-Made with Creative Commons
-
-Paul Stacey and Sarah Hinchliff Pearson
+% Made with Creative Commons
+% Paul Stacey;Sarah Hinchliff Pearson
+# Colophon {-}
Made With Creative Commons
by Paul Stacey & Sarah Hinchliff Pearson
Content editing by Grace Yaginuma
-Illustrations by Bryan Mathers, bryanmathers.com
+Illustrations by Bryan Mathers, [](http://bryanmathers.com)
-Downloadable e-book available at madewith.cc
+Downloadable e-book available at [](http://madewith.cc)
Publisher:
Denmark
-www.cadb.dk
+[](http://www.cadb.dk)
hey@cadb.dk
provide a link to the license, and indicate if changes were made. If you
remix, transform, or build upon the material, you must distribute your
contributions under the same license as the original. License details:
-creativecommons.org/licenses/by-sa/4.0/
+[](http://creativecommons.org/licenses/by-sa/4.0/)
Made With Creative Commons is published with the kind support of
Creative Commons and backers of our crowdfunding-campaign on the
Kickstarter.com platform.
-“I don’t know a whole lot about nonfiction
-journalism. . . The way that I think about these things, and in terms of
-what I can do is. . . essays like this are occasions to watch somebody
-reasonably bright but also reasonably average pay far closer attention
-and think at far more length about all sorts of different stuff than
-most of us have a chance to in our daily lives.”
-
-
+# Dedication {-}
+> “I don’t know a whole lot about nonfiction journalism. . .
+> The way that I think about these things, and in terms of what I can do
+> is. . . essays like this are occasions to watch somebody reasonably
+> bright but also reasonably average pay far closer attention and think at
+> far more length about all sorts of different stuff than most of us have
+> a chance to in our daily lives.”
+>
+>
+>
+> — *David Foster Wallace*
-- David Foster Wallace
-
-## Foreword
+# Foreword
Three years ago, just after I was hired as CEO of Creative Commons, I
met with Cory Doctorow in the hotel bar of Toronto’s Gladstone Hotel. As
*CEO, Creative Commons*
-## Introduction
+# Introduction
This book shows the world how sharing can be good for business—but with
a twist.
*Paul and Sarah *
-# Part 1
# The Big Picture
the stories of childhood and the processes of democracy. Some parts of
the commons are gifts of nature, others the product of human endeavor.
Some are new, such as the Internet; others are as ancient as soil and
-calligraphy.”1
+calligraphy.”[^The-New-World-of-Digital-Commons-1]
In Made with Creative Commons, we focus on our current era of digital
commons, a commons of human-produced works. This commons cuts across a
The commons is not just about shared resources, however. It’s also about
the social practices and values that manage them. A resource is a noun,
-but to common—to put the resource into the commons—is a verb.2 The
+but to common—to put the resource into the commons—is a verb.[^The-New-World-of-Digital-Commons-2] The
creators, organizations, and businesses we profile are all engaged with
commoning. Their use of Creative Commons involves them in the social
practice of commoning, managing resources in a collective manner with a
-community of users.3 Commoning is guided by a set of values and norms
+community of users.[^The-New-World-of-Digital-Commons-3] Commoning is guided by a set of values and norms
that balance the costs and benefits of the enterprise with those of the
community. Special regard is given to equitable access, use, and
sustainability.
Historically, there have been three ways to manage resources and share
wealth: the commons (managed collectively), the state (i.e., the
government), and the market—with the last two being the dominant forms
-today.4
+today.[^The-New-World-of-Digital-Commons-4]
The organizations and businesses in our case studies are unique in the
way they participate in the commons while still engaging with the market
and/or state. The extent of engagement with market or state varies. Some
operate primarily as a commons with minimal or no reliance on the market
-or state.5 Others are very much a part of the market or state, depending
+or state.[^The-New-World-of-Digital-Commons-5] Others are very much a part of the market or state, depending
on them for financial sustainability. All operate as hybrids, blending
the norms of the commons with those of the market or state.
regarding property, copyright, business, and finance can all be designed
to foster the commons.
+{width="100%"
+}
+
It’s helpful to understand how the commons, market, and state manage
resources differently, and not just for those who consider themselves
primarily as a commons. For businesses or governmental organizations who
### The Four Aspects of a Resource
As part of her Nobel Prize–winning work, Elinor Ostrom developed a
-framework for analyzing how natural resources are managed in a commons.6
+framework for analyzing how natural resources are managed in a commons.[^The-New-World-of-Digital-Commons-6]
Her framework considered things like the biophysical characteristics of
common resources, the community’s actors and the interactions that take
place between them, rules-in-use, and outcomes. That framework has been
and rules they develop to govern use, and finally actual resource use
along with outcomes of that use (see Fig. 2).
+{width="100%"
+}
+
#### Characteristics
Resources have particular characteristics or attributes that affect the
and sold to consumers on the basis of a cash transaction.
In contrast to the state and market, resources in a commons are managed
-more directly by the people involved.7 Creators of human produced
+more directly by the people involved.[^The-New-World-of-Digital-Commons-7] Creators of human produced
resources can put them in the commons by personal choice. No permission
from state or market is required. Anyone can participate in the commons
and determine for themselves the extent to which they want to be
person behind a resource makes the commons less anonymous and more
personal.
+{width="100%"
+}
+
#### Norms and rules
The social interactions between people, and the processes used by the
defined by the community. They weigh individual costs and benefits
against the costs and benefits to the whole community. Consideration is
given not just to economic efficiency but also to equity and
-sustainability.9
+sustainability.[^The-New-World-of-Digital-Commons-9]
#### Goals
In the market, the focus is on maximizing the utility of a resource.
What we pay for the goods we consume is seen as an objective measure of
the utility they provide. The goal then becomes maximizing total
-monetary value in the economy.10 Units consumed translates to sales,
+monetary value in the economy.[^The-New-World-of-Digital-Commons-10] Units consumed translates to sales,
revenue, profit, and growth, and these are all ways to measure goals of
the market.
For centuries, indigenous people and preindustrialized societies managed
resources, including water, food, firewood, irrigation, fish, wild game,
-and many other things collectively as a commons.11 There was no market,
+and many other things collectively as a commons.[^The-New-World-of-Digital-Commons-11] There was no market,
no global economy. The state in the form of rulers influenced the
commons but by no means controlled it. Direct social participation in a
commons was the primary way in which resources were managed and needs
met. (Fig. 4 illustrates the commons in relation to the state and the
market.)
+{width="100%"
+}
+
This is followed by a long history of the state (a monarchy or ruler)
taking over the commons for their own purposes. This is called enclosure
-of the commons.12 In olden days, “commoners” were evicted from the land,
+of the commons.[^The-New-World-of-Digital-Commons-12] In olden days, “commoners” were evicted from the land,
fences and hedges erected, laws passed, and security set up to forbid
-access.13 Gradually, resources became the property of the state and the
+access.[^The-New-World-of-Digital-Commons-13] Gradually, resources became the property of the state and the
state became the primary means by which resources were managed. (See
Fig. 5).
education. Fig. 6 shows how today the market is the primary means by
which resources are managed.
+{width="100%"
+}
+
However, the world today is going through turbulent times. The benefits
of the market have been offset by unequal distribution and
overexploitation.
manage it. Ostrom’s approach to the governance of natural resources
broke with convention; she recognized the importance of the commons as
an alternative to the market or state for solving problems of collective
-action.14
+action.[^The-New-World-of-Digital-Commons-14]
Hardin failed to consider the actual social dynamic of the commons. His
model assumed that people in the commons act autonomously, out of pure
Hardin’s story is based on the premise of depletable resources.
Economists have focused almost exclusively on scarcity-based markets.
-Very little is known about how abundance works.15 The emergence of
+Very little is known about how abundance works.[^The-New-World-of-Digital-Commons-15] The emergence of
information technology and the Internet has led to an explosion in
digital resources and new means of sharing and distribution. Digital
resources can never be depleted. An absence of a theory or model for how
state funded digital works should be that they are freely and openly
available to the public that paid for them.
+{width="100%"
+}
+
### The Digital Revolution
In the early days of computing, programmers and developers learned from
your computing as you wish.
- The freedom to redistribute copies.
- The freedom to distribute copies of your modified versions to
- others.16
+ others.[^The-New-World-of-Digital-Commons-16]
These principles and freedoms constitute a set of norms and rules that
typify a digital commons.
open source gave them control without being locked into a closed,
proprietary technology. Free and open-source software also generated a
network effect where the value of a product or service increases with
-the number of people using it.17 The dramatic growth of the Internet
+the number of people using it.[^The-New-World-of-Digital-Commons-17] The dramatic growth of the Internet
itself owes much to the fact that nobody has a proprietary lock on core
Internet protocols.
that managed software code on principles of abundance rather than
scarcity. Eric Raymond’s essay “The Magic Cauldron” does a great job of
analyzing the economics and business models associated with open-source
-software.18 These models can provide examples of sustainable approaches
+software.[^The-New-World-of-Digital-Commons-18] These models can provide examples of sustainable approaches
for those Made with Creative Commons.
It isn’t just about an abundant availability of digital assets but also
sharing valuable and entertaining content. Doing so grows and nourishes
relationships, seeks to change opinions, encourages action, and informs
others about who we are and what we care about. Sharing lets us feel
-more involved with the world.19
+more involved with the world.[^The-New-World-of-Digital-Commons-19]
### The Birth of Creative Commons
legal-code layer beneath. The third layer is the machine-readable one,
making it easy for the Web to know a work is Creative Commons–licensed
by expressing permissions in a way that software systems, search
-engines, and other kinds of technology can understand.20 Taken together,
+engines, and other kinds of technology can understand.[^The-New-World-of-Digital-Commons-20] Taken together,
these three layers ensure creators, users, and even the Web itself
understand the norms and rules associated with digital content in a
commons.
Creative Commons, but so do museums, governments, creative industries,
manufacturers, and publishers. Millions of websites use CC licenses,
including major platforms like Wikipedia and Flickr and smaller ones
-like blogs.21 Users of Creative Commons are diverse and cut across many
+like blogs.[^The-New-World-of-Digital-Commons-21] Users of Creative Commons are diverse and cut across many
different sectors. (Our case studies were chosen to reflect that
diversity.)
Open Government Partnership was launched in 2011 to provide an
international platform for governments to become more open, accountable,
and responsive to citizens. Since then, it has grown from eight
-participating countries to seventy.22 In all these countries, government
+participating countries to seventy.[^The-New-World-of-Digital-Commons-22] In all these countries, government
and civil society are working together to develop and implement
ambitious open-government reforms. Governments are increasingly adopting
Creative Commons to ensure works funded with taxpayer dollars are open
systems are structured to support extraction, privatization, and
corporate growth. A perception that the market is more efficient than
the state has led to continual privatization of many public natural
-resources, utilities, services, and infrastructures.23 While this system
+resources, utilities, services, and infrastructures.[^The-New-World-of-Digital-Commons-23] While this system
has been highly efficient at generating consumerism and the growth of
gross domestic product, the impact on human well-being has been mixed.
Offsetting rising living standards and improvements to health and
education are ever-increasing wealth inequality, social inequality,
poverty, deterioration of our natural environment, and breakdowns of
-democracy.24
+democracy.[^The-New-World-of-Digital-Commons-24]
In light of these challenges there is a growing recognition that GDP
growth should not be an end in itself, that development needs to be
socially and economically inclusive, that environmental sustainability
is a requirement not an option, and that we need to better balance the
-market, state and community.25
+market, state and community.[^The-New-World-of-Digital-Commons-25]
These realizations have led to a resurgence of interest in the commons
as a means of enabling that balance. City governments like Bologna,
Italy, are collaborating with their citizens to put in place regulations
-for the care and regeneration of urban commons.26 Seoul and Amsterdam
+for the care and regeneration of urban commons.[^The-New-World-of-Digital-Commons-26] Seoul and Amsterdam
call themselves “sharing cities,” looking to make sustainable and more
efficient use of scarce resources. They see sharing as a way to improve
-the use of public spaces, mobility, social cohesion, and safety.27
+the use of public spaces, mobility, social cohesion, and safety.[^The-New-World-of-Digital-Commons-27]
The market itself has taken an interest in the sharing economy, with
businesses like Airbnb providing a peer-to-peer marketplace for
like a traditional business seeking financial gain. Much of the sharing
economy is not about the commons or building an alternative to a
corporate-driven market economy; it’s about extending the deregulated
-free market into new areas of our lives.28 While none of the people we
+free market into new areas of our lives.[^The-New-World-of-Digital-Commons-28] While none of the people we
interviewed for our case studies would describe themselves as part of
the sharing economy, there are in fact some significant parallels. Both
the sharing economy and the commons make better use of asset capacity.
increasing, but rather than costs going up, costs are coming down.
Digital technologies are getting faster, better, and cheaper. The cost
of anything built on these technologies will always go down until it is
-close to zero.29
+close to zero.[^The-New-World-of-Digital-Commons-29]
Those that are Made with Creative Commons are looking to leverage the
unique inherent characteristics of digital resources, including lowering
The incremental cost of storing, copying, and distributing digital goods
is next to zero, making abundance possible. But imagining a market based
on abundance rather than scarcity is so alien to the way we conceive of
-economic theory and practice that we struggle to do so.30 Those that are
+economic theory and practice that we struggle to do so.[^The-New-World-of-Digital-Commons-30] Those that are
Made with Creative Commons are each pioneering in this new landscape,
devising their own economic models and practice.
financially benefit stockholders. But new forms of business are
emerging. There are benefit corporations and social enterprises, which
broaden their business goals from making a profit to making a positive
-impact on society, workers, the community, and the environment.31
+impact on society, workers, the community, and the environment.[^The-New-World-of-Digital-Commons-31]
Community-owned businesses, worker-owned businesses, cooperatives,
guilds, and other organizational forms offer alternatives to the
traditional corporation. Collectively, these alternative market entities
-are changing the rules and norms of the market.32
+are changing the rules and norms of the market.[^The-New-World-of-Digital-Commons-32]
“A book on open business models” is how we described it in this book’s
Kickstarter campaign. We used a handbook called Business Model
Generation as our reference for defining just what a business model is.
Developed over nine years using an “open process” involving 470
coauthors from forty-five countries, it is useful as a framework for
-talking about business models.33
+talking about business models.[^The-New-World-of-Digital-Commons-33]
It contains a “business model canvas,” which conceives of a business
-model as having nine building blocks.34 This blank canvas can serve as a
+model as having nine building blocks.[^The-New-World-of-Digital-Commons-34] This blank canvas can serve as a
tool for anyone to design their own business model. We remixed this
business model canvas into an open business model canvas, adding three
more building blocks relevant to hybrid market, commons enterprises:
social good, Creative Commons license, and “type of open environment
-that the business fits in.”35 This enhanced canvas proved useful when we
+that the business fits in.”[^The-New-World-of-Digital-Commons-35] This enhanced canvas proved useful when we
analyzed businesses and helped start-ups plan their economic model.
In our case study interviews, many expressed discomfort over describing
free but physical for a fee,” crowdfunding, matchmaking, value-add
services, patrons . . . the list goes on and on. (Initial description of
how to earn revenue available through reference note. For latest
-thinking see How to Bring In Money in the next section.) 36 There is no
+thinking see How to Bring In Money in the next section.)[^The-New-World-of-Digital-Commons-36] There is no
single magic bullet, and each endeavor has devised ways that work for
them. Most make use of more than one way. Diversifying revenue streams
lowers risk and provides multiple paths to sustainability.
Creative Commons deliberately encourage users to take the resources
being shared and innovate them. Doing so moves research and development
(R&D) from being solely inside the organization to being in the
-community.37 Community-based innovation will keep an organization or
+community.[^The-New-World-of-Digital-Commons-37] Community-based innovation will keep an organization or
business on its toes. It must continue to contribute new ideas, absorb
and build on top of the innovations of others, and steward the resources
and the relationship with the community.
### Notes
-1. Jonathan Rowe, Our Common Wealth (San Francisco: Berrett-Koehler,
+[^The-New-World-of-Digital-Commons-1]: Jonathan Rowe, Our Common Wealth (San Francisco: Berrett-Koehler,
2013), 14.
-2. David Bollier, Think Like a Commoner: A Short Introduction to the
+[^The-New-World-of-Digital-Commons-2]: David Bollier, Think Like a Commoner: A Short Introduction to the
Life of the Commons (Gabriola Island, BC: New Society, 2014), 176.
-3. Ibid., 15.
-4. Ibid., 145.
-5. Ibid., 175.
-6. Daniel H. Cole, “Learning from Lin: Lessons and Cautions from the
+[^The-New-World-of-Digital-Commons-3]: Ibid., 15.
+[^The-New-World-of-Digital-Commons-4]: Ibid., 145.
+[^The-New-World-of-Digital-Commons-5]: Ibid., 175.
+[^The-New-World-of-Digital-Commons-6]: Daniel H. Cole, “Learning from Lin: Lessons and Cautions from the
Natural Commons for the Knowledge Commons,” in Governing Knowledge
Commons, eds. Brett M. Frischmann, Michael J. Madison, and
Katherine J. Strandburg (New York: Oxford University Press,
2014), 53.
-7. Max Haiven, Crises of Imagination, Crises of Power: Capitalism,
+[^The-New-World-of-Digital-Commons-7]: Max Haiven, Crises of Imagination, Crises of Power: Capitalism,
Creativity and the Commons (New York: Zed Books, 2014), 93.
-8. Cole, “Learning from Lin,” in Frischmann, Madison, and Strandburg,
+[^The-New-World-of-Digital-Commons-8]: Cole, “Learning from Lin,” in Frischmann, Madison, and Strandburg,
Governing Knowledge Commons, 59.
-9. Bollier, Think Like a Commoner, 175.
-10. Joshua Farley and Ida Kubiszewski, “The Economics of Information in
+[^The-New-World-of-Digital-Commons-9]: Bollier, Think Like a Commoner, 175.
+[^The-New-World-of-Digital-Commons-10]: Joshua Farley and Ida Kubiszewski, “The Economics of Information in
a Post-Carbon Economy,” in Free Knowledge: Confronting the
Commodification of Human Discovery, eds. Patricia W. Elliott and
- Daryl H. Hepting (Regina, SK: University of Regina Press,
- 2015), 201–4.
-11. Rowe, Our Common Wealth, 19; and Heather Menzies, Reclaiming the
+ Daryl H. Hepting (Regina, SK: University of Regina Press, 2015),
+ 201–4.
+[^The-New-World-of-Digital-Commons-11]: Rowe, Our Common Wealth, 19; and Heather Menzies, Reclaiming the
Commons for the Common Good: A Memoir and Manifesto (Gabriola
Island, BC: New Society, 2014), 42–43.
-12. Bollier, Think Like a Commoner, 55–78.
-13. Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a Legal
+[^The-New-World-of-Digital-Commons-12]: Bollier, Think Like a Commoner, 55–78.
+[^The-New-World-of-Digital-Commons-13]: Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a Legal
System in Tune with Nature and Community (Oakland, CA:
Berrett-Koehler, 2015), 46–57; and Bollier, Think Like a
Commoner, 88.
-14. Brett M. Frischmann, Michael J. Madison, and Katherine J.
+[^The-New-World-of-Digital-Commons-14]: Brett M. Frischmann, Michael J. Madison, and Katherine J.
Strandburg, “Governing Knowledge Commons,” in Frischmann, Madison,
and Strandburg Governing Knowledge Commons, 12.
-15. Farley and Kubiszewski, “Economics of Information,” in Elliott and
+[^The-New-World-of-Digital-Commons-15]: Farley and Kubiszewski, “Economics of Information,” in Elliott and
Hepting, Free Knowledge, 203.
-16. “What Is Free Software?” GNU Operating System, the Free Software
+[^The-New-World-of-Digital-Commons-16]: “What Is Free Software?” GNU Operating System, the Free Software
Foundation’s Licensing and Compliance Lab, accessed December 30,
- 2016, www.gnu.org/philosophy/free-sw.
-17. Wikipedia, s.v. “Open-source software,” last modified November
+ 2016, [](http://www.gnu.org/philosophy/free-sw).
+[^The-New-World-of-Digital-Commons-17]: Wikipedia, s.v. “Open-source software,” last modified November
22, 2016.
-18. Eric S. Raymond, “The Magic Cauldron,” in The Cathedral and the
+[^The-New-World-of-Digital-Commons-18]: Eric S. Raymond, “The Magic Cauldron,” in The Cathedral and the
Bazaar: Musings on Linux and Open Source by an Accidental
- Revolutionary, rev. ed. (Sebastopol, CA: O’Reilly Media,
- 2001), www.catb.org/esr/writings/cathedral-bazaar/.
-19. New York Times Customer Insight Group, The Psychology of Sharing:
+ Revolutionary, rev. ed. (Sebastopol, CA: O’Reilly Media, 2001),
+ [](http://www.catb.org/esr/writings/cathedral-bazaar/).
+[^The-New-World-of-Digital-Commons-19]: New York Times Customer Insight Group, The Psychology of Sharing:
Why Do People Share Online? (New York: New York Times Customer
- Insight Group, 2011), www.iab.net/media/file/POSWhitePaper.pdf.
-20. “Licensing Considerations,” Creative Commons, accessed December 30,
- 2016, creativecommons.org/share-your-work/licensing-considerations/.
-21. Creative Commons, 2015 State of the Commons (Mountain View, CA:
- Creative Commons, 2015), stateof.creativecommons.org/2015/.
-22. Wikipedia, s.v. “Open Government Partnership,” last modified
- September 24,
- 2016, en.wikipedia.org/wiki/Open\_Government\_Partnership.
-23. Capra and Mattei, Ecology of Law, 114.
-24. Ibid., 116.
-25. The Swedish International Development Cooperation Agency, “Stockholm
+ Insight Group, 2011), [](http://www.iab.net/media/file/POSWhitePaper.pdf).
+[^The-New-World-of-Digital-Commons-20]: “Licensing Considerations,” Creative Commons, accessed December 30,
+ 2016, [](http://creativecommons.org/share-your-work/licensing-considerations/).
+[^The-New-World-of-Digital-Commons-21]: Creative Commons, 2015 State of the Commons (Mountain View, CA:
+ Creative Commons, 2015), [](http://stateof.creativecommons.org/2015/).
+[^The-New-World-of-Digital-Commons-22]: Wikipedia, s.v. “Open Government Partnership,” last modified
+ September 24, 2016,
+ [](http://en.wikipedia.org/wiki/Open\_Government\_Partnership).
+[^The-New-World-of-Digital-Commons-23]: Capra and Mattei, Ecology of Law, 114.
+[^The-New-World-of-Digital-Commons-24]: Ibid., 116.
+[^The-New-World-of-Digital-Commons-25]: The Swedish International Development Cooperation Agency, “Stockholm
Statement” accessed February 15, 2017,
- sida.se/globalassets/sida/eng/press/stockholm-statement.pdf
-26. City of Bologna, Regulation on Collaboration between Citizens and
+ [](http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf)
+[^The-New-World-of-Digital-Commons-26]: City of Bologna, Regulation on Collaboration between Citizens and
the City for the Care and Regeneration of Urban Commons, trans.
LabGov (LABoratory for the GOVernance of Commons) (Bologna, Italy:
- City of Bologna,
- 2014), www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf.
-27. The Seoul Sharing City website is english.sharehub.kr; for Amsterdam
- Sharing City, go to www.sharenl.nl/amsterdam-sharing-city/.
-28. Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New
+ City of Bologna, 2014),
+ [](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).
+[^The-New-World-of-Digital-Commons-27]: The Seoul Sharing City website is [](http://english.sharehub.kr); for Amsterdam
+ Sharing City, go to [](http://www.sharenl.nl/amsterdam-sharing-city/).
+[^The-New-World-of-Digital-Commons-28]: Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New
York: OR Books, 2015), 42.
-29. Chris Anderson, Free: How Today’s Smartest Businesses Profit by
+[^The-New-World-of-Digital-Commons-29]: Chris Anderson, Free: How Today’s Smartest Businesses Profit by
Giving Something for Nothing, Reprint with new preface. (New York:
Hyperion, 2010), 78.
-30. Jeremy Rifkin, The Zero Marginal Cost Society: The Internet of
+[^The-New-World-of-Digital-Commons-30]: Jeremy Rifkin, The Zero Marginal Cost Society: The Internet of
Things, the Collaborative Commons, and the Eclipse of Capitalism
(New York: Palgrave Macmillan, 2014), 273.
-31. Gar Alperovitz, What Then Must We Do? Straight Talk about the Next
+[^The-New-World-of-Digital-Commons-31]: Gar Alperovitz, What Then Must We Do? Straight Talk about the Next
American Revolution: Democratizing Wealth and Building a
Community-Sustaining Economy from the Ground Up (White River
Junction, VT: Chelsea Green, 2013), 39.
-32. Marjorie Kelly, Owning Our Future: The Emerging Ownership
+[^The-New-World-of-Digital-Commons-32]: Marjorie Kelly, Owning Our Future: The Emerging Ownership
Revolution; Journeys to a Generative Economy (San Francisco:
Berrett-Koehler, 2012), 8–9.
-33. Alex Osterwalder and Yves Pigneur, Business Model Generation
+[^The-New-World-of-Digital-Commons-33]: Alex Osterwalder and Yves Pigneur, Business Model Generation
(Hoboken, NJ: John Wiley and Sons, 2010). A preview of the book is
- available at strategyzer.com/books/business-model-generation.
-34. This business model canvas is available to download
- at strategyzer.com/canvas/business-model-canvas.
-35. We’ve made the “Open Business Model Canvas,” designed by the
- coauthor Paul Stacey, available online
- at docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit.
+ available at [](http://strategyzer.com/books/business-model-generation).
+[^The-New-World-of-Digital-Commons-34]: This business model canvas is available to download at
+ [](http://strategyzer.com/canvas/business-model-canvas).
+[^The-New-World-of-Digital-Commons-35]: We’ve made the “Open Business Model Canvas,” designed by the
+ coauthor Paul Stacey, available online at
+ [](http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit).
You can also find the accompanying Open Business Model Canvas
- Questions
- at docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit.
-36. A more comprehensive list of revenue streams is available in this
+ Questions at
+ [](http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit).
+[^The-New-World-of-Digital-Commons-36]: A more comprehensive list of revenue streams is available in this
post I wrote on Medium on March 6, 2016. “What Is an Open Business
- Model and How Can You Generate Revenue?”, available
- at medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15.
-37. Henry Chesbrough, Open Innovation: The New Imperative for Creating
+ Model and How Can You Generate Revenue?”, available at
+ [](http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15).
+[^The-New-World-of-Digital-Commons-37]: Henry Chesbrough, Open Innovation: The New Imperative for Creating
and Profiting from Technology (Boston: Harvard Business Review
Press, 2006), 31–44.
According to the seminal handbook Business Model Generation, a business
model “describes the rationale of how an organization creates, delivers,
-and captures value.”1 Thinking about sharing in terms of creating and
+and captures value.”[^How-to-Be-Made-with-Creative-Commons-1] Thinking about sharing in terms of creating and
capturing value always felt inappropriately transactional and out of
place, something we heard time and time again in our interviews. And as
Cory Doctorow told us in our interview with him, “Business model can
The driving motivation varies depending on the type of endeavor. For
individual creators, it is most often about personal inspiration. In
some ways, this is nothing new. As Doctorow has written, “Creators
-usually start doing what they do for love.”2 But when you share your
+usually start doing what they do for love.”[^How-to-Be-Made-with-Creative-Commons-2] But when you share your
creative work under a CC license, that dynamic is even more pronounced.
Similarly, for technological innovators, it is often less about creating
a specific new thing that will make you rich and more about solving a
amount of time and money to write a peer-reviewed journal article or
paint a painting. Technology can’t change that. But other costs are
dramatically reduced by technology, particularly in production-heavy
-domains like filmmaking.3 CC-licensed content and content in the public
+domains like filmmaking.[^How-to-Be-Made-with-Creative-Commons-3] CC-licensed content and content in the public
domain, as well as the work of volunteer collaborators, can also
dramatically reduce costs if they’re being used as resources to create
something new. And, of course, there is the reality that some content
Distributing content is almost universally cheaper than ever. Once
content is created, the costs to distribute copies digitally are
-essentially zero.4 The costs to distribute physical copies are still
+essentially zero.[^How-to-Be-Made-with-Creative-Commons-4] The costs to distribute physical copies are still
significant, but lower than they have been historically. And it is now
much easier to print and distribute physical copies on-demand, which
also reduces costs. Depending on the endeavor, there can be a whole host
who never got the time of day from one of the great imperial powers,
this is your time. Where once you had no means of reaching an audience
without the assistance of the industry-dominating megacompanies, now you
-have hundreds of ways to do it without them.”5 Previously, distribution
+have hundreds of ways to do it without them.”[^How-to-Be-Made-with-Creative-Commons-5] Previously, distribution
of creative work involved the costs associated with sustaining a
monolithic entity, now creators can do the work themselves. That means
the financial needs of creative endeavors can be a lot more modest.
Once you create or collect your content, the next step is finding users,
customers, fans—in other words, your people. As Amanda Palmer wrote, “It
has to start with the art. The songs had to touch people initially, and
-mean something, for anything to work at all.”6 There isn’t any magic to
+mean something, for anything to work at all.”[^How-to-Be-Made-with-Creative-Commons-6] There isn’t any magic to
finding your people, and there is certainly no formula. Your work has to
connect with people and offer them some artistic and/or utilitarian
value. In some ways, this is easier than ever. Online we are not limited
consumption becomes less about mainstream mass “hits” and more about
micromarkets for every particular niche. As Anderson wrote, “We are all
different, with different wants and needs, and the Internet now has a
-place for all of them in the way that physical markets did not.”7 We are
+place for all of them in the way that physical markets did not.”[^How-to-Be-Made-with-Creative-Commons-7] We are
no longer limited to what appeals to the masses.
While finding “your people” online is theoretically easier than in the
only grows larger by the minute. As a content creator, not only are you
competing for attention against more content creators than ever before,
you are competing against creativity generated outside the market as
-well.8 Anderson wrote, “The greatest change of the past decade has been
+well.[^How-to-Be-Made-with-Creative-Commons-8] Anderson wrote, “The greatest change of the past decade has been
the shift in time people spend consuming amateur content instead of
-professional content.”9 To top it all off, you have to compete against
+professional content.”[^How-to-Be-Made-with-Creative-Commons-9] To top it all off, you have to compete against
the rest of their lives, too—“friends, family, music playlists, soccer
-games, and nights on the town.”10 Somehow, some way, you have to get
+games, and nights on the town.”[^How-to-Be-Made-with-Creative-Commons-10] Somehow, some way, you have to get
noticed by the right people.
When you come to the Internet armed with an all-rights-reserved
for your work is part of the traditional copyright system. Even a tiny
cost has a big effect on demand. It’s called the penny gap—the large
difference in demand between something that is available at the price of
-one cent versus the price of zero.11 That doesn’t mean it is wrong to
+one cent versus the price of zero.[^How-to-Be-Made-with-Creative-Commons-11] That doesn’t mean it is wrong to
charge money for your content. It simply means you need to recognize the
effect that doing so will have on demand. The same principle applies to
restricting access to copy the work. If your problem is how to get
Of course, it’s not that being discovered by people who like your work
will make you rich—far from it. But as Cory Doctorow says, “Recognition
-is one of many necessary preconditions for artistic success.”12
+is one of many necessary preconditions for artistic success.”[^How-to-Be-Made-with-Creative-Commons-12]
Choosing not to spend time and energy restricting access to your work
and policing infringement also builds goodwill. Lumen Learning, a
creative work. If people like your work, their natural instinct will be
to share it with others. But as David Bollier wrote, “Our natural human
impulses to imitate and share—the essence of culture—have been
-criminalized.”13
+criminalized.”[^How-to-Be-Made-with-Creative-Commons-13]
The fact that copying can carry criminal penalties undoubtedly deters
copying it, but copying with the click of a button is too easy and
Being Made with Creative Commons means you stop thinking about ways to
artificially make your content scarce, and instead leverage it as the
-potentially abundant resource it is.14 When you see information
+potentially abundant resource it is.[^How-to-Be-Made-with-Creative-Commons-14] When you see information
abundance as a feature, not a bug, you start thinking about the ways to
use the idling capacity of your content to your advantage. As my friend
and colleague Eric Steuer once said, “Using CC licenses shows you get
Cory Doctorow says it costs him nothing when other people make copies of
his work, and it opens the possibility that he might get something in
-return.15 Similarly, the makers of the Arduino boards knew it was
+return.[^How-to-Be-Made-with-Creative-Commons-15] Similarly, the makers of the Arduino boards knew it was
impossible to stop people from copying their hardware, so they decided
not to even try and instead look for the benefits of being open. For
them, the result is one of the most ubiquitous pieces of hardware in the
According to Google’s Eric Schmidt, the idea is simple: “Take whatever
it is you are doing and do it at the max in terms of distribution. The
other way of saying this is that since marginal cost of distribution is
-free, you might as well put things everywhere.”16 This strategy is what
+free, you might as well put things everywhere.”[^How-to-Be-Made-with-Creative-Commons-16] This strategy is what
often motivates companies to make their products and services free
(i.e., no cost), but the same logic applies to making content freely
shareable. Because CC-licensed content is free (as in cost) and can be
If you are successful in reaching more users, readers, listeners, or
other consumers of your work, you can start to benefit from the
bandwagon effect. The simple fact that there are other people consuming
-or following your work spurs others to want to do the same.17 This is,
+or following your work spurs others to want to do the same.[^How-to-Be-Made-with-Creative-Commons-17] This is,
in part, because we simply have a tendency to engage in herd behavior,
but it is also because a large following is at least a partial indicator
-of quality or usefulness.18
+of quality or usefulness.[^How-to-Be-Made-with-Creative-Commons-18]
#### Use CC to get attribution and name recognition
enforcement, that most often motivate people to provide attribution and
otherwise comply with the CC license terms anyway. This is the mark of
any well-functioning community, within both the marketplace and the
-society at large.19 CC licenses reflect a set of wishes on the part of
+society at large.[^How-to-Be-Made-with-Creative-Commons-19] CC licenses reflect a set of wishes on the part of
creators, and in the vast majority of circumstances, people are
naturally inclined to follow those wishes. This is particularly the case
for something as straightforward and consistent with basic notions of
the content often entice more demand, not blunt it. Another example came
with the advent of the radio. Although the music industry did not see it
coming (and fought it!), free music on the radio functioned as
-advertising for the paid version people bought in music stores.20 Free
+advertising for the paid version people bought in music stores.[^How-to-Be-Made-with-Creative-Commons-20] Free
can be a form of promotion.
In some cases, endeavors that are Made with Creative Commons do not even
wildly different things—translating, updating, localizing, improving,
transforming. It enables a work to be customized for particular needs,
uses, people, and communities, which is another distinct value to offer
-the public.21 Adaptation is more game changing in some contexts than
+the public.[^How-to-Be-Made-with-Creative-Commons-21] Adaptation is more game changing in some contexts than
others. With educational materials, the ability to customize and update
the content is critically important for its usefulness. For photography,
the ability to adapt a photo is less important.
This is a way to counteract a potential downside of the abundance of
free and open content described above. As Anderson wrote in Free,
“People often don’t care as much about things they don’t pay for, and as
-a result they don’t think as much about how they consume them.”22 If
+a result they don’t think as much about how they consume them.”[^How-to-Be-Made-with-Creative-Commons-22] If
even the tiny act of volition of paying one penny for something changes
our perception of that thing, then surely the act of remixing it
-enhances our perception exponentially.23 We know that people will pay
-more for products they had a part in creating.24 And we know that
+enhances our perception exponentially.[^How-to-Be-Made-with-Creative-Commons-23] We know that people will pay
+more for products they had a part in creating.[^How-to-Be-Made-with-Creative-Commons-24] And we know that
creating something, no matter what quality, brings with it a type of
creative satisfaction that can never be replaced by consuming something
-created by someone else.25
+created by someone else.[^How-to-Be-Made-with-Creative-Commons-25]
Actively engaging with the content helps us avoid the type of aimless
consumption that anyone who has absentmindedly scrolled through their
social-media feeds for an hour knows all too well. In his book,
Cognitive Surplus, Clay Shirky says, “To participate is to act as if
your presence matters, as if, when you see something or hear something,
-your response is part of the event.”26 Opening the door to your content
+your response is part of the event.”[^How-to-Be-Made-with-Creative-Commons-26] Opening the door to your content
can get people more deeply tied to your work.
#### Use CC to differentiate yourself
strategies that are embedded in the traditional copyright system, like
using digital rights management (DRM) and signing exclusivity contracts,
can tie the hands of creators, often at the expense of the creator’s
-best interest.27 Being Made with Creative Commons means you can function
+best interest.[^How-to-Be-Made-with-Creative-Commons-27] Being Made with Creative Commons means you can function
without those barriers and, in many cases, use the increased openness as
a competitive advantage. David Harris from OpenStax said they
specifically pursue strategies they know that traditional publishers
beneficiaries of that value. Funders, whether philanthropic
institutions, governments, or concerned individuals, provide money to
the organization out of a sense of pure altruism. This is the way
-traditional nonprofit funding operates.28 But in many cases, the revenue
+traditional nonprofit funding operates.[^How-to-Be-Made-with-Creative-Commons-28] But in many cases, the revenue
streams used by endeavors that are Made with Creative Commons are
directly tied to the value they generate, where the recipient is paying
for the value they receive like any standard market transaction. In
costs are particularly high, and then finding a different revenue stream
(or streams) for ongoing expenses. As Shirky wrote, “The trick is in
knowing when markets are an optimal way of organizing interactions and
-when they are not.”29
+when they are not.”[^How-to-Be-Made-with-Creative-Commons-29]
Our case studies explore in more detail the various revenue-generating
mechanisms used by the creators, organizations, and businesses we
#### Market-based revenue streams
In the market, the central question when determining how to bring in
-revenue is what value people are willing to pay for.30 By definition, if
+revenue is what value people are willing to pay for.[^How-to-Be-Made-with-Creative-Commons-30] By definition, if
you are Made with Creative Commons, the content you provide is available
for free and not a market commodity. Like the ubiquitous freemium
business model, any possible market transaction with a consumer of your
-content has to be based on some added value you provide.31
+content has to be based on some added value you provide.[^How-to-Be-Made-with-Creative-Commons-31]
In many ways, this is the way of the future for all content-driven
endeavors. In the market, value lives in things that are scarce. Because
struggling newspaper industry is a testament to this fact. This is
compounded by the fact that at least some amount of copying is probably
inevitable. That means you may end up competing with free versions of
-your own content, whether you condone it or not.32 If people can easily
+your own content, whether you condone it or not.[^How-to-Be-Made-with-Creative-Commons-32] If people can easily
find your content for free, getting people to buy it will be difficult,
particularly in a context where access to content is more important than
owning it. In Free, Anderson wrote, “Copyright protection schemes,
“Every abundance creates a new scarcity,” he wrote. You just have to
find some way other than the content to provide value to your audience
or customers. As Anderson says, “It’s easy to compete with Free: simply
-offer something better or at least different from the free version.”33
+offer something better or at least different from the free version.”[^How-to-Be-Made-with-Creative-Commons-33]
In light of this reality, in some ways endeavors that are Made with
Creative Commons are at a level playing field with all content-based
provide value to the consumers of your work, above and beyond the value
that lives within your free digital content. Often, the CC-licensed
content functions as a marketing tool for the paid product or
-
service.
Here are the most common high-level categories.
-#### Providing a custom service to consumers of your work * \[MARKET-BASED\]*
+#### Providing a custom service to consumers of your work *\[MARKET-BASED\]*
In this age of information abundance, we don’t lack for content. The
trick is finding content that matches our needs and wants, so customized
services are particularly valuable. As Anderson wrote, “Commodity
information (everybody gets the same version) wants to be free.
Customized information (you get something unique and meaningful to you)
-wants to be expensive.”34 This can be anything from the artistic and
+wants to be expensive.”[^How-to-Be-Made-with-Creative-Commons-34] This can be anything from the artistic and
cultural consulting services provided by Ártica to the custom-song
business of Jonathan “Song-A-Day” Mann.
-#### Charging for the physical copy * \[MARKET-BASED\]*
+#### Charging for the physical copy *\[MARKET-BASED\]*
In his book about maker culture, Anderson characterizes this model as
giving away the bits and selling the atoms (where bits refers to digital
-content and atoms refer to a physical object).35 This is particularly
+content and atoms refer to a physical object).[^How-to-Be-Made-with-Creative-Commons-35] This is particularly
successful in domains where the digital version of the content isn’t as
valuable as the analog version, like book publishing where a significant
subset of people still prefer reading something they can hold in their
with other providers of the same works based on quality, service, or
other traditional business principles.
-#### Charging for the in-person version * \[MARKET-BASED\]*
+#### Charging for the in-person version *\[MARKET-BASED\]*
As anyone who has ever gone to a concert will tell you, experiencing
creativity in person is a completely different experience from consuming
people go view original art in person or pay to attend a talk or
training course.
-#### Selling merchandise * \[MARKET-BASED\]*
+#### Selling merchandise *\[MARKET-BASED\]*
In many cases, people who like your work will pay for products
demonstrating a connection to your work. As a child of the 1980s, I can
content is free increases the size of the audience, which in turn makes
the offer more valuable to the paying customers. This is a variation of
a traditional business model built on free called multi-sided
-platforms.36 Access to your audience isn’t the only thing people are
+platforms.[^How-to-Be-Made-with-Creative-Commons-36] Access to your audience isn’t the only thing people are
willing to pay for—there are other services you can provide as well.
-#### Charging advertisers or sponsors * \[MARKET-BASED\]*
+#### Charging advertisers or sponsors *\[MARKET-BASED\]*
The traditional model of subsidizing free content is advertising. In
this version of multi-sided platforms, advertisers pay for the
opportunity to reach the set of eyeballs the content creators provide in
-the form of their audience.37 The Internet has made this model more
+the form of their audience.[^How-to-Be-Made-with-Creative-Commons-37] The Internet has made this model more
difficult because the number of potential channels available to reach
-those eyeballs has become essentially infinite.38 Nonetheless, it
+those eyeballs has become essentially infinite.[^How-to-Be-Made-with-Creative-Commons-38] Nonetheless, it
remains a viable revenue stream for many content creators, including
those who are Made with Creative Commons. Often, instead of paying to
display advertising, the advertiser pays to be an official sponsor of
particular content or projects, or of the overall endeavor.
-#### Charging your content creators * \[MARKET-BASED\]*
+#### Charging your content creators *\[MARKET-BASED\]*
Another type of multisided platform is where the content creators
themselves pay to be featured on the platform. Obviously, this revenue
universities pay to have their faculties participate as writers of the
content on the Conversation website.
-#### Charging a transaction fee * \[MARKET-BASED\]*
+#### Charging a transaction fee *\[MARKET-BASED\]*
This is a version of a traditional business model based on brokering
-transactions between parties.39 Curation is an important element of this
+transactions between parties.[^How-to-Be-Made-with-Creative-Commons-39] Curation is an important element of this
model. Platforms like the Noun Project add value by wading through
CC-licensed content to curate a high-quality set and then derive revenue
when creators of that content make transactions with customers. Other
site pays a maker to make furniture based on one of the designs on the
platform.
-#### Providing a service to your creators* \[MARKET-BASED\]*
+#### Providing a service to your creators *\[MARKET-BASED\]*
As mentioned above, endeavors can make money by providing customized
services to their users. Platforms can undertake a variation of this
this model by providing paid tools to help their users make the data
they contribute to the platform more discoverable and reusable.
-#### Licensing a trademark* \[MARKET-BASED\]*
+#### Licensing a trademark *\[MARKET-BASED\]*
Finally, some that are Made with Creative Commons make money by selling
use of their trademarks. Well known brands that consumers associate with
that helps the human species survive and evolve.”
What is rare is to incorporate this sort of relationship into an
-endeavor that also engages with the market.40 We almost can’t help but
+endeavor that also engages with the market.[^How-to-Be-Made-with-Creative-Commons-40] We almost can’t help but
think of relationships in the market as being centered on an even-steven
-exchange of value.41
+exchange of value.[^How-to-Be-Made-with-Creative-Commons-41]
#### Memberships and individual donations *\[RECIPROCITY-BASED\]*
#### Be human
Humans are social animals, which means we are naturally inclined to
-treat each other well.42 But the further removed we are from the person
+treat each other well.[^How-to-Be-Made-with-Creative-Commons-42] But the further removed we are from the person
with whom we are interacting, the less caring our behavior will be.
While the Internet has democratized cultural production, increased
access to knowledge, and connected us in extraordinary ways, it can also
made them. The stories you tell about the work you do have a huge effect
on how people feel and what they understand about your work, and how
people feel and what they understand about your work affects how they
-value it.”43
+value it.”[^How-to-Be-Made-with-Creative-Commons-43]
A critical component to doing this effectively is not worrying about
being a “brand.” That means not being afraid to be vulnerable. Amanda
corporations and organizations make the people behind them more
apparent, it reminds people that they are dealing with something other
than an anonymous corporate entity. In business-speak, this is about
-“humanizing your interactions” with the public.44 But it can’t be a
+“humanizing your interactions” with the public.[^How-to-Be-Made-with-Creative-Commons-44] But it can’t be a
gimmick. You can’t fake being human.
#### Be open and accountable
told us, “One of the most surprising things you can do in capitalism is
just be honest with people.” That means sharing the good and the bad. As
Amanda Palmer wrote, “You can fix almost anything by authentically
-communicating.”45 It isn’t about trying to satisfy everyone or trying to
+communicating.”[^How-to-Be-Made-with-Creative-Commons-45] It isn’t about trying to satisfy everyone or trying to
sugarcoat mistakes or bad news, but instead about explaining your
rationale and then being prepared to defend it when people are
-critical.46
+critical.[^How-to-Be-Made-with-Creative-Commons-46]
Being accountable does not mean operating on consensus. According to
James Surowiecki, consensus-driven groups tend to resort to
lowest-common-denominator solutions and
-
avoid the sort of candid exchange of ideas that cultivates healthy
-collaboration.47 Instead, it can be as simple as asking for input and
+collaboration.[^How-to-Be-Made-with-Creative-Commons-47] Instead, it can be as simple as asking for input and
then giving context and explanation about decisions you make, even if
soliciting feedback and inviting discourse is time-consuming. If you
don’t go through the effort to actually respond to the input you
-receive, it can be worse than not inviting input in the first place.48
+receive, it can be worse than not inviting input in the first place.[^How-to-Be-Made-with-Creative-Commons-48]
But when you get it right, it can guarantee the type of diversity of
thought that helps endeavors excel. And it is another way to get people
involved and invested in what you do.
#### Design for the good actors
Traditional economics assumes people make decisions based solely on
-their own economic self-interest.49 Any relatively introspective human
+their own economic self-interest.[^How-to-Be-Made-with-Creative-Commons-49] Any relatively introspective human
knows this is a fiction—we are much more complicated beings with a whole
range of needs, emotions, and motivations. In fact, we are hardwired to
-work together and ensure fairness.50 Being Made with Creative Commons
+work together and ensure fairness.[^How-to-Be-Made-with-Creative-Commons-50] Being Made with Creative Commons
requires an assumption that people will largely act on those social
motivations, motivations that would be considered “irrational” in an
economic sense. As Knowledge Unlatched’s Pinter told us, “It is best to
self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, “Systems
that assume people will act in ways that create public goods, and that
give them opportunities and rewards for doing so, often let them work
-together better than neoclassical economics would predict.”51 When we
+together better than neoclassical economics would predict.”[^How-to-Be-Made-with-Creative-Commons-51] When we
acknowledge that people are often motivated by something other than
financial self-interest, we design our endeavors in ways that encourage
and accentuate our social instincts.
impossible for any organization to rely on contracts alone to make sure
that its managers and workers live up to their obligation.” Instead, we
largely trust that people—mostly strangers—will do what they are
-supposed to do.52 And most often, they do.
+supposed to do.[^How-to-Be-Made-with-Creative-Commons-52] And most often, they do.
#### Treat humans like, well, humans
For creators, treating people as humans means not treating them like
-fans. As Kleon says, “If you want fans, you have to be a fan first.”53
+fans. As Kleon says, “If you want fans, you have to be a fan first.”[^How-to-Be-Made-with-Creative-Commons-53]
Even if you happen to be one of the few to reach celebrity levels of
fame, you are better off remembering that the people who follow your
work are human, too. Cory Doctorow makes a point to answer every single
email someone sends him. Amanda Palmer spends vast quantities of time
going online to communicate with her public, making a point to listen
-just as much as she talks.54
+just as much as she talks.[^How-to-Be-Made-with-Creative-Commons-54]
The same idea goes for businesses and organizations. Rather than
automating its customer service, the music platform Tribe of Noise makes
When we treat people like humans, they typically return the gift in
kind. It’s called karma. But social relationships are fragile. It is all
too easy to destroy them if you make the mistake of treating people as
-anonymous customers or free labor.55 Platforms that rely on content from
+anonymous customers or free labor.[^How-to-Be-Made-with-Creative-Commons-55] Platforms that rely on content from
contributors are especially at risk of creating an exploitative dynamic.
It is important to find ways to acknowledge and pay back the value that
contributors generate. That does not mean you can solve this problem by
simply paying contributors for their time or contributions. As soon as
we introduce money into a relationship—at least when it takes a form of
paying monetary value in exchange for other value—it can dramatically
-change the dynamic.56
+change the dynamic.[^How-to-Be-Made-with-Creative-Commons-56]
#### State your principles and stick to them
When your end goal is not about making a profit, people trust that you
aren’t just trying to extract value for your own gain. People notice
when you have a sense of purpose that transcends your own
-self-interest.57 It attracts committed employees, motivates
+self-interest.[^How-to-Be-Made-with-Creative-Commons-57] It attracts committed employees, motivates
contributors, and builds trust.
#### Build a community
built around what they do. This may mean a community collaborating
together to create something new, or it may simply be a collection of
like-minded people who get to know each other and rally around common
-interests or beliefs.58 To a certain extent, simply being Made with
+interests or beliefs.[^How-to-Be-Made-with-Creative-Commons-58] To a certain extent, simply being Made with
Creative Commons automatically brings with it some element of community,
by helping connect you to like-minded others who recognize and are drawn
to the values symbolized by
fostering a sense of belonging. As Jono Bacon writes in The Art of
Community, “If there is no belonging, there is no community.” For Amanda
Palmer and her band, that meant creating an accepting and inclusive
-environment where people felt a part of their “weird little family.”59
+environment where people felt a part of their “weird little family.”[^How-to-Be-Made-with-Creative-Commons-59]
For organizations like Red Hat, that means connecting around common
beliefs or goals. As the CEO Jim Whitehurst wrote in The Open
Organization, “Tapping into passion is especially important in building
the kinds of participative communities that drive open
-organizations.”60
+organizations.”[^How-to-Be-Made-with-Creative-Commons-60]
Communities that collaborate together take deliberate planning.
Surowiecki wrote, “It takes a lot of work to put the group together.
and not in their own. And when there’s a lack of trust between the
members of the group (which isn’t surprising given that they don’t
really know each other), considerable energy is wasted trying to
-determine each other’s bona fides.”61 Building true community requires
+determine each other’s bona fides.”[^How-to-Be-Made-with-Creative-Commons-61] Building true community requires
giving people within the community the power to create or influence the
-rules that govern the community.62 If the rules are created and imposed
+rules that govern the community.[^How-to-Be-Made-with-Creative-Commons-62] If the rules are created and imposed
in a top-down manner, people feel like they don’t have a voice, which in
turn leads to disengagement.
the Harvard Business Review website called “The Sharing Economy Isn’t
about Sharing at All,” authors Giana Eckhardt and Fleura Bardhi
explained how the anonymous market-driven trans-actions in most
-sharing-economy businesses are purely about monetizing access.63 As Lisa
+sharing-economy businesses are purely about monetizing access.[^How-to-Be-Made-with-Creative-Commons-63] As Lisa
Gansky put it in her book The Mesh, the primary strategy of the sharing
economy is to sell the same product multiple times, by selling access
-rather than ownership.64 That is not sharing.
+rather than ownership.[^How-to-Be-Made-with-Creative-Commons-64] That is not sharing.
Sharing requires adding as much or more value to the ecosystem than you
take. You can’t simply treat open content as a free pool of resources
value in other ways. The social blogging platform Medium provides value
to its community by incentivizing good behavior, and the result is an
online space with remarkably high-quality user-generated content and
-limited trolling.65 Opendesk contributes to its community by committing
+limited trolling.[^How-to-Be-Made-with-Creative-Commons-65] Opendesk contributes to its community by committing
to help its designers make money, in part by actively curating and
displaying their work on its platform effectively.
Thanks to the Internet, we can tap into the talents and expertise of
people around the globe. Chris Anderson calls it the Long Tail of
-talent.66 But to make collaboration work, the group has to be effective
+talent.[^How-to-Be-Made-with-Creative-Commons-66] But to make collaboration work, the group has to be effective
at what it is doing, and the people within the group have to find
-satisfaction from being involved.67 This is easier to facilitate for
+satisfaction from being involved.[^How-to-Be-Made-with-Creative-Commons-67] This is easier to facilitate for
some types of creative work than it is for others. Groups tied together
online collaborate best when people can work independently and
asynchronously, and particularly for larger groups with loose ties, when
contributors can make simple improvements without a particularly heavy
time
-
-commitment.68
+commitment.[^How-to-Be-Made-with-Creative-Commons-68]
As the success of Wikipedia demonstrates, editing an online encyclopedia
is exactly the sort of activity that is perfect for massive co-creation
sorts of small contributions would be less useful for many other types
of creative work, and people are inherently less motivated to contribute
when it doesn’t appear that their efforts will make much of a
-difference.69
+difference.[^How-to-Be-Made-with-Creative-Commons-69]
It is easy to romanticize the opportunities for global cocreation made
possible by the Internet, and, indeed, the successful examples of it are
circumstances—perhaps more often than not—community cocreation is not
part of the equation, even within endeavors built on CC content. Shirky
wrote, “Sometimes the value of professional work trumps the value of
-amateur sharing or a feeling of belonging.70 The textbook publisher
+amateur sharing or a feeling of belonging.[^How-to-Be-Made-with-Creative-Commons-70] The textbook publisher
OpenStax, which distributes all of its material for free under CC
licensing, is an example of this dynamic. Rather than tapping the
community to help cocreate their college textbooks, they invest a
they do, community cocreation is only rarely a part of the picture. Even
musician Amanda Palmer, who is famous for her openness and involvement
with her fans, said, “The only department where I wasn’t open to input
-was the writing, the music itself.”71
+was the writing, the music itself.”[^How-to-Be-Made-with-Creative-Commons-71]
While we tend to immediately think of cocreation and remixing when we
hear the word collaboration, you can also involve others in your
creative process in more informal ways, by sharing half-baked ideas and
early drafts, and interacting with the public to incubate ideas and get
feedback. So-called “making in public” opens the door to letting people
-feel more invested in your creative work.72 And it shows a
+feel more invested in your creative work.[^How-to-Be-Made-with-Creative-Commons-72] And it shows a
nonterritorial approach to ideas and information. Stephen Covey (of The
7 Habits of Highly Effective People fame) calls this the abundance
mentality—treating ideas like something plentiful—and it can create an
-environment where collaboration flourishes.73
+environment where collaboration flourishes.[^How-to-Be-Made-with-Creative-Commons-73]
There is no one way to involve people in what you do. They key is
finding a way for people to contribute on their terms, compelled by
-their own motivations.74 What that looks like varies wildly depending on
+their own motivations.[^How-to-Be-Made-with-Creative-Commons-74] What that looks like varies wildly depending on
the project. Not every endeavor that is Made with Creative Commons can
be Wikipedia, but every endeavor can find ways to invite the public into
what they do. The goal for any form of collaboration is to move away
from thinking of consumers as passive recipients of your content and
-transition them into active participants.75
+transition them into active participants.[^How-to-Be-Made-with-Creative-Commons-75]
-#### Notes
+### Notes
-1. Alex Osterwalder and Yves Pigneur, Business Model Generation
+[^How-to-Be-Made-with-Creative-Commons-1]: Alex Osterwalder and Yves Pigneur, Business Model Generation
(Hoboken, NJ: John Wiley and Sons, 2010), 14. A preview of the book
- is available at strategyzer.com/books/business-model-generation.
-2. Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the
+ is available at [](http://strategyzer.com/books/business-model-generation).
+[^How-to-Be-Made-with-Creative-Commons-2]: Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the
Internet Age (San Francisco, CA: McSweeney’s, 2014) 68.
-3. Ibid., 55.
-4. Chris Anderson, Free: How Today’s Smartest Businesses Profit by
+[^How-to-Be-Made-with-Creative-Commons-3]: Ibid., 55.
+[^How-to-Be-Made-with-Creative-Commons-4]: Chris Anderson, Free: How Today’s Smartest Businesses Profit by
Giving Something for Nothing, reprint with new preface (New York:
Hyperion, 2010), 224.
-5. Doctorow, Information Doesn’t Want to Be Free, 44.
-6. Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying
+[^How-to-Be-Made-with-Creative-Commons-5]: Doctorow, Information Doesn’t Want to Be Free, 44.
+[^How-to-Be-Made-with-Creative-Commons-6]: Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying
and Let People Help (New York: Grand Central, 2014), 121.
-7. Chris Anderson, Makers: The New Industrial Revolution (New York:
+[^How-to-Be-Made-with-Creative-Commons-7]: Chris Anderson, Makers: The New Industrial Revolution (New York:
Signal, 2012), 64.
-8. David Bollier, Think Like a Commoner: A Short Introduction to the
+[^How-to-Be-Made-with-Creative-Commons-8]: David Bollier, Think Like a Commoner: A Short Introduction to the
Life of the Commons (Gabriola Island, BC: New Society, 2014), 70.
-9. Anderson, Makers, 66.
-10. Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy
+[^How-to-Be-Made-with-Creative-Commons-9]: Anderson, Makers, 66.
+[^How-to-Be-Made-with-Creative-Commons-10]: Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy
(New York: Morgan James, 2016), 10.
-11. Anderson, Free, 62.
-12. Doctorow, Information Doesn’t Want to Be Free, 38.
-13. Bollier, Think Like a Commoner, 68.
-14. Anderson, Free, 86.
-15. Doctorow, Information Doesn’t Want to Be Free, 144.
-16. Anderson, Free, 123.
-17. Ibid., 132.
-18. Ibid., 70.
-19. James Surowiecki, The Wisdom of Crowds (New York: Anchor Books,
+[^How-to-Be-Made-with-Creative-Commons-11]: Anderson, Free, 62.
+[^How-to-Be-Made-with-Creative-Commons-12]: Doctorow, Information Doesn’t Want to Be Free, 38.
+[^How-to-Be-Made-with-Creative-Commons-13]: Bollier, Think Like a Commoner, 68.
+[^How-to-Be-Made-with-Creative-Commons-14]: Anderson, Free, 86.
+[^How-to-Be-Made-with-Creative-Commons-15]: Doctorow, Information Doesn’t Want to Be Free, 144.
+[^How-to-Be-Made-with-Creative-Commons-16]: Anderson, Free, 123.
+[^How-to-Be-Made-with-Creative-Commons-17]: Ibid., 132.
+[^How-to-Be-Made-with-Creative-Commons-18]: Ibid., 70.
+[^How-to-Be-Made-with-Creative-Commons-19]: James Surowiecki, The Wisdom of Crowds (New York: Anchor Books,
2005), 124. Surowiecki says, “The measure of success of laws and
contracts is how rarely they are invoked.”
-20. Anderson, Free, 44.
-21. Osterwalder and Pigneur, Business Model Generation, 23.
-22. Anderson, Free, 67.
-23. Ibid., 58.
-24. Anderson, Makers, 71.
-25. Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into
+[^How-to-Be-Made-with-Creative-Commons-20]: Anderson, Free, 44.
+[^How-to-Be-Made-with-Creative-Commons-21]: Osterwalder and Pigneur, Business Model Generation, 23.
+[^How-to-Be-Made-with-Creative-Commons-22]: Anderson, Free, 67.
+[^How-to-Be-Made-with-Creative-Commons-23]: Ibid., 58.
+[^How-to-Be-Made-with-Creative-Commons-24]: Anderson, Makers, 71.
+[^How-to-Be-Made-with-Creative-Commons-25]: Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into
Collaborators (London: Penguin Books, 2010), 78.
-26. Ibid., 21.
-27. Doctorow, Information Doesn’t Want to Be Free, 43.
-28. William Landes Foster, Peter Kim, and Barbara Christiansen, “Ten
+[^How-to-Be-Made-with-Creative-Commons-26]: Ibid., 21.
+[^How-to-Be-Made-with-Creative-Commons-27]: Doctorow, Information Doesn’t Want to Be Free, 43.
+[^How-to-Be-Made-with-Creative-Commons-28]: William Landes Foster, Peter Kim, and Barbara Christiansen, “Ten
Nonprofit Funding Models,” Stanford Social Innovation Review, Spring
- 2009, ssir.org/articles/entry/ten\_nonprofit\_funding\_models.
-29. Shirky, Cognitive Surplus, 111.
-30. Osterwalder and Pigneur, Business Model Generation, 30.
-31. Jim Whitehurst, The Open Organization: Igniting Passion and
+ 2009, [](http://ssir.org/articles/entry/ten\_nonprofit\_funding\_models).
+[^How-to-Be-Made-with-Creative-Commons-29]: Shirky, Cognitive Surplus, 111.
+[^How-to-Be-Made-with-Creative-Commons-30]: Osterwalder and Pigneur, Business Model Generation, 30.
+[^How-to-Be-Made-with-Creative-Commons-31]: Jim Whitehurst, The Open Organization: Igniting Passion and
Performance (Boston: Harvard Business Review Press, 2015), 202.
-32. Anderson, Free, 71.
-33. Ibid., 231.
-34. Ibid., 97.
-35. Anderson, Makers, 107.
-36. Osterwalder and Pigneur, Business Model Generation, 89.
-37. Ibid., 92.
-38. Anderson, Free, 142.
-39. Osterwalder and Pigneur, Business Model Generation, 32.
-40. Bollier, Think Like a Commoner, 150.
-41. Ibid., 134.
-42. Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our
+[^How-to-Be-Made-with-Creative-Commons-32]: Anderson, Free, 71.
+[^How-to-Be-Made-with-Creative-Commons-33]: Ibid., 231.
+[^How-to-Be-Made-with-Creative-Commons-34]: Ibid., 97.
+[^How-to-Be-Made-with-Creative-Commons-35]: Anderson, Makers, 107.
+[^How-to-Be-Made-with-Creative-Commons-36]: Osterwalder and Pigneur, Business Model Generation, 89.
+[^How-to-Be-Made-with-Creative-Commons-37]: Ibid., 92.
+[^How-to-Be-Made-with-Creative-Commons-38]: Anderson, Free, 142.
+[^How-to-Be-Made-with-Creative-Commons-39]: Osterwalder and Pigneur, Business Model Generation, 32.
+[^How-to-Be-Made-with-Creative-Commons-40]: Bollier, Think Like a Commoner, 150.
+[^How-to-Be-Made-with-Creative-Commons-41]: Ibid., 134.
+[^How-to-Be-Made-with-Creative-Commons-42]: Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our
Decisions, rev. ed. (New York: Harper Perennial, 2010), 109.
-43. Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and
+[^How-to-Be-Made-with-Creative-Commons-43]: Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and
Get Discovered (New York: Workman, 2014), 93.
-44. Kramer, Shareology, 76.
-45. Palmer, Art of Asking, 252.
-46. Whitehurst, Open Organization, 145.
-47. Surowiecki, Wisdom of Crowds, 203.
-48. Whitehurst, Open Organization, 80.
-49. Bollier, Think Like a Commoner, 25.
-50. Ibid., 31.
-51. Shirky, Cognitive Surplus, 112.
-52. Surowiecki, Wisdom of Crowds, 124.
-53. Kleon, Show Your Work, 127.
-54. Palmer, Art of Asking, 121.
-55. Ariely, Predictably Irrational, 87.
-56. Ibid., 105.
-57. Ibid., 36.
-58. Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly
+[^How-to-Be-Made-with-Creative-Commons-44]: Kramer, Shareology, 76.
+[^How-to-Be-Made-with-Creative-Commons-45]: Palmer, Art of Asking, 252.
+[^How-to-Be-Made-with-Creative-Commons-46]: Whitehurst, Open Organization, 145.
+[^How-to-Be-Made-with-Creative-Commons-47]: Surowiecki, Wisdom of Crowds, 203.
+[^How-to-Be-Made-with-Creative-Commons-48]: Whitehurst, Open Organization, 80.
+[^How-to-Be-Made-with-Creative-Commons-49]: Bollier, Think Like a Commoner, 25.
+[^How-to-Be-Made-with-Creative-Commons-50]: Ibid., 31.
+[^How-to-Be-Made-with-Creative-Commons-51]: Shirky, Cognitive Surplus, 112.
+[^How-to-Be-Made-with-Creative-Commons-52]: Surowiecki, Wisdom of Crowds, 124.
+[^How-to-Be-Made-with-Creative-Commons-53]: Kleon, Show Your Work, 127.
+[^How-to-Be-Made-with-Creative-Commons-54]: Palmer, Art of Asking, 121.
+[^How-to-Be-Made-with-Creative-Commons-55]: Ariely, Predictably Irrational, 87.
+[^How-to-Be-Made-with-Creative-Commons-56]: Ibid., 105.
+[^How-to-Be-Made-with-Creative-Commons-57]: Ibid., 36.
+[^How-to-Be-Made-with-Creative-Commons-58]: Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly
Media, 2012), 36.
-59. Palmer, Art of Asking, 98.
-60. Whitehurst, Open Organization, 34.
-61. Surowiecki, Wisdom of Crowds, 200.
-62. Bollier, Think Like a Commoner, 29.
-63. Giana Eckhardt and Fleura Bardhi, “The Sharing Economy Isn’t about
+[^How-to-Be-Made-with-Creative-Commons-59]: Palmer, Art of Asking, 98.
+[^How-to-Be-Made-with-Creative-Commons-60]: Whitehurst, Open Organization, 34.
+[^How-to-Be-Made-with-Creative-Commons-61]: Surowiecki, Wisdom of Crowds, 200.
+[^How-to-Be-Made-with-Creative-Commons-62]: Bollier, Think Like a Commoner, 29.
+[^How-to-Be-Made-with-Creative-Commons-63]: Giana Eckhardt and Fleura Bardhi, “The Sharing Economy Isn’t about
Sharing at All,” Harvard Business Review (website), January 28,
- 2015, hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all.
-64. Lisa Gansky, The Mesh: Why the Future of Business Is Sharing,
+ 2015, [](http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all).
+[^How-to-Be-Made-with-Creative-Commons-64]: Lisa Gansky, The Mesh: Why the Future of Business Is Sharing,
reprint with new epilogue (New York: Portfolio, 2012).
-65. David Lee, “Inside Medium: An Attempt to Bring Civility to the
- Internet,” BBC News, March 3,
- 2016, www.bbc.com/news/technology-35709680.
-66. Anderson, Makers, 148.
-67. Shirky, Cognitive Surplus, 164.
-68. Whitehurst, foreword to Open Organization.
-69. Shirky, Cognitive Surplus, 144.
-70. Ibid., 154.
-71. Palmer, Art of Asking, 163.
-72. Anderson, Makers, 173.
-73. Tom Kelley and David Kelley, Creative Confidence: Unleashing the
+[^How-to-Be-Made-with-Creative-Commons-65]: David Lee, “Inside Medium: An Attempt to Bring Civility to the
+ Internet,” BBC News, March 3, 2016,
+ [](http://www.bbc.com/news/technology-35709680).
+[^How-to-Be-Made-with-Creative-Commons-66]: Anderson, Makers, 148.
+[^How-to-Be-Made-with-Creative-Commons-67]: Shirky, Cognitive Surplus, 164.
+[^How-to-Be-Made-with-Creative-Commons-68]: Whitehurst, foreword to Open Organization.
+[^How-to-Be-Made-with-Creative-Commons-69]: Shirky, Cognitive Surplus, 144.
+[^How-to-Be-Made-with-Creative-Commons-70]: Ibid., 154.
+[^How-to-Be-Made-with-Creative-Commons-71]: Palmer, Art of Asking, 163.
+[^How-to-Be-Made-with-Creative-Commons-72]: Anderson, Makers, 173.
+[^How-to-Be-Made-with-Creative-Commons-73]: Tom Kelley and David Kelley, Creative Confidence: Unleashing the
Potential within Us All (New York: Crown, 2013), 82.
-74. Whitehurst, foreword to Open Organization.
-75. Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
+[^How-to-Be-Made-with-Creative-Commons-74]: Whitehurst, foreword to Open Organization.
+[^How-to-Be-Made-with-Creative-Commons-75]: Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
Collaborative Consumption (New York: Harper Business, 2010), 188.
## The Creative Commons Licenses
Here are the six licenses:
+{width="40%"
+}
+
The Attribution license (CC BY) lets others distribute, remix, tweak,
and build upon your work, even commercially, as long as they credit you
for the original creation. This is the most accommodating of licenses
offered. Recommended for maximum dissemination and use of licensed
materials.
+{width="40%"
+}
+
The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak,
and build upon your work, even for commercial purposes, as long as they
credit you and license their new creations under identical terms. This
licenses. All new works based on yours will carry the same license, so
any derivatives will also allow commercial use.
+{width="40%"
+}
+
The Attribution-NoDerivs license (CC BY-ND) allows for redistribution,
commercial and noncommercial, as long as it is passed along unchanged
with credit to you.
+{width="40%"
+}
+
The Attribution-NonCommercial license (CC BY-NC) lets others remix,
tweak, and build upon your work noncommercially. Although their new
works must also acknowledge you, they don’t have to license their
derivative works on the same terms.
+{width="40%"
+}
+
The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA) lets
others remix, tweak, and build upon your work noncommercially, as long
as they credit you and license their new creations under the same terms.
+{width="40%"
+}
+
The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
restrictive of our six main licenses, only allowing others to download
your works and share them with others as long as they credit you, but
collections of existing works by authors whose terms of copyright have
expired:
+{width="40%"
+}
+
CC0 enables authors and copyright owners to dedicate their works to the
worldwide public domain (“no rights reserved”).
+{width="40%"
+}
+
The Creative Commons Public Domain Mark facilitates the labeling and
discovery of works that are already free of known copyright
restrictions.
For more about the licenses including examples and tips on sharing your
work in the digital commons, start with the Creative Commons page called
“Share Your Work” at
+[](http://creativecommons.org/share-your-work/).
-creativecommons.org/share-your-work/.
-
-# Part 2
# The Case Studies
those we interviewed.
## Arduino
-
-Arduino is a for-profit open-source electronics platform and computer
-hardware and software company. Founded in 2005 in Italy.
-
-www.arduino.cc
-
-Revenue model: charging for physical copies (sales of boards, modules,
-shields, and kits), licensing a trademark (fees paid by those who want
-to sell Arduino products using their name)
-
-Interview date: February 4, 2016
-
-Interviewees: David Cuartielles and Tom Igoe, cofounders
-
-Profile written by Paul Stacey
+>
+> Arduino is a for-profit open-source electronics platform and computer
+> hardware and software company. Founded in 2005 in Italy.
+>
+> [](http://www.arduino.cc)
+>
+> **Revenue model**: charging for physical copies (sales of boards, modules,
+> shields, and kits), licensing a trademark (fees paid by those who want
+> to sell Arduino products using their name)
+>
+> **Interview date**: February 4, 2016
+>
+> **Interviewees**: David Cuartielles and Tom Igoe, cofounders
+>
+> Profile written by Paul Stacey
In 2005, at the Interaction Design Institute Ivrea in northern Italy,
teachers and students needed an easy way to use electronics and
creating Internet of Things applications, wearables, and 3-D printing.
The full range of official Arduino products includes boards, modules (a
smaller form-factor of classic boards), shields (elements that can be
-plugged onto a board to give it extra features), and kits.1
+plugged onto a board to give it extra features), and kits.[^Arduino-1]
Arduino’s focus is on high-quality boards, well-designed support
materials, and the building of community; this focus is one of the keys
Banzi, does a great job of explaining the full complexities of how
trademarking their brand has played out, distinguishing between official
boards and those that are clones, derivatives, compatibles, and
-counterfeits.2
+counterfeits.[^Arduino-2]
For David, an exciting aspect of Arduino is the way lots of people can
use it to adapt technology in many different ways. Technology is always
product development, good for distribution, good for pricing, and good
for manufacturing.
-Web links
+### Web links
-1. www.arduino.cc/en/Main/Products
-2. blog.arduino.cc/2013/07/10/send-in-the-clones/
+[^Arduino-1]: [](http://www.arduino.cc/en/Main/Products)
+[^Arduino-2]: [](http://blog.arduino.cc/2013/07/10/send-in-the-clones/)
## Ártica
-
-Ártica provides online courses and consulting services focused on how to
-use digital technology to share knowledge and enable collaboration in
-arts and culture. Founded in 2011 in Uruguay.
-
-www.articaonline.com
-
-Revenue model: charging for custom services
-
-Interview date: March 9, 2016
-
-Interviewees: Mariana Fossatti and Jorge Gemetto, cofounders
-
-Profile written by Sarah Hinchliff Pearson
+>
+> Ártica provides online courses and consulting services focused on how to
+> use digital technology to share knowledge and enable collaboration in
+> arts and culture. Founded in 2011 in Uruguay.
+>
+> [](http://www.articaonline.com)
+>
+> **Revenue model**: charging for custom services
+>
+> **Interview date**: March 9, 2016
+>
+> **Interviewees**: Mariana Fossatti and Jorge Gemetto, cofounders
+>
+> Profile written by Sarah Hinchliff Pearson
The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is
the ultimate example of DIY. Not only are they successful entrepreneurs,
another image of what it looks like.”
## Blender Institute
-
-The Blender Institute is an animation studio that creates 3-D films
-using Blender software. Founded in 2006 in the Netherlands.
-
-www.blender.org
-
-Revenue model: crowdfunding (subscription-based), charging for physical
-copies, selling merchandise
-
-Interview date: March 8, 2016
-
-Interviewee: Francesco Siddi, production coordinator
-
-Profile written by Sarah Hinchliff Pearson
+>
+> The Blender Institute is an animation studio that creates 3-D films
+> using Blender software. Founded in 2006 in the Netherlands.
+>
+> [](http://www.blender.org)
+>
+> **Revenue model**: crowdfunding (subscription-based), charging for physical
+> copies, selling merchandise
+>
+> **Interview date**: March 8, 2016
+>
+> **Interviewee**: Francesco Siddi, production coordinator
+>
+> Profile written by Sarah Hinchliff Pearson
For Ton Roosendaal, the creator of Blender software and its related
entities, sharing is practical. Making their 3-D content creation
For Ton and Blender, it all comes back to doing.
## Cards Against Humanity
-
-Cards Against Humanity is a private, for-profit company that makes a
-popular party game by the same name. Founded in 2011 in the U.S.
-
-www.cardsagainsthumanity.com
-
-Revenue model: charging for physical copies
-
-Interview date: February 3, 2016
-
-Interviewee: Max Temkin, cofounder
-
-Profile written by Sarah Hinchliff Pearson
+>
+> Cards Against Humanity is a private, for-profit company that makes a
+> popular party game by the same name. Founded in 2011 in the U.S.
+>
+> [](http://www.cardsagainsthumanity.com)
+>
+> **Revenue model**: charging for physical copies
+>
+> **Interview date**: February 3, 2016
+>
+> **Interviewee**: Max Temkin, cofounder
+>
+> Profile written by Sarah Hinchliff Pearson
If you ask cofounder Max Temkin, there is nothing particularly
interesting about the Cards Against Humanity business model. “We make a
values, and who you are and why you’re making things.”
## The Conversation
-
-The Conversation is an independent source of news, sourced from the
-academic and research community and delivered direct to the public over
-the Internet. Founded in 2011 in Australia.
-
-theconversation.com
-
-Revenue model: charging content creators (universities pay membership
-fees to have their faculties serve as writers), grant funding
-
-Interview date: February 4, 2016
-
-Interviewee: Andrew Jaspan, founder
-
-Profile written by Paul Stacey
+>
+> The Conversation is an independent source of news, sourced from the
+> academic and research community and delivered direct to the public over
+> the Internet. Founded in 2011 in Australia.
+>
+> [](http://theconversation.com)
+>
+> **Revenue model**: charging content creators (universities pay membership
+> fees to have their faculties serve as writers), grant funding
+>
+> **Interview date**: February 4, 2016
+>
+> **Interviewee**: Andrew Jaspan, founder
+>
+> Profile written by Paul Stacey
Andrew Jaspan spent years as an editor of major newspapers including the
Observer in London, the Sunday Herald in Glasgow, and the Age in
Andrew worked hard to reinvent a methodology for creating reliable,
credible content. He introduced strict new working practices, a charter,
-and codes of conduct.1 These include fully disclosing who every author
+and codes of conduct.[^The-Conversation-1] These include fully disclosing who every author
is (with their relevant expertise); who is funding their research; and
if there are any potential or real conflicts of interest. Also important
is where the content originates, and even though it comes from the
model and use of Creative Commons show how it’s possible to generate
both a public good and operational revenue at the same time.
-Web link
+### Web link
-1. theconversation.com/us/charter
+[^The-Conversation-1]: [](http://theconversation.com/us/charter)
## Cory Doctorow
-
-Cory Doctorow is a science fiction writer, activist, blogger, and
-journalist. Based in the U.S.
-
-craphound.com and boingboing.net
-
-Revenue model: charging for physical copies (book sales),
-pay-what-you-want, selling translation rights to books
-
-Interview date: January 12, 2016
-
-Profile written by Sarah Hinchliff Pearson
+>
+> Cory Doctorow is a science fiction writer, activist, blogger, and
+> journalist. Based in the U.S.
+>
+> [](http://craphound.com) and [](http://boingboing.net)
+>
+> **Revenue model**: charging for physical copies (book sales),
+> pay-what-you-want, selling translation rights to books
+>
+> **Interview date**: January 12, 2016
+>
+> Profile written by Sarah Hinchliff Pearson
Cory Doctorow hates the term “business model,” and he is adamant that he
is not a brand. “To me, branding is the idea that you can take a thing
It has never been easier to think like a dandelion.
## Figshare
-
-Figshare is a for-profit company offering an online repository where
-researchers can preserve and share the output of their research,
-including figures, data sets, images, and videos. Founded in 2011 in the
-UK.
-
-figshare.com
-
-Revenue model: platform providing paid services to creators
-
-Interview date: January 28, 2016
-
-Interviewee: Mark Hahnel, founder
-
-Profile written by Paul Stacey
+>
+> Figshare is a for-profit company offering an online repository where
+> researchers can preserve and share the output of their research,
+> including figures, data sets, images, and videos. Founded in 2011 in the
+> UK.
+>
+> [](http://figshare.com)
+>
+> **Revenue model**: platform providing paid services to creators
+>
+> **Interview date**: January 28, 2016
+>
+> **Interviewee**: Mark Hahnel, founder
+>
+> Profile written by Paul Stacey
Figshare’s mission is to change the face of academic publishing through
improved dissemination, discoverability, and reusability of scholarly
possible for data to be pulled from Figshare and used in other
applications. As an example, Mark shared a Figshare data set showing the
journal subscriptions that higher-education institutions in the United
-Kingdom paid to ten major publishers.1 Figshare’s API enables that data
+Kingdom paid to ten major publishers.[^Figshare-1] Figshare’s API enables that data
to be pulled into an app developed by a completely different researcher
that converts the data into a visually interesting graph, which any
-viewer can alter by changing any of the variables.2
+viewer can alter by changing any of the variables.[^Figshare-2]
The free version of Figshare has built a community of academics, who
through word of mouth and presentations have promoted and spread
right time. He also believes that the diversification of Figshare’s
model over time has been key to success. Figshare now offers a
comprehensive set of services to researchers, publishers, and
-institutions.3 If he had relied solely on revenue from premium
+institutions.[^Figshare-3] If he had relied solely on revenue from premium
subscriptions, he believes Figshare would have struggled. In Figshare’s
early days, their primary users were early-career and late-career
academics. It has only been because funders mandated open licensing that
not only as supporting open access to research but also enabling people
to collaborate and make new discoveries.
-Web links
+### Web links
-1. figshare.com/articles/Journal\_subscription\_costs\_FOIs\_to\_UK\_universities/1186832
-2. retr0.shinyapps.io/journal\_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136
-3. figshare.com/features
+[^Figshare-1]: [](http://figshare.com/articles/Journal\_subscription\_costs\_FOIs\_to\_UK\_universities/1186832)
+[^Figshare-2]: [](http://retr0.shinyapps.io/journal\_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136)
+[^Figshare-3]: [](http://figshare.com/features)
## Figure.NZ
-
-Figure.NZ is a nonprofit charity that makes an online data platform
-designed to make data reusable and easy to understand. Founded in 2012
-in New Zealand.
-
-figure.nz
-
-Revenue model: platform providing paid services to creators, donations,
-sponsorships
-
-Interview date: May 3, 2016
-
-Interviewee: Lillian Grace, founder
-
-Profile written by Paul Stacey
+>
+> Figure.NZ is a nonprofit charity that makes an online data platform
+> designed to make data reusable and easy to understand. Founded in 2012
+> in New Zealand.
+>
+> [](http://figure.nz)
+>
+> **Revenue model**: platform providing paid services to creators, donations,
+> sponsorships
+>
+> **Interview date**: May 3, 2016
+>
+> **Interviewee**: Lillian Grace, founder
+>
+> Profile written by Paul Stacey
In the paper Harnessing the Economic and Social Power of Data presented
-at the New Zealand Data Futures Forum in 2014,1 Figure.NZ founder
+at the New Zealand Data Futures Forum in 2014,[^Figure.NZ-1] Figure.NZ founder
Lillian Grace said there are thousands of valuable and relevant data
sets freely available to us right now, but most people don’t use them.
She used to think this meant people didn’t care about being informed,
fortunate and important that decision turned out to be. New Zealand’s
government has an open-access and licensing framework called NZGOAL,
which provides guidance for agencies when they release copyrighted and
-noncopyrighted work and material.2 It aims to standardize the licensing
+noncopyrighted work and material.[^Figure.NZ-2] It aims to standardize the licensing
of works with government copyright and how they can be reused, and it
does this with Creative Commons licenses. As a result, 98 percent of all
government-agency data is Creative Commons licensed, fitting in nicely
Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
example, with their support Figure.NZ has been able to create Business
Figures, a special way for businesses to find useful data without having
-to know what questions to ask.3
+to know what questions to ask.[^Figure.NZ-3]
-Figure.NZ also has patrons.4 Patrons donate to topic areas they care
+Figure.NZ also has patrons.[^Figure.NZ-4] Patrons donate to topic areas they care
about, directly enabling Figure.NZ to get data together to flesh out
those areas. Patrons do not direct what data is included or excluded.
through use of their service. Creative Commons is core to making the
network effect possible.
-Web links
+### Web links
-1. www.nzdatafutures.org.nz/sites/default/files/NZDFF\_harness-the-power.pdf
-2. www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/
-3. figure.nz/business/
-4. figure.nz/patrons/
+[^Figure.NZ-1]: [](http://www.nzdatafutures.org.nz/sites/default/files/NZDFF\_harness-the-power.pdf)
+[^Figure.NZ-2]: [](http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/)
+[^Figure.NZ-3]: [](http://figure.nz/business/)
+[^Figure.NZ-4]: [](http://figure.nz/patrons/)
## Knowledge Unlatched
-
-Knowledge Unlatched is a not-for-profit community interest company that
-brings libraries together to pool funds to publish open-access books.
-Founded in 2012 in the UK.
-
-knowledgeunlatched.org
-
-Revenue model: crowdfunding (specialized)
-
-Interview date: February 26, 2016
-
-Interviewee: Frances Pinter, founder
-
-Profile written by Paul Stacey
+>
+> Knowledge Unlatched is a not-for-profit community interest company that
+> brings libraries together to pool funds to publish open-access books.
+> Founded in 2012 in the UK.
+>
+> [](http://knowledgeunlatched.org)
+>
+> **Revenue model**: crowdfunding (specialized)
+>
+> **Interview date**: February 26, 2016
+>
+> **Interviewee**: Frances Pinter, founder
+>
+> Profile written by Paul Stacey
The serial entrepreneur Dr. Frances Pinter has been at the forefront of
innovation in the publishing industry for nearly forty years. She
6. Publishers make print copies, e-Pub, and other digital versions of
selected titles available to member libraries at a discount that
reflects their contribution to the Title Fee and incentivizes
- membership.1
+ membership.[^Knowledge-Unlatched-1]
The first round of this model resulted in a collection of twenty-eight
current titles from thirteen recognized scholarly publishers being
in at just under forty-three dollars.
The open-access, Creative Commons versions of these twenty-eight books
-are still available online.4 Most books have been licensed with CC BY-NC
+are still available online.[^Knowledge-Unlatched-4] Most books have been licensed with CC BY-NC
or CC BY-NC-ND. Authors are the copyright holder, not the publisher, and
negotiate choice of license as part of the publishing agreement. Frances
has found that most authors want to retain control over the commercial
unlatching generates many more downloads and therefore awareness. (On
the Knowledge Unlatched website, you can find interviews with the
twenty-eight round-one authors describing their experience and the
-benefits of taking part.)5
+benefits of taking part.)[^Knowledge-Unlatched-5]
Library budgets are constantly being squeezed, partly due to the
inflation of journal subscriptions. But even without budget constraints,
For Frances, Knowledge Unlatched is connected to the past but moving
into the future, an evolution rather than a revolution.
-Web links
+### Web links
-1. www.pinter.org.uk/pdfs/Toward\_an\_Open.pdf
-2. www.oapen.org
-3. www.hathitrust.org
-4. collections.knowledgeunlatched.org/collection-availability-1/
-5. www.knowledgeunlatched.org/featured-authors-section/
+[^Knowledge-Unlatched-1]: [](http://www.pinter.org.uk/pdfs/Toward\_an\_Open.pdf)
+[^Knowledge-Unlatched-2]: [](http://www.oapen.org)
+[^Knowledge-Unlatched-3]: [](http://www.hathitrust.org)
+[^Knowledge-Unlatched-4]: [](http://collections.knowledgeunlatched.org/collection-availability-1/)
+[^Knowledge-Unlatched-5]: [](http://www.knowledgeunlatched.org/featured-authors-section/)
## Lumen Learning
-
-Lumen Learning is a for-profit company helping educational institutions
-use open educational resources (OER). Founded in 2013 in the U.S.
-
-lumenlearning.com
-
-Revenue model: charging for custom services, grant funding
-
-Interview date: December 21, 2015
-
-Interviewees: David Wiley and Kim Thanos, cofounders
-
-Profile written by Paul Stacey
+>
+> Lumen Learning is a for-profit company helping educational institutions
+> use open educational resources (OER). Founded in 2013 in the U.S.
+>
+> [](http://lumenlearning.com)
+>
+> **Revenue model**: charging for custom services, grant funding
+>
+> **Interview date**: December 21, 2015
+>
+> **Interviewees**: David Wiley and Kim Thanos, cofounders
+>
+> Profile written by Paul Stacey
Cofounded by open education visionary Dr. David Wiley and
education-technology strategist Kim Thanos, Lumen Learning is dedicated
to improving student success, bringing new ideas to pedagogy, and making
education more affordable by facilitating adoption of open educational
resources. In 2012, David and Kim partnered on a grant-funded project
-called the Kaleidoscope Open Course Initiative.1 It involved a set of
+called the Kaleidoscope Open Course Initiative.[^Lumen-Learning-1] It involved a set of
fully open general-education courses across eight colleges predominantly
serving at-risk students, with goals to dramatically reduce textbook
costs and collaborate to improve the courses to help students succeed.
open resources public, let people know where you stand, and don’t back
away from it. It really is about trust.
-Web link
+### Web link
-1. lumenlearning.com/innovative-projects/
+[^Lumen-Learning-1]: [](http://lumenlearning.com/innovative-projects/)
## Jonathan Mann
-
-Jonathan Mann is a singer and songwriter who is most well known as the
-“Song A Day” guy. Based in the U.S.
-
-jonathanmann.net and
-
-jonathanmann.bandcamp.com
-
-Revenue model: charging for custom services, pay-what-you-want,
-crowdfunding (subscription-based), charging for in-person version
-(speaking engagements and musical performances)
-
-Interview date: February 22, 2016
-
-Profile written by Sarah Hinchliff Pearson
+>
+> Jonathan Mann is a singer and songwriter who is most well known as the
+> “Song A Day” guy. Based in the U.S.
+>
+> [](http://jonathanmann.net) and [](http://jonathanmann.bandcamp.com)
+>
+> **Revenue model**: charging for custom services, pay-what-you-want,
+> crowdfunding (subscription-based), charging for in-person version
+> (speaking engagements and musical performances)
+>
+> **Interview date**: February 22, 2016
+>
+> Profile written by Sarah Hinchliff Pearson
Jonathan Mann thinks of his business model as “hustling”—seizing nearly
every opportunity he sees to make money. The bulk of his income comes
then so much of what drives you would be gone.”
## Noun Project
-
-The Noun Project is a for-profit company offering an online platform to
-display visual icons from a global network of designers. Founded in 2010
-in the U.S.
-
-thenounproject.com
-
-Revenue model: charging a transaction fee, charging for custom services
-
-Interview date: October 6, 2015
-
-Interviewee: Edward Boatman, cofounder
-
-Profile written by Paul Stacey
+>
+> The Noun Project is a for-profit company offering an online platform to
+> display visual icons from a global network of designers. Founded in 2010
+> in the U.S.
+>
+> [](http://thenounproject.com)
+>
+> **Revenue model**: charging a transaction fee, charging for custom services
+>
+> **Interview date**: October 6, 2015
+>
+> **Interviewee**: Edward Boatman, cofounder
+>
+> Profile written by Paul Stacey
The Noun Project creates and shares visual language. There are millions
who use Noun Project symbols to simplify communication across borders,
Then Edward got laid off during the recession, which turned out to be a
huge catalyst. He decided to give his idea a go, and in 2010 Edward and
Sofya launched the Noun Project with a Kickstarter campaign, back when
-Kickstarter was in its infancy.1 They thought it’d be a good way to
+Kickstarter was in its infancy.[^Noun-Project-1] They thought it’d be a good way to
introduce the global web community to their idea. Their goal was to
raise \$1,500, but in twenty days they got over \$14,000. They realized
their idea had the potential to be something much bigger.
share is higher this time as it’s providing more service to the user.
The Noun Project tries to be completely transparent about their royalty
-structure.2 They tend to over communicate with creators about it because
+structure.[^Noun-Project-2] They tend to over communicate with creators about it because
building trust is the top
priority.
also search the icons by the creator’s name.
The Noun Project also builds community through Iconathons—hackathons for
-icons.2 In partnership with a sponsoring organization, the Noun Project
+icons.[^Noun-Project-2] In partnership with a sponsoring organization, the Noun Project
comes up with a theme (e.g., sustainable energy, food bank, guerrilla
gardening, human rights) and a list of icons that are needed, which
designers are invited to create at the event. The results are
celebrating the world’s visual language. Integrating Creative Commons
into their model has been key to that goal.
-Web links
+### Web links
-1. www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description
-2. thenounproject.com/handbook/royalties/\#getting\_paid
-3. thenounproject.com/iconathon/
+[^Noun-Project-1]: [](http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description)
+[^Noun-Project-2]: [](http://thenounproject.com/handbook/royalties/\#getting\_paid)
+[^Noun-Project-3]: [](http://thenounproject.com/iconathon/)
## Open Data Institute
-
-The Open Data Institute is an independent nonprofit that connects,
-equips, and inspires people around the world to innovate with data.
-Founded in 2012 in the UK.
-
-theodi.org
-
-Revenue model: grant and government funding, charging for custom
-services, donations
-
-Interview date: November 11, 2015
-
-Interviewee: Jeni Tennison, technical director
-
-Profile written by Paul Stacey
+>
+> The Open Data Institute is an independent nonprofit that connects,
+> equips, and inspires people around the world to innovate with data.
+> Founded in 2012 in the UK.
+>
+> [](http://theodi.org)
+>
+> **Revenue model**: grant and government funding, charging for custom
+> services, donations
+>
+> **Interview date**: November 11, 2015
+>
+> **Interviewee**: Jeni Tennison, technical director
+>
+> Profile written by Paul Stacey
Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
London-based Open Data Institute (ODI) offers data-related training,
- develop the economic benefits case and business models for open
data;
- help UK businesses use open data; and
-- show how open data can improve public services.1
+- show how open data can improve public services.[^Open-Data-Institute-1]
ODI is very explicit about how it wants to make open business models,
and defining what this means. Jeni Tennison, ODI’s technical director,
a year, and corporations and government organizations at £2,200 a year.
Commercial members have greater opportunities to connect and
collaborate, explore the benefits of open data, and unlock new business
-opportunities. (All members are listed on their website.)2
+opportunities. (All members are listed on their website.)[^Open-Data-Institute-2]
ODI provides standardized open data training courses in which anyone can
enroll. The initial idea was to offer an intensive and academically
- Data-driven insights. Businesses need data from outside their
business to get more insight. Businesses can generate value and more
- effectively pursue their own goals if they open up their own
- data too. Big data is a hot topic.
+ effectively pursue their own goals if they open up their own data
+ too. Big data is a hot topic.
- Open innovation. Many large-scale enterprises are aware they don’t
- innovate very well. One way they can innovate is to open up
- their data. ODI encourages them to do so even if it exposes problems
- and challenges. The key is to invite other people to help while
- still maintaining organizational autonomy.
+ innovate very well. One way they can innovate is to open up their
+ data. ODI encourages them to do so even if it exposes problems and
+ challenges. The key is to invite other people to help while still
+ maintaining organizational autonomy.
- Corporate social responsibility. While this resonates with
businesses, ODI cautions against having it be the sole reason for
making data open. If a business is just thinking about open data as
ODI also runs programs to help start-ups in the UK and across Europe
develop a sustainable business around open data, offering mentoring,
-advice, training, and even office space.3
+advice, training, and even office space.[^Open-Data-Institute-3]
A big part of ODI’s business model revolves around community building.
Memberships, training, summits, consulting services, nodes, and start-up
legal, practical, technical, and social aspects of their open data. If
it is of high quality, the organization can earn ODI’s Open Data
Certificate, a globally recognized mark that signals that their open
-data is useful, reliable, accessible, discoverable, and supported.4
+data is useful, reliable, accessible, discoverable, and supported.[^Open-Data-Institute-4]
Separate from commercial activities, the ODI generates funding through
research grants. Research includes looking at evidence on the impact of
online: 2.2 million
- Total Open Data Certificates created: 151,000
- Total number of people trained by ODI and its nodes since ODI began:
- 5,0805
+ 5,080[^Open-Data-Institute-5]
-Web links
+### Web links
-1. e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf
-2. directory.theodi.org/members
-3. theodi.org/odi-startup-programme;
- theodi.org/open-data-incubator-for-europe
-4. certificates.theodi.org
-5. dashboards.theodi.org/company/all
+[^Open-Data-Institute-1]: [](http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf)
+[^Open-Data-Institute-2]: [](http://directory.theodi.org/members)
+[^Open-Data-Institute-3]: [](http://theodi.org/odi-startup-programme);
+ [](http://theodi.org/open-data-incubator-for-europe)
+[^Open-Data-Institute-4]: [](http://certificates.theodi.org)
+[^Open-Data-Institute-5]: [](http://dashboards.theodi.org/company/all)
## OpenDesk
-
-Opendesk is a for-profit company offering an online platform that
-connects furniture designers around the world with customers and local
-makers who bring the designs to life. Founded in 2014 in the UK.
-
-www.opendesk.cc
-
-Revenue model: charging a transaction fee
-
-Interview date: November 4, 2015
-
-Interviewees: Nick Ierodiaconou and Joni Steiner, cofounders
-
-Profile written by Paul Stacey
+>
+> Opendesk is a for-profit company offering an online platform that
+> connects furniture designers around the world with customers and local
+> makers who bring the designs to life. Founded in 2014 in the UK.
+>
+> [](http://www.opendesk.cc)
+>
+> **Revenue model**: charging a transaction fee
+>
+> **Interview date**: November 4, 2015
+>
+> **Interviewees**: Nick Ierodiaconou and Joni Steiner, cofounders
+>
+> Profile written by Paul Stacey
Opendesk is an online platform that connects furniture designers around
the world not just with customers but also with local registered makers
For the most part, designers love the idea of sharing content. They
understand that you get positive feedback when you’re attributed, what
Nick and Joni called “reputational glow.” And Opendesk does an awesome
-job profiling the designers.1
+job profiling the designers.[^OpenDesk-1]
While designers are largely OK with personal sharing, there is a concern
that someone will take the design and manufacture the furniture in bulk,
pretty easy because we built a site where people could write in about
their capabilities. Building the community by learning from the maker
community is how we have moved forward.” Opendesk now has relationships
-with hundreds of makers in countries all around the world.2
+with hundreds of makers in countries all around the world.[^OpenDesk-2]
The makers are a critical part of the Opendesk business model. Their
model builds off the makers’ quotes. Here’s how it’s expressed on
on-site assembly (additional services are discretionary—in many
cases makers will be happy to quote for assembly on-site and
designers may offer bespoke design options)
-- local sales taxes (variable by customer and maker location)3
+- local sales taxes (variable by customer and maker location)[^OpenDesk-3]
They then go into detail how makers’ quotes are created:
underlying manufacturing cost and are typically apportioned as follows:
- manufacturing cost: fabrication, finishing and any other costs as
- set by the maker (excluding any services like delivery or
- on-site assembly)
+ set by the maker (excluding any services like delivery or on-site
+ assembly)
- design fee: 8 percent of the manufacturing cost
- platform fee: 12 percent of the manufacturing cost
- channel fee: 18 percent of the manufacturing cost
Opendesk and the “open making” business model. They’re engaging thought
leaders and practitioners to define this new movement. They have a
separate Open Making site, which includes a manifesto, a field guide,
-and an invitation to get involved in the Open Making community.4 People
+and an invitation to get involved in the Open Making community.[^OpenDesk-4] People
can submit ideas and discuss the principles and business practices
they’d like to see used.
describe it, they put ideas out there that get traction and then have
faith in people.
-Web links
+### Web links
-1. www.opendesk.cc/designers
-2. www.opendesk.cc/open-making/makers/
-3. www.opendesk.cc/open-making/join
-4. openmaking.is
+[^OpenDesk-1]: [](http://www.opendesk.cc/designers)
+[^OpenDesk-2]: [](http://www.opendesk.cc/open-making/makers/)
+[^OpenDesk-3]: [](http://www.opendesk.cc/open-making/join)
+[^OpenDesk-4]: [](http://openmaking.is)
## OpenStax
-
-OpenStax is a nonprofit that provides free, openly licensed textbooks
-for high-enrollment introductory college courses and Advanced Placement
-courses. Founded in 2012 in the U.S.
-
-www.openstaxcollege.org
-
-Revenue model: grant funding, charging for custom services, charging for
-physical copies (textbook sales)
-
-Interview date: December 16, 2015
-
-Interviewee: David Harris, editor-in-chief
-
-Profile written by Paul Stacey
+>
+> OpenStax is a nonprofit that provides free, openly licensed textbooks
+> for high-enrollment introductory college courses and Advanced Placement
+> courses. Founded in 2012 in the U.S.
+>
+> [](http://www.openstaxcollege.org)
+>
+> **Revenue model**: grant funding, charging for custom services, charging for
+> physical copies (textbook sales)
+>
+> **Interview date**: December 16, 2015
+>
+> **Interviewee**: David Harris, editor-in-chief
+>
+> Profile written by Paul Stacey
OpenStax is an extension of a program called Connexions, which was
started in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor
courses in the nation. Today they are fast approaching that number.
There is data that proves the success of their original hypothesis on
how many students they could help and how much money they could help
-save.1 Professionally produced content scales rapidly. All with no sales
+save.[^OpenStax-1] Professionally produced content scales rapidly. All with no sales
force!
OpenStax textbooks are all Attribution (CC BY) licensed, and each
Institutions can stand out by offering students a lower-cost education
through the use of OpenStax textbooks; there’s even a textbook-savings
calculator they can use to see how much students would save. OpenStax
-keeps a running list of institutions that have adopted their textbooks.2
+keeps a running list of institutions that have adopted their textbooks.[^OpenStax-2]
Unlike traditional publishers’ monolithic approach of controlling
intellectual property, distribution, and so many other aspects, OpenStax
Commons, OpenStax is making it possible for every student who wants
access to education to get it.
-Web links
+### Web links
-1. news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg
-2. openstax.org/adopters
+[^OpenStax-1]: [](http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg)
+[^OpenStax-2]: [](http://openstax.org/adopters)
## Amanda Palmer
-
-Amanda Palmer is a musician, artist, and writer. Based in the U.S.
-
-amandapalmer.net
-
-Revenue model: crowdfunding (subscription-based), pay-what-you-want,
-charging for physical copies (book and album sales), charg-ing for
-in-person version (performances), selling merchandise
-
-Interview date: December 15, 2015
-
-Profile written by Sarah Hinchliff Pearson
+>
+> Amanda Palmer is a musician, artist, and writer. Based in the U.S.
+>
+> [](http://amandapalmer.net)
+>
+> **Revenue model**: crowdfunding (subscription-based), pay-what-you-want,
+> charging for physical copies (book and album sales), charg-ing for
+> in-person version (performances), selling merchandise
+>
+> **Interview date**: December 15, 2015
+>
+> Profile written by Sarah Hinchliff Pearson
Since the beginning of her career, Amanda Palmer has been on what she
calls a “journey with no roadmap,” continually experimenting to find new
-ways to sustain her creative work. 1
+ways to sustain her creative work.[^Amanda-Palmer-1]
In her best-selling book, The Art of Asking, Amanda articulates exactly
what she has been and continues to strive for—“the ideal sweet spot . .
music and other artistic gifts. She shares herself. And then rather than
forcing people to help her, she lets them.
-Web link
+### Web link
-1. http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/\#44e20ce46d67
+[^Amanda-Palmer-1]: [](http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/\#44e20ce46d67)
## PLOS (Public Library of Science)
-
-PLOS (Public Library of Science) is a nonprofit that publishes a library
-of academic journals and other scientific literature. Founded in 2000 in
-the U.S.
-
-plos.org
-
-Revenue model: charging content creators an author processing charge to
-be featured in the journal
-
-Interview date: March 7, 2016
-
-Interviewee: Louise Page, publisher
-
-Profile written by Paul Stacey
+>
+> PLOS (Public Library of Science) is a nonprofit that publishes a library
+> of academic journals and other scientific literature. Founded in 2000 in
+> the U.S.
+>
+> [](http://plos.org)
+>
+> **Revenue model**: charging content creators an author processing charge to
+> be featured in the journal
+>
+> **Interview date**: March 7, 2016
+>
+> **Interviewee**: Louise Page, publisher
+>
+> Profile written by Paul Stacey
The Public Library of Science (PLOS) began in 2000 when three leading
scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started
As journals scale up, and new journals are introduced, more and more
information is being pushed out to readers, making the experience feel
like drinking from a fire hose. To help mitigate this, PLOS aggregates
-and curates content from PLOS journals and their network of blogs.1 It
+and curates content from PLOS journals and their network of blogs.[^PLOS-(Public-Library-of-Science)-1] It
also offers something called Article-Level Metrics, which helps users
assess research most relevant to the field itself, based on indicators
like usage, citations, social bookmarking and dissemination activity,
-media and blog coverage, discussions, and ratings.2 Louise believes that
+media and blog coverage, discussions, and ratings.[^PLOS-(Public-Library-of-Science)-2] Louise believes that
the journal model could evolve to provide a more friendly and
interactive user experience, including a way for readers to communicate
with authors.
making research discoverable, available, and reproducible for the
advancement of science.
-Web links
+### Web links
-1. collections.plos.org
-2. plos.org/article-level-metrics
+[^PLOS-(Public-Library-of-Science)-1]: [](http://collections.plos.org)
+[^PLOS-(Public-Library-of-Science)-2]: [](http://plos.org/article-level-metrics)
## Rijksmuseum
-
-The Rijksmuseum is a Dutch national museum dedicated to art and history.
-Founded in 1800 in the Netherlands
-
-www.rijksmuseum.nl
-
-Revenue model: grants and government funding, charging for in-person
-version
-
-(museum admission), selling merchandise
-
-Interview date: December 11, 2015
-
-Interviewee: Lizzy Jongma, the data manager of the collections
-information department
-
-Profile written by Paul Stacey
+>
+> The Rijksmuseum is a Dutch national museum dedicated to art and history.
+> Founded in 1800 in the Netherlands
+>
+> [](http://www.rijksmuseum.nl)
+>
+> **Revenue model**: grants and government funding, charging for in-person
+> version
+> (museum admission), selling merchandise
+>
+> **Interview date**: December 11, 2015
+>
+> **Interviewee**: Lizzy Jongma, the data manager of the collections
+> information department
+>
+> Profile written by Paul Stacey
The Rijksmuseum, a national museum in the Netherlands dedicated to art
and history, has been housed in its current building since 1885. The
collection online?
Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
-library, museum, and archive for cultural heritage.1 As an online portal
+library, museum, and archive for cultural heritage.[^Rijksmuseum-1] As an online portal
to museum collections all across Europe, Europeana had become an
important online platform. In October 2010 Creative Commons released CC0
and its public-domain mark as tools people could use to identify works
museum’s. In addition to redesigning their main website to be mobile
friendly and responsive to devices like the iPad, the Rijksmuseum also
created the Rijksstudio, where users and artists could use and do
-various things with the Rijksmuseum collection.2
+various things with the Rijksmuseum collection.[^Rijksmuseum-2]
The Rijksstudio gives users access to over two hundred thousand
high-quality digital representations of masterworks from the collection.
marketplace Etsy to inspire people to sell their creations. One great
example you can find on Etsy is a kimono designed by Angie Johnson, who
used an image of an elaborate cabinet along with an oil painting by Jan
-Asselijn called The Threatened Swan.3
+Asselijn called The Threatened Swan.[^Rijksmuseum-3]
In 2013 the Rijksmuseum organized their first high-profile design
-competition, known as the Rijksstudio Award.4 With the call to action
+competition, known as the Rijksstudio Award.[^Rijksmuseum-4] With the call to action
Make Your Own Masterpiece, the competition invites the public to use
Rijksstudio images to make new creative designs. A jury of renowned
designers and curators selects ten finalists and three winners. The
attracted a staggering 892 top-class entries. Some award winners end up
with their work sold through the Rijksmuseum store, such as the 2014
entry featuring makeup based on a specific color scheme of a work of
-art.5 The Rijksmuseum has been thrilled with the results. Entries range
+art.[^Rijksmuseum-5] The Rijksmuseum has been thrilled with the results. Entries range
from the fun to the weird to the inspirational. The third international
edition of the Rijksstudio Award started in September 2016.
away; get something in return. Generosity makes people happy to join you
and help out.”
-Web links
+### Web links
-1. www.europeana.eu/portal/en
-2. www.rijksmuseum.nl/en/rijksstudio
-3. www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe
-4. www.rijksmuseum.nl/en/rijksstudio-award; the 2014 award:
- www.rijksmuseum.nl/en/rijksstudio-award-2014; the 2015 award:
- www.rijksmuseum.nl/en/rijksstudio-award-2015
-5. www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4
+[^Rijksmuseum-1]: [](http://www.europeana.eu/portal/en)
+[^Rijksmuseum-2]: [](http://www.rijksmuseum.nl/en/rijksstudio)
+[^Rijksmuseum-3]: [](http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe)
+[^Rijksmuseum-4]: [](http://www.rijksmuseum.nl/en/rijksstudio-award); the 2014 award:
+ [](http://www.rijksmuseum.nl/en/rijksstudio-award-2014); the 2015 award:
+ [](http://www.rijksmuseum.nl/en/rijksstudio-award-2015)
+[^Rijksmuseum-5]: [](http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4)
## Shareable
-
-Shareable is an online magazine about sharing. Founded in 2009 in the
-U.S.
-
-www.shareable.net
-
-Revenue model: grant funding, crowdfunding (project-based), donations,
-sponsorships
-
-Interview date: February 24, 2016
-
-Interviewee: Neal Gorenflo, cofounder and executive editor
-
-Profile written by Sarah Hinchliff Pearson
+>
+> Shareable is an online magazine about sharing. Founded in 2009 in the
+> U.S.
+>
+> [](http://www.shareable.net)
+>
+> **Revenue model**: grant funding, crowdfunding (project-based), donations,
+> sponsorships
+>
+> **Interview date**: February 24, 2016
+>
+> **Interviewee**: Neal Gorenflo, cofounder and executive editor
+>
+> Profile written by Sarah Hinchliff Pearson
In 2013, Shareable faced an impasse. The nonprofit online publication
had helped start a sharing movement four years prior, but over time,
for people take the ideas and adapt them to their own communities.
## Siyavula
-
-Siyavula is a for-profit educational-technology company that creates
-textbooks and integrated learning experiences. Founded in 2012 in South
-Africa.
-
-www.siyavula.com
-
-Revenue model: charging for custom services, sponsorships
-
-Interview date: April 5, 2016
-
-Interviewee: Mark Horner, CEO
-
-Profile written by Paul Stacey
+>
+> Siyavula is a for-profit educational-technology company that creates
+> textbooks and integrated learning experiences. Founded in 2012 in South
+> Africa.
+>
+> [](http://www.siyavula.com)
+>
+> **Revenue model**: charging for custom services, sponsorships
+>
+> **Interview date**: April 5, 2016
+>
+> **Interviewee**: Mark Horner, CEO
+>
+> Profile written by Paul Stacey
Openness is a key principle for Siyavula. They believe that every
learner and teacher should have access to high-quality educational
As physicists, Mark and his colleagues were advocates of open-source
software. To make the books open and free, they adopted the Free
-Software Foundation’s GNU Free Documentation License.1 They chose LaTeX,
+Software Foundation’s GNU Free Documentation License.[^Siyavula-1] They chose LaTeX,
a typesetting program used to publish scientific documents, to author
the books. Over a period of five years, the Free High School Science
Texts project produced math and physical-science textbooks for grades 10
open-education activists for a small but lively meeting in Cape Town.
One result was the Cape Town Open Education Declaration, a statement of
principles, strategies, and commitment to help the open-education
-movement grow.2 Shuttleworth also invited Mark to run a project writing
+movement grow.[^Siyavula-2] Shuttleworth also invited Mark to run a project writing
open content for all subjects for K–12 in English. That project became
Siyavula.
teachers to be able to remix and edit the content. Mark and his team had
to come up with an open editable format and provide tools for editing.
They ended up putting all the books they’d acquired and authored on a
-platform called Connexions.3 Siyavula trained many teachers to use
+platform called Connexions.[^Siyavula-3] Siyavula trained many teachers to use
Connexions, but it proved to be too complex and the textbooks were
rarely edited.
In partnership with, and sponsored by, the Sasol Inzalo Foundation,
Siyavula produced a series of natural sciences and technology workbooks
for grades 4 to 6 called Thunderbolt Kids that uses a fun comic-book
-style.4 It’s a complete curriculum that also comes with teacher’s guides
+style.[^Siyavula-4] It’s a complete curriculum that also comes with teacher’s guides
and other resources.
Through this experience, Siyavula learned they could get sponsors to
Siyavula may have been around the block a few times, but both he and the
company are stronger for it.
-Web links
-
-1. www.gnu.org/licenses/fdl
-2. www.capetowndeclaration.org
-3. cnx.org
-4. www.siyavula.com/products-primary-school.html
-
-## Sparkfun
-
-SparkFun is an online electronics retailer specializing in open
-hardware. Founded in 2003 in the U.S.
-
-www.sparkfun.com
-
-Revenue model: charging for physical copies (electronics sales)
-
-Interview date: February 29, 2016
-
-Interviewee: Nathan Seidle, founder
-
-Profile written by Sarah Hinchliff Pearson
+### Web links
+
+[^Siyavula-1]: [](http://www.gnu.org/licenses/fdl)
+[^Siyavula-2]: [](http://www.capetowndeclaration.org)
+[^Siyavula-3]: [](http://cnx.org)
+[^Siyavula-4]: [](http://www.siyavula.com/products-primary-school.html)
+
+## SparkFun
+>
+> SparkFun is an online electronics retailer specializing in open
+> hardware. Founded in 2003 in the U.S.
+>
+> [](http://www.sparkfun.com)
+>
+> **Revenue model**: charging for physical copies (electronics sales)
+>
+> **Interview date**: February 29, 2016
+>
+> **Interviewee**: Nathan Seidle, founder
+>
+> Profile written by Sarah Hinchliff Pearson
SparkFun founder and former CEO Nathan Seidle has a picture of himself
holding up a clone of a SparkFun product in an electronics market in
realized there was a void in the market. “If you wanted to place an
order for something,” he said, “you first had to search far and wide to
find it, and then you had to call or fax someone.” In 2003, during his
-third year of college, he registered sparkfun.com and started reselling
+third year of college, he registered [](http://sparkfun.com) and started reselling
products out of his bedroom. After he graduated, he started making and
selling his own products.
they set out to be.
## TeachAIDS
-
-TeachAIDS is a nonprofit that creates educational materials designed to
-teach people around the world about HIV and AIDS. Founded in 2005 in the
-U.S.
-
-teachaids.org
-
-Revenue model: sponsorships
-
-Interview date: March 24, 2016
-
-Interviewees: Piya Sorcar, the CEO, and Shuman Ghosemajumder, the chair
-
-Profile written by Sarah Hinchliff Pearson
+>
+> TeachAIDS is a nonprofit that creates educational materials designed to
+> teach people around the world about HIV and AIDS. Founded in 2005 in the
+> U.S.
+>
+> [](http://teachaids.org)
+>
+> **Revenue model**: sponsorships
+>
+> **Interview date**: March 24, 2016
+>
+> **Interviewees**: Piya Sorcar, the CEO, and Shuman Ghosemajumder, the chair
+>
+> Profile written by Sarah Hinchliff Pearson
TeachAIDS is an unconventional media company with a conventional revenue
model. Like most media companies, they are subsidized by advertising.
has been a game changer for TeachAIDS,” Piya said.
## Tribe of Noise
-
-Tribe of Noise is a for-profit online music platform serving the film,
-TV, video, gaming, and in-store-media industries. Founded in 2008 in the
-Netherlands.
-
-www.tribeofnoise.com
-
-Revenue model: charging a transaction fee
-
-Interview date: January 26, 2016
-
-Interviewee: Hessel van Oorschot, cofounder
-
-Profile written by Paul Stacey
+>
+> Tribe of Noise is a for-profit online music platform serving the film,
+> TV, video, gaming, and in-store-media industries. Founded in 2008 in the
+> Netherlands.
+>
+> [](http://www.tribeofnoise.com)
+>
+> **Revenue model**: charging a transaction fee
+>
+> **Interview date**: January 26, 2016
+>
+> **Interviewee**: Hessel van Oorschot, cofounder
+>
+> Profile written by Paul Stacey
In the early 2000s, Hessel van Oorschot was an entrepreneur running a
business where he coached other midsize entrepreneurs how to create an
quality, good-listening music but not necessarily hits, a bit like a
radio show without the DJ. This opened a new opportunity for Tribe of
Noise. They started their In-store Music Service, using music (licensed
-with CC BY-SA) uploaded by the Tribe of Noise community of musicians.1
+with CC BY-SA) uploaded by the Tribe of Noise community of musicians.[^Tribe-of-Noise-1]
In most countries, artists, authors, and musicians join a collecting
society that manages the licensing and helps collect the royalties.
The license fee agreed with this retailer is US\$12 per month per
play-out. So if 42.5% is shared with the Tribe musicians in this
playlist and your share is 1.43%, you end up with US\$12 \* 1000 stores
-\* 0.425 \* 0.0143 = US\$73 per month.2
+\* 0.425 \* 0.0143 = US\$73 per month.[^Tribe-of-Noise-2]
Tribe of Noise has another model that does not involve Creative Commons.
In a survey with members, most said they liked the exposure using
best interests in mind. Creative Commons makes it possible to create a
new business model for music, a model that’s based on trust.
-Web links
+### Web links
-1. www.instoremusicservice.com
-2. www.tribeofnoise.com/info\_instoremusic.php
+[^Tribe-of-Noise-1]: [](http://www.instoremusicservice.com)
+[^Tribe-of-Noise-2]: [](http://www.tribeofnoise.com/info\_instoremusic.php)
## Wikimedia Foundation
-
-The Wikimedia Foundation is the nonprofit organization that hosts
-Wikipedia and its sister projects. Founded in 2003 in the U.S.
-
-wikimediafoundation.org
-
-Revenue model: donations
-
-Interview date: December 18, 2015
-
-Interviewees: Luis Villa, former Chief Officer of Community Engagement,
-and Stephen LaPorte, legal counsel
-
-Profile written by Sarah Hinchliff Pearson
+>
+> The Wikimedia Foundation is the nonprofit organization that hosts
+> Wikipedia and its sister projects. Founded in 2003 in the U.S.
+>
+> [](http://wikimediafoundation.org)
+>
+> **Revenue model**: donations
+>
+> **Interview date**: December 18, 2015
+>
+> **Interviewees**: Luis Villa, former Chief Officer of Community Engagement,
+> and Stephen LaPorte, legal counsel
+>
+> Profile written by Sarah Hinchliff Pearson
Nearly every person with an online presence knows Wikipedia.
incredible diversity of motivations,” Stephen said. For example, there
is one editor of the English Wikipedia edition who has corrected a
single grammatical error in articles more than forty-eight thousand
-times.1 Only a fraction of Wikipedia users are also editors. But editing
+times.[^Wikimedia-Foundation-1] Only a fraction of Wikipedia users are also editors. But editing
is not the only way to contribute to Wikipedia. “Some donate text, some
donate images, some donate financially,” Stephen told us. “They are all
contributors.”
public spaces,” Stephen said. “Wikipedia has found a way to be that open
public space.”
-Web link
+### Web link
-1. gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/
+[^Wikimedia-Foundation-1]: [](http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/)
-## Bibliography
+# Bibliography
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Benkler, Yochai. The Wealth of Networks: How Social Production
Transforms Markets and Freedom. New Haven: Yale University Press, 2006.
-www.benkler.org/Benkler\_Wealth\_Of\_Networks.pdf (licensed under CC
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BY-NC-SA).
Benyayer, Louis-David, ed. Open Models: Business Models of the Open
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+[](http://thenextsystem.org/commoning-as-a-transformative-social-paradigm/).
———. Think Like a Commoner: A Short Introduction to the Life of the
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Germany, 2015.
-bollier.org/democratic-money-and-capital-commons-report-pdf. For more
-information, see bollier.org/blog/democratic-money-and-capital-commons.
+[](http://bollier.org/democratic-money-and-capital-commons-report-pdf). For more
+information, see [](http://bollier.org/blog/democratic-money-and-capital-commons).
Bollier, David, and Silke Helfrich, eds. The Wealth of the Commons: A
World Beyond Market and State. Amherst, MA: Levellers Press, 2012.
Boyle, James. The Public Domain: Enclosing the Commons of the Mind. New
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+[](http://www.thepublicdomain.org/download/) (licensed under CC BY-NC-SA).
Capra, Fritjof, and Ugo Mattei. The Ecology of Law: Toward a Legal
System in Tune with Nature and Community. Oakland, CA: Berrett-Koehler,
City for the Care and Regeneration of Urban Commons. Translated by
LabGov (LABoratory for the GOVernance of Commons). Bologna, Italy: City
of Bologna, 2014).
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+[](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).
Cole, Daniel H. “Learning from Lin: Lessons and Cautions from the
Natural Commons for the Knowledge Commons.” Chap. 2 in Frischmann,
Madison, and Strandburg, Governing Knowledge Commons.
Creative Commons. 2015 State of the Commons. Mountain View, CA: Creative
-Commons, 2015. stateof.creativecommons.org/2015/.
+Commons, 2015. [](http://stateof.creativecommons.org/2015/).
Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the
Internet Age. San Francisco: McSweeney’s, 2014.
Eckhardt, Giana, and Fleura Bardhi. “The Sharing Economy Isn’t about
Sharing at All.” Harvard Business Review, January 28, 2015.
-hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all.
+[](http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all).
Elliott, Patricia W., and Daryl H. Hepting, eds. (2015). Free Knowledge:
Confronting the Commodification of Human Discovery. Regina, SK:
University of Regina Press, 2015.
-uofrpress.ca/publications/Free-Knowledge (licensed under CC BY-NC-ND).
+[](http://uofrpress.ca/publications/Free-Knowledge) (licensed under CC BY-NC-ND).
Eyal, Nir. Hooked: How to Build Habit-Forming Products. With Ryan
Hoover. New York: Portfolio, 2014.
Foster, William Landes, Peter Kim, and Barbara Christiansen. “Ten
Nonprofit Funding Models.” Stanford Social Innovation Review, Spring
-2009. ssir.org/articles/entry/ten\_nonprofit\_funding\_models.
+2009. [](http://ssir.org/articles/entry/ten\_nonprofit\_funding\_models).
Frischmann, Brett M. Infrastructure: The Social Value of Shared
Resources. New York: Oxford University Press, 2012.
Kelly, Marjorie. Owning Our Future: The Emerging Ownership Revolution;
Journeys to a Generative Economy. San Francisco:
-
Berrett-Koehler, 2012.
Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and Get
New York: Morgan James, 2016.
Lee, David. “Inside Medium: An Attempt to Bring Civility to the
-Internet.” BBC News, March 3, 2016. www.bbc.com/news/technology-35709680
+Internet.” BBC News, March 3, 2016. [](http://www.bbc.com/news/technology-35709680)
Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid
Economy. New York: Penguin Press, 2008.
New York Times Customer Insight Group. The Psychology of Sharing: Why Do
People Share Online? New York: New York Times Customer Insight Group,
-2011. www.iab.net/media/file/POSWhitePaper.pdf.
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-## Acknowledgments
+# Acknowledgments
We extend special thanks to Creative Commons CEO Ryan Merkley, the
Creative Commons Board, and all of our Creative Commons colleagues for
projects / text-madewithcc.git / blobdiff