <span class="quote">„<span class="quote">Inside Medium: An Attempt to Bring Civility to the
7135 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>
7136   </p><p>
7137     Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid
7138 Economy. New York: Penguin Press, 2008.
7139   </p><p>
7140     Menzies, Heather. Reclaiming the Commons for the Common Good: A Memoir and
7141 Manifesto. Gabriola Island, BC: New Society, 2014.
7142   </p><p>
7143     Mason, Paul. Postcapitalism: A Guide to Our Future. New York: Farrar, Straus
7144 and Giroux, 2015.
7145   </p><p>
7146     New York Times Customer Insight Group. The Psychology of Sharing: Why Do
7147 People Share Online? New York: New York Times Customer Insight Group, 2011.
7148 <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
7149   </p><p>
7150     Osterwalder, Alex, and Yves Pigneur. Business Model Generation.  Hoboken,
7151 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>.
7152   </p><p>
7153     Osterwalder, Alex, Yves Pigneur, Greg Bernarda, and Adam Smith.  Value
7154 Proposition Design. Hoboken, NJ: John Wiley and Sons, 2014. A preview of the
7155 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>.
7156   </p><p>
7157     Palmer, Amanda. The Art of Asking: Or How I Learned to Stop Worrying and Let
7158 People Help. New York: Grand Central, 2014.
7159   </p><p>
7160     Pekel, Joris. Democratising the Rijksmuseum: Why Did the Rijksmuseum Make
7161 Available Their Highest Quality Material without Restrictions, and What Are
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7165     Ramos, José Maria, ed. The City as Commons: A Policy Reader.  Melbourne,
7166 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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7170 Source by an Accidental Revolutionary. Rev. ed. Sebastopol, CA: O’Reilly
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7173     Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous
7174 Innovation to Create Radically Successful Businesses. New York: Crown
7175 Business, 2011.
7176   </p><p>
7177     Rifkin, Jeremy. The Zero Marginal Cost Society: The Internet of Things, the
7178 Collaborative Commons, and the Eclipse of Capitalism.  New York: Palgrave
7179 Macmillan, 2014.
7180   </p><p>
7181     Rowe, Jonathan. Our Common Wealth. San Francisco: Berrett-Koehler, 2013.
7182   </p><p>
7183     Rushkoff, Douglas. Throwing Rocks at the Google Bus: How Growth Became the
7184 Enemy of Prosperity. New York: Portfolio, 2016.
7185   </p><p>
7186     Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets. New
7187 York: Farrar, Straus and Giroux, 2012.
7188   </p><p>
7189     Shirky, Clay. Cognitive Surplus: How Technology Makes Consumers into
7190 Collaborators. London, England: Penguin Books, 2010.
7191   </p><p>
7192     Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York: OR
7193 Books, 2015.
7194   </p><p>
7195     Stephany, Alex. The Business of Sharing: Making in the New Sharing
7196 Economy. New York: Palgrave Macmillan, 2015.
7197   </p><p>
7198     Stepper, John. Working Out Loud: For a Better Career and Life. New York:
7199 Ikigai Press, 2015.
7200   </p><p>
7201     Sull, Donald, and Kathleen M. Eisenhardt. Simple Rules: How to Thrive in a
7202 Complex World. Boston: Houghton Mifflin Harcourt, 2015.
7203   </p><p>
7204     Sundararajan, Arun. The Sharing Economy: The End of Employment and the Rise
7205 of Crowd-Based Capitalism. Cambridge, MA: MIT Press, 2016.
7206   </p><p>
7207     Surowiecki, James. The Wisdom of Crowds. New York: Anchor Books, 2005.
7208   </p><p>
7209     Tapscott, Don, and Alex Tapscott. Blockchain Revolution: How the Technology
7210 Behind Bitcoin Is Changing Money, Business, and the World. Toronto:
7211 Portfolio, 2016.
7212   </p><p>
7213     Tharp, Twyla. The Creative Habit: Learn It and Use It for Life. With Mark
7214 Reiter. New York: Simon and Schuster, 2006.
7215   </p><p>
7216     Tkacz, Nathaniel. Wikipedia and the Politics of Openness. Chicago:
7217 University of Chicago Press, 2015.
7218   </p><p>
7219     Van Abel, Bass, Lucas Evers, Roel Klaassen, and Peter Troxler, eds.  Open
7220 Design Now: Why Design Cannot Remain Exclusive. Amsterdam: BIS Publishers,
7221 with Creative Commons Netherlands; Premsela, the Netherlands Institute for
7222 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).
7223   </p><p>
7224     Van den Hoff, Ronald. Mastering the Global Transition on Our Way to Society
7225 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).
7226   </p><p>
7227     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
7228 BY-NC-ND).
7229   </p><p>
7230     Whitehurst, Jim. The Open Organization: Igniting Passion and
7231 Performance. Boston: Harvard Business Review Press, 2015.
7232   </p>\chapter*{<title>Acknowledgments</title>}\addcontentsline{toc}{chapter}{<title>Acknowledgments</title>}<p>
7233     We extend special thanks to Creative Commons CEO Ryan Merkley, the Creative
7234 Commons Board, and all of our Creative Commons colleagues for
7235 enthusiastically supporting our work. Special gratitude to the William and
7236 Flora Hewlett Foundation for the initial seed funding that got us started on
7237 this project.
7238   </p><p>
7239     Huge appreciation to all the Made with Creative Commons interviewees for
7240 sharing their stories with us. You make the commons come alive.  Thanks for
7241 the inspiration.
7242   </p><p>
7243     We interviewed more than the twenty-four organizations profiled in this
7244 book. We extend special thanks to Gooru, OERu, Sage Bionetworks, and Medium
7245 for sharing their stories with us. While not featured as case studies in
7246 this book, you all are equally interesting, and we encourage our readers to
7247 visit your sites and explore your work.
7248   </p><p>
7249     This book was made possible by the generous support of 1,687 Kickstarter
7250 backers listed below. We especially acknowledge our many Kickstarter
7251 co-editors who read early drafts of our work and provided invaluable
7252 feedback. Heartfelt thanks to all of you.
7253   </p><p>
7254     Co-editor Kickstarter backers (alphabetically by first name): Abraham
7255 Taherivand, Alan Graham, Alfredo Louro, Anatoly Volynets, Aurora Thornton,
7256 Austin Tolentino, Ben Sheridan, Benedikt Foit, Benjamin Costantini, Bernd
7257 Nurnberger, Bernhard Seefeld, Bethanye Blount, Bradford Benn, Bryan Mock,
7258 Carmen Garcia Wiedenhoeft, Carolyn Hinchliff, Casey Milford, Cat Cooper,
7259 Chip McIntosh, Chris Thorne, Chris Weber, Chutika Udomsinn, Claire Wardle,
7260 Claudia Cristiani, Cody Allard, Colleen Cressman, Craig Thomler, Creative
7261 Commons Uruguay, Curt McNamara, Dan Parson, Daniel Dominguez, Daniel Morado,
7262 Darius Irvin, Dave Taillefer, David Lewis, David Mikula, David Varnes, David
7263 Wiley, Deborah Nas, Diderik van Wingerden, Dirk Kiefer, Dom Lane, Domi
7264 Enders, Douglas Van Houweling, Dylan Field, Einar Joergensen, Elad Wieder,
7265 Elie Calhoun, Erika Reid, Evtim Papushev, Fauxton Software, Felix
7266 Maximiliano Obes, Ferdies Food Lab, Gatien de Broucker, Gaurav Kapil, Gavin
7267 Romig-Koch, George Baier IV, George De Bruin, Gianpaolo Rando, Glenn Otis
7268 Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan,
7269 Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie
7270 Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M
7271 Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
7272 Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
7273 Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
7274 Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
7275 Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie
7276 Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen,
7277 Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos
7278 Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi
7279 Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley,
7280 MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black,
7281 Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
7282 Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike
7283 Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall
7284 McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman,
7285 Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
7286 Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny
7287 Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv
7288 Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones,
7289 Robert Thompson, Ronald van den Hoff, Rusi Popov, Ryan Merkley, S Searle,
7290 Salomon Riedo, Samuel A. Rebelsky, Samuel Tait, Sarah McGovern, Scott
7291 Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio,
7292 Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun,
7293 Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent,
7294 Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
7295 Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh,
7296 William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque,
7297 Yancey Strickler
7298   </p><p>
7299     All other Kickstarter backers (alphabetically by first name): A.  Lee, Aaron
7300 C. Rathbun, Aaron Stubbs, Aaron Suggs, Abdul Razak Manaf, Abraham
7301 Taherivand, Adam Croom, Adam Finer, Adam Hansen, Adam Morris, Adam Procter,
7302 Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam Zimmerman,
7303 Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain
7304 Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert
7305 O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
7306 Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown,
7307 Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar,
7308 Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre
7309 Rafalovitch, Alexey Volkow, Alexi Wheeler, Alexis Sevault, Alfredo Louro,
7310 Ali Sternburg, Alicia Gibb &amp; Lunchbox Electronics, Alison Link, Alison
7311 Pentecost, Alistair Boettiger, Alistair Walder, Alix Bernier, Allan
7312 Callaghan, Allen Riddell, Allison Breland Crotwell, Allison Jane Smith,
7313 Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
7314 Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
7315 Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
7316 Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas
7317 Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew
7318 Hearse, Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew
7319 Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve, Andy
7320 Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan, Anne-Marie Scott,
7321 Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton
7322 Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
7323 publishing, April Johnson, Aria F.  Chernik, Ariane Allan, Ariel Katz,
7324 Arithmomaniac, Arnaud Tessier, Arnim Sommer, Ashima Bawa, Ashley Elsdon,
7325 Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin
7326 Hartzheim, Austin Tolentino, Avner Shanan, Axel Pettersson, Axel
7327 Stieglbauer, Ay Okpokam, Barb Bartkowiak, Barbara Lindsey, Barry Dayton,
7328 Bastian Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben
7329 Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini,
7330 Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
7331 Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth
7332 Tillinghast, Bethanye Blount, Bill Bonwitt, Bill Browne, Bill Keaggy, Bill
7333 Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker,
7334 Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
7335 Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak,
7336 Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden Hassett, Bradford
7337 Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
7338 Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
7339 Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian
7340 S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke
7341 Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin, Bryan
7342 Mock, Bryant Durrell, Bryce Barbato, Buzz Technology Limited, Byung-Geun
7343 Jeon, C. Glen Williams, C. L. Couch, Cable Green, Callum Gare, Cameron
7344 Callahan, Cameron Colby Thomson, Cameron Mulder, Camille Bissuel / Nylnook,
7345 Candace Robertson, Carl Morris, Carl Perry, Carl Rigney, Carles Mateu,
7346 Carlos Correa Loyola, Carlos Solis, Carmen Garcia Wiedenhoeft, Carol Long,
7347 Carol marquardsen, Caroline Calomme, Caroline Mailloux, Carolyn Hinchliff,
7348 Carolyn Rude, Carrie Cousins, Carrie Watkins, Casey Hunt, Casey Milford,
7349 Casey Powell Shorthouse, Cat Cooper, Cecilie Maria, Cedric Howe, Cefn Hoile,
7350 @ShrimpingIt, Celia Muller, Ces Keller, Chad Anderson, Charles Butler,
7351 Charles Carstensen, Charles Chi Thoi Le, Charles Kobbe, Charles S. Tritt,
7352 Charles Stanhope, Charlotte Ong-Wisener, Chealsye Bowley, Chelle Destefano,
7353 Chenpang Chou, Cheryl Corte, Cheryl Todd, Chip Dickerson, Chip McIntosh,
7354 Chris Bannister, Chris Betcher, Chris Coleman, Chris Conway, Chris Foote
7355 (Spike), Chris Hurst, Chris Mitchell, Chris Muscat Azzopardi, Chris
7356 Niewiarowski, Chris Opperwall, Chris Stieha, Chris Thorne, Chris Weber,
7357 Chris Woolfrey, Chris Zabriskie, Christi Reid, Christian Holzberger,
7358 Christian Schubert, Christian Sheehy, Christian Thibault, Christian Villum,
7359 Christian Wachter, Christina Bennett, Christine Henry, Christine Rico,
7360 Christopher Burrows, Christopher Chan, Christopher Clay, Christopher Harris,
7361 Christopher Opiah, Christopher Swenson, Christos Keramitsis, Chuck Roslof,
7362 Chutika Udomsinn, Claire Wardle, Clare Forrest, Claudia Cristiani, Claudio
7363 Gallo, Claudio Ruiz, Clayton Dewey, Clement Delort, Cliff Church, Clint
7364 Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
7365 Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
7366 Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
7367 Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney,
7368 Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini,
7369 Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei,
7370 Dagmar M. Meyer, Dan Mcalister, Dan Mohr, Dan Parson, Dana Freeman, Dana
7371 Ospina, Dani Leviss, Daniel Bustamante, Daniel Demmel, Daniel Dominguez,
7372 Daniel Dultz, Daniel Gallant, Daniel Kossmann, Daniel Kruse, Daniel Morado,
7373 Daniel Morgan, Daniel Pimley, Daniel Sabo, Daniel Sobey, Daniel Stein,
7374 Daniel Wildt, Daniele Prati, Danielle Moss, Danny Mendoza, Dario
7375 Taraborelli, Darius Irvin, Darius Whelan, Darla Anderson, Dasha Brezinova,
7376 Dave Ainscough, Dave Bull, Dave Crosby, Dave Eagle, Dave Moskovitz, Dave
7377 Neeteson, Dave Taillefer, Dave Witzel, David Bailey, David Cheung, David
7378 Eriksson, David Gallagher, David H. Bronke, David Hartley, David Hellam,
7379 David Hood, David Hunter, David jlaietta, David Lewis, David Mason, David
7380 Mcconville, David Mikula, David Nelson, David Orban, David Parry, David
7381 Spira, David T.  Kindler, David Varnes, David Wiley, David Wormley, Deborah
7382 Nas, Denis Jean, dennis straub, Dennis Whittle, Denver Gingerich, Derek
7383 Slater, Devon Cooke, Diana Pasek-Atkinson, Diane Johnston Graves, Diane
7384 K. Kovacs, Diane Trout, Diderik van Wingerden, Diego Cuevas, Diego De La
7385 Cruz, Dimitrie Grigorescu, Dina Marie Rodriguez, Dinah Fabela, Dirk Haun,
7386 Dirk Kiefer, Dirk Loop, DJ Fusion - FuseBox Radio Broadcast, Dom jurkewitz,
7387 Dom Lane, Domi Enders, Domingo Gallardo, Dominic de Haas, Dominique
7388 Karadjian, Dongpo Deng, Donnovan Knight, Door de Flines, Doug Fitzpatrick,
7389 Doug Hoover, Douglas Craver, Douglas Van Camp, Douglas Van Houweling,
7390 Dr. Braddlee, Drew Spencer, Duncan Sample, Durand D’souza, Dylan Field, E C
7391 Humphries, Eamon Caddigan, Earleen Smith, Eden Sarid, Eden Spodek, Eduardo
7392 Belinchon, Eduardo Castro, Edwin Vandam, Einar Joergensen, Ejnar Brendsdal,
7393 Elad Wieder, Elar Haljas, Elena Valhalla, Eli Doran, Elias Bouchi, Elie
7394 Calhoun, Elizabeth Holloway, Ellen Buecher, Ellen Kaye- Cheveldayoff, Elli
7395 Verhulst, Elroy Fernandes, Emery Hurst Mikel, Emily Catedral, Enrique
7396 Mandujano R., Eric Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric
7397 Hellman, Eric Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard,
7398 Erika Reid, Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan
7399 Bousse, Erwin Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan
7400 Tangman, Evonne Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton
7401 Software, Felix Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix
7402 Schmidt, Felix Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe
7403 Rodrigues, Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer,
7404 Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
7405 Games, Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois
7406 Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
7407 Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
7408 Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
7409 Gary Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de
7410 Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George
7411 Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman,
7412 Geronimo de la Lama, Gianpaolo Rando, Gil Stendig, Gino Cingolani Trucco,
7413 Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives
7414 Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman,
7415 Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg
7416 Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
7417 Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho
7418 Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
7419 Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de
7420 Raad, Hans Vd Horst, Harold van Ingen, Harold Watson, Harry Chapman, Harry
7421 Kaczka, Harry Torque, Hayden Glass, Hayley Rosenblum, Heather Leson, Helen
7422 Crisp, Helen Michaud, Helen Qubain, Helle Rekdal Schønemann, Henrique Flach
7423 Latorre Moreno, Henry Finn, Henry Kaiser, Henry Lahore, Henry Steingieser,
7424 Hermann Paar, Hillary Miller, Hironori Kuriaki, Holly Dykes, Holly Lyne,
7425 Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
7426 Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider,
7427 Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah
7428 Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek
7429 Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
7430 Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach,
7431 James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James
7432 Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol,
7433 Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park,
7434 Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason
7435 E. Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy
7436 Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
7437 Jean-Philippe Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff
7438 De Cagna, Jeff Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff
7439 Rasalla, Jeff Ski Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen
7440 Garcia, Jens Erat, Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell,
7441 Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
7442 Jessica Dickinson Goodman, Jessica Litman, Jessica Mackay, Jessy Kate
7443 Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
7444 O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
7445 Allum, Joachim Brandon LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim
7446 Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
7447 Sandfort, Joe Cardillo, Joe Carpita, Joe Moross, Joerg Fricke, Johan Adda,
7448 Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
7449 Bevan, John C Patterson, John Crumrine, John Dimatos, John Feyler, John
7450 Huntsman, John Manoogian III, John Muller, John Ober, John Paul Blodgett,
7451 John Pearce, John Shale, John Sharp, John Simpson, John Sumser, John Weeks,
7452 John Wilbanks, John Worland, Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon
7453 Andersen, Jon Cohrs, Jon Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith,
7454 Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
7455 Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
7456 Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
7457 Sullivan, Joseph Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP
7458 Rangaswami, Juan Carlos Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo
7459 Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
7460 Julia Devonshire, Julian Fietkau, Julie Harboe, Julien Brossoit, Julien
7461 Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
7462 Grimes, Justin Jones, Justin Szlasa, Justin Walsh, JustinChung.com, K. J.
7463 Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
7464 Kara Monroe, Karen Pe, Karl Jahn, Karl Jonsson, Karl Nelson, Kasia
7465 Zygmuntowicz, Kat Lim, Kate Chapman, Kate Stewart, Kathleen Beck, Kathleen
7466 Hanrahan, Kathryn Abuzzahab, Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie
7467 Lynn Daniels, Katie Meek, Katie Teague, Katrina Hennessy, Katriona Main,
7468 Kavan Antani, Keith Adams, Keith Berndtson, MD, Keith Luebke, Kellie
7469 Higginbottom, Ken Friis Larsen, Ken Haase, Ken Torbeck, Kendel Ratley,
7470 Kendra Byrne, Kerry Hicks, Kevin Brown, Kevin Coates, Kevin Flynn, Kevin
7471 Rumon, Kevin Shannon, Kevin Taylor, Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane
7472 l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
7473 Rennert, Kris Kasianovitz, Kristian Lundquist, Kristin Buxton, Kristina
7474 Popova, Kristofer Bratt, Kristoffer Steen, Kumar McMillan, Kurt Whittemore,
7475 Kyle Pinches, Kyle Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry
7476 Garfield, Larry Singer, Lars Josephsen, Lars Klaeboe, Laura Anne Brown,
7477 Laura Billings, Laura Ferejohn, Lauren Pedersen, Laurence Gonsalves, Laurent
7478 Muchacho, Laurie Racine, Laurie Reynolds, Lawrence M. Schoen, Leandro
7479 Pangilinan, Leigh Verlandson, Lenka Gondolova, Leonardo Bueno Postacchini,
7480 leonardo menegola, Lesley Mitchell, Leslie Krumholz, Leticia Britos
7481 Cavagnaro, Levi Bostian, Leyla Acaroglu, Liisa Ummelas, Lilly Kashmir
7482 Marques, Lior Mazliah, Lisa Bjerke, Lisa Brewster, Lisa Canning, Lisa
7483 Cronin, Lisa Di Valentino, Lisandro Gaertner, Livia Leskovec, Liynn
7484 Worldlaw, Liz Berg, Liz White, Logan Cox, Loki Carbis, Lora Lynn, Lorna
7485 Prescott, Lou Yufan, Louie Amphlett, Louis-David Benyayer, Louise Denman,
7486 Luca Corsato, Luca Lesinigo, Luca Palli, Luca Pianigiani, Luca S.G. de
7487 Marinis, Lucas Lopez, Lukas Mathis, Luke Chamberlin, Luke Chesser, Luke
7488 Woodbury, Lulu Tang, Lydia Pintscher, M Alexander Jurkat, Maarten Sander,
7489 Macie J Klosowski, Magnus Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh,
7490 Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
7491 Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich, Marc Harpster, Marc
7492 Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
7493 Leeuwe, Marcel Hill, Marcia Hofmann, Marcin Olender, Marco Massarotto, Marco
7494 Montanari, Marco Morales, Marcos Medionegro, Marcus Bitzl, Marcus Norrgren,
7495 Margaret Gary, Mari Moreshead, Maria Liberman, Marielle Hsu, Marino
7496 Hernandez, Mario Lurig, Mario R. Hemsley, MD, Marissa Demers, Mark Chandler,
7497 Mark Cohen, Mark De Solla Price, Mark Gabby, Mark Gray, Mark Koudritsky,
7498 Mark Kupfer, Mark Lednor, Mark McGuire, Mark Moleda, Mark Mullen, Mark
7499 Murphy, Mark Perot, Mark Reeder, Mark Spickett, Mark Vincent Adams, Mark
7500 Waks, Mark Zuccarell II, Markus Deimann, Markus Jaritz, Markus Luethi,
7501 Marshal Miller, Marshall Warner, Martijn Arets, Martin Beaudoin, Martin
7502 Decky, Martin DeMello, Martin Humpolec, Martin Mayr, Martin Peck, Martin
7503 Sanchez, Martino Loco, Martti Remmelgas, Martyn Eggleton, Martyn Lewis, Mary
7504 Ellen Davis, Mary Heacock, Mary Hess, Mary Mi, Masahiro Takagi, Mason Du,
7505 Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
7506 Kruk, Matija Nalis, Matt Alcock, Matt Black, Matt Broach, Matt Hall, Matt
7507 Haughey, Matt Lee, Matt Plec, Matt Skoss, Matt Thompson, Matt Vance, Matt
7508 Wagstaff, Matteo Cocco, Matthew Bendert, Matthew Bergholt, Matthew Darlison,
7509 Matthew Epler, Matthew Hawken, Matthew Heimbecker, Matthew Orstad, Matthew
7510 Peterworth, Matthew Sheehy, Matthew Tucker, Adaptive Handy Apps, LLC,
7511 Mattias Axell, Max Green, Max Kossatz, Max lupo, Max Temkin, Max van
7512 Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
7513 Finlayson, Melissa Aho, Melissa Sterry, Melle Funambuline, Menachem
7514 Goldstein, Micah Bridges, Michael Ailberto, Michael Anderson, Michael
7515 Andersson Skane, Michael C. Stewart, Michael Carroll, Michael Cavette,
7516 Michael Crees, Michael David Johas Teener, Michael Dennis Moore, Michael
7517 Freundt Karlsen, Michael Harries, Michael Hawel, Michael Lewis, Michael May,
7518 Michael Murphy, Michael Murvine, Michael Perkins, Michael Sauers, Michael
7519 St.Onge, Michael Stanford, Michael Stanley, Michael Underwood, Michael
7520 Weiss, Michael Wright, Michael-Andreas Kuttner, Michaela Voigt, Michal
7521 Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
7522 You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike Chelen, Mike Habicher,
7523 Mike Maloney, Mike Masnick, Mike McDaniel, Mike Pouraryan, Mike Sheldon,
7524 Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
7525 Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko
7526 <span class="quote">„<span class="quote">Macro</span>“</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
7527 Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, Moritz
7528 Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
7529 Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, Nah Wee Yang,
7530 Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey, Nathan Miller,
7531 Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele Wollert,
7532 Neuchee Chang, Niall McDonagh, Niall Twohig, Nic McPhee, Nicholas Bentley,
7533 Nicholas Koran, Nicholas Norfolk, Nicholas Potter, Nick Bell, Nick Coghlan,
7534 Nick Isaacs, Nick M. Daly, Nick Vance, Nickolay Vedernikov, Nicky
7535 Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole Hickman, Niek
7536 Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola Chernev,
7537 Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-Fein, Noah
7538 Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
7539 Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle Ahnve, Omar
7540 Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
7541 Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
7542 Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat
7543 Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf,
7544 Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, Patrick
7545 McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik
7546 Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey,
7547 Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul
7548 Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
7549 Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
7550 Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
7551 Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter
7552 O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
7553 Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip
7554 Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer,
7555 Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels,
7556 Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill,
7557 Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer,
7558 Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani,
7559 Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
7560 Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
7561 Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich
7562 McCue, Richard <span class="quote">„<span class="quote">TalkToMeGuy</span>“</span> Olson, Richard Best, Richard
7563 Blumberg, Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly,
7564 Richard Littauer, Richard Sobey, Richard White, Richard Winchell, Rik
7565 ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley,
7566 Rob Bertholf, Rob Emanuele, Rob McAuliffe, Rob McKaughan, Rob Tillie, Rob
7567 Utter, Rob Vincent, Robert Gaffney, Robert Jones, Robert Kelly, Robert
7568 Lawlis, Robert McDonald, Robert Orzanna, Robert Paterson Hunter, Robert
7569 R. Daniel Jr., Robert Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto
7570 Selvaggio, Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon,
7571 Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
7572 Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald
7573 Bissell, Ronald van den Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay,
7574 Ross Pruden, Ross Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert
7575 Hitzenberger, Rusi Popov, Russ Antonucci, Russ Spollin, Russell Brand, Rute
7576 Correia, Ruth Ann Carpenter, Ruth White, Ryan Mentock, Ryan Merkley, Ryan
7577 Price, Ryan Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin
7578 Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin,
7579 Samantha-Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel
7580 A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
7581 Cersosimo, Samuel Tait, Sandra Fauconnier, Sandra Markus, Sandy Bjar, Sandy
7582 ONeil, Sang-Phil Ju, Sanjay Basu, Santiago Garcia, Sara Armstrong, Sara
7583 Lucca, Sara Rodriguez Marin, Sarah Brand, Sarah Cove, Sarah Curran, Sarah
7584 Gold, Sarah McGovern, Sarah Smith, Sarinee Achavanuntakul, Sasha Moss, Sasha
7585 VanHoven, Saul Gasca, Scott Abbott, Scott Akerman, Scott Beattie, Scott
7586 Bruinooge, Scott Conroy, Scott Gillespie, Scott Williams, Sean Anderson,
7587 Sean Johnson, Sean Lim, Sean Wickett, Seb Schmoller, Sebastiaan Bekker,
7588 Sebastiaan ter Burg, Sebastian Makowiecki, Sebastian Meyer, Sebastian
7589 Schweizer, Sebastian Sigloch, Sebastien Huchet, Seokwon Yang, Sergey
7590 Chernyshev, Sergey Storchay, Sergio Cardoso, Seth Drebitko, Seth Gover, Seth
7591 Lepore, Shannon Turner, Sharon Clapp, Shauna Redmond, Shawn Gaston, Shawn
7592 Martin, Shay Knohl, Shelby Hatfield, Sheldon (Vila) Widuch, Sheona Thomson,
7593 Si Jie, Sicco van Sas, Siena Oristaglio, Simon Glover, Simon John King,
7594 Simon Klose, Simon Law, Simon Linder, Simon Moffitt, Solomon Kahn, Solomon
7595 Simon, Soujanna Sarkar, Stanislav Trifonov, Stefan Dumont, Stefan Jansson,
7596 Stefan Langer, Stefan Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan
7597 Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
7598 Stephen Pearce, Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson,
7599 Steve Battle, Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve
7600 Ingram, Steve Kroy, Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven
7601 Knudsen, Steven Melvin, Stig-Jørund B. Ö.  Arnesen, Stuart Drewer, Stuart
7602 Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
7603 Susan R Grossman, Suzie Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle,
7604 Sylvain Chery, Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz,
7605 T. L. Mason, Tanbir Baeg, Tanya Hart, Tara Tiger Brown, Tara Westover, Tarmo
7606 Toikkanen, Tasha Turner Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan,
7607 Teresa Gonczy, Terry Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo,
7608 Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
7609 Chang, Thomas Hartman, Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds,
7610 Thomas Thrush, Thomas Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim
7611 Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
7612 Timothy Arfsten, Timothy Hinchliff, Timothy Vollmer, Tina Coffman, Tisza
7613 Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
7614 Bamford, Tom Caswell, Tom Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom
7615 Merkli, Tom Merritt, Tom Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti,
7616 Tommy Dahlen, Tony Ciak, Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin,
7617 Tracey Henton, Tracey James, Traci Long DeForge, Trent Yarwood, Trevor
7618 Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
7619 Tyler Occhiogrosso, Udo Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum,
7620 Vaughan jenkins, Veethika Mishra, Vic King, Vickie Goode, Victor DePina,
7621 Victor Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture, Vikas
7622 Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
7623 Gentilini, Virginia Kopelman, Vitor Menezes, Vivian Marthell, Wayne
7624 Mackintosh, Wendy Keenan, Werner Wiethege, Wesley Derbyshire, Widar Hellwig,
7625 Willa Köerner, William Bettridge-Radford, William Jefferson, William
7626 Marshall, William Peter Nash, William Ray, William Robins, Willow Rosenberg,
7627 Winie Evers, Wolfgang Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier
7628 Moisant, Xueqi Li, Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian
7629 Sun, Yves Deruisseau, Zach Chandler, Zak Zebrowski, Zane Amiralis and Joshua
7630 de Haan, ZeMarmot Open Movie
7631   </p></div></body></html>