-<html><head><meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1"><title>Gjord med Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets V1.79.1"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="sv" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Gjord med Creative Commons</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Paul</span> <span class="surname">Stacey</span></h3></div><div class="author"><h3 class="author"><span class="firstname">Sarah Hinchliff</span> <span class="surname">Pearson</span></h3></div></div></div><div><p class="copyright">Copyright © 2017 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
- This book is published under a CC BY-SA license, which means that you can
-copy, redistribute, remix, transform, and build upon the content for any
-purpose, even commercially, as long as you give appropriate credit, 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:
-<a class="ulink" href="http://creativecommons.org/licenses/by-sa/4.0/" target="_top">http://creativecommons.org/licenses/by-sa/4.0/</a>
- </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>I don’t know a whole lot about nonfiction journalism. . . The way that I
-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.</p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+<html><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8"><title>Gjord med Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets V1.79.1"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="sv" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Gjord med Creative Commons</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Paul</span> <span class="surname">Stacey</span></h3></div><div class="author"><h3 class="author"><span class="firstname">Sarah Hinchliff</span> <span class="surname">Pearson</span></h3></div></div></div><div><p class="copyright">Copyright © 2017 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
+ Den här boken publiceras under en CC BY-SA-licens, vilket innebär att du kan
+kopiera, distribuera, remixa, omvandla och bygga vidare på innehållet för
+alla syften, även kommersiellt, så länge du ger lämplig beröm,
+tillhandahåller en länk till licensen och anger om ändringar gjordes. Om du
+remixar, omvandlar eller bygger på materialet måste du distribuera dina
+bidrag under samma licens som originalet. Licensinformation: <a class="ulink" href="http://creativecommons.org/licenses/by-sa/4.0/" target="_top">http://creativecommons.org/licenses/by-sa/4.0/</a>
+ </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>Jag vet inte mycket om facklitteraturjournalistik. . . Sättet jag tänker på
+dessa saker och vad jag kan göra är. . . essäer som dessa är tillfällen att
+titta på några som är ganska begåvade men också rimligt genomsnittliga ägnar
+mycket närmare uppmärksamhet och tänker långt mer långsiktigt om alla
+möjliga olika saker än de flesta av oss har en chans att göra i våra dagliga
+liv.</p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ David Foster Wallace }
- \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Inneh
ållsförteckning</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Foreword</a></span></dt><dt><span class="preface"><a href="#introduction">Introduction</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. The Big Picture</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Acknowledgments</a></span></dt></dl></div><div class="list-of-figures"><p><b>Figurförteckning</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and market.</a></dt><dt>1.2. <a href="#fig-2">Four aspects of resource management</a></dt><dt>1.3. <a href="#fig-3">How the market, commons and state concieve of resources.</a></dt><dt>1.4. <a href="#fig-4">In preindustrialized society.</a></dt><dt>1.5. <a href="#fig-5">The commons is gradually superseded by the state.</a></dt><dt>1.6. <a href="#fig-6">How the market, the state and the commons look today.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Foreword</h1></div></div></div><p>
+ \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Inneh
ållsförteckning</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Förord</a></span></dt><dt><span class="preface"><a href="#introduction">Introduktion</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. The Big Picture</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Acknowledgments</a></span></dt></dl></div><div class="list-of-figures"><p><b>Figurförteckning</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and market.</a></dt><dt>1.2. <a href="#fig-2">Four aspects of resource management</a></dt><dt>1.3. <a href="#fig-3">How the market, commons and state concieve of resources.</a></dt><dt>1.4. <a href="#fig-4">In preindustrialized society.</a></dt><dt>1.5. <a href="#fig-5">The commons is gradually superseded by the state.</a></dt><dt>1.6. <a href="#fig-6">How the market, the state and the commons look today.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Förord</h1></div></div></div><p>
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 one of
-CC’s most well-known proponents—one who has also had a successful career as
-a writer who shares his work using CC—I told him I thought CC had a role in
+with Cory Doctorow in the hotel bar of Toronto’s Gladstone Hotel. As one of
+CC’s most well-known proponents—one who has also had a successful career as
+a writer who shares his work using CC—I told him I thought CC had a role in
defining and advancing open business models. He kindly disagreed, and called
-the pursuit of viable business models through CC <span class="quote">”<span class="quote">a red
-herring.</span>”</span>
+the pursuit of viable business models through CC <span class="quote">”<span class="quote">a red
+herring.</span>”</span>
</p><p>
- He was, in a way, completely correct—those who make things with Creative
+ He was, in a way, completely correct—those who make things with Creative
Commons have ulterior motives, as Paul Stacey explains in this book:
-<span class="quote">”<span class="quote">Regardless of legal status, they all have a social mission. Their
+<span class="quote">”<span class="quote">Regardless of legal status, they all have a social mission. Their
primary reason for being is to make the world a better place, not to
-profit. Money is a means to a social end, not the end itself.</span>”</span>
+profit. Money is a means to a social end, not the end itself.</span>”</span>
</p><p>
- In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites Cory’s
-words from his book Information Doesn’t Want to Be Free: <span class="quote">”<span class="quote">Entering the
+ In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites Cory’s
+words from his book Information Doesn’t Want to Be Free: <span class="quote">”<span class="quote">Entering the
arts because you want to get rich is like buying lottery tickets because you
-want to get rich. It might work, but it almost certainly won’t. Though, of
-course, someone always wins the lottery.</span>”</span>
+want to get rich. It might work, but it almost certainly won’t. Though, of
+course, someone always wins the lottery.</span>”</span>
</p><p>
- Today, copyright is like a lottery ticket—everyone has one, and almost
-nobody wins. What they don’t tell you is that if you choose to share your
+ Today, copyright is like a lottery ticket—everyone has one, and almost
+nobody wins. What they don’t tell you is that if you choose to share your
work, the returns can be significant and long-lasting. This book is filled
with stories of those who take much greater risks than the two dollars we
pay for a lottery ticket, and instead reap the rewards that come from
pursuing their passions and living their values.
</p><p>
- So it’s not about the money. Also: it is. Finding the means to continue to
+ So it’s not about the money. Also: it is. Finding the means to continue to
create and share often requires some amount of income. Max Temkin of Cards
-Against Humanity says it best in their case study: <span class="quote">”<span class="quote">We don’t make
-jokes and games to make money—we make money so we can make more jokes and
-games.</span>”</span>
+Against Humanity says it best in their case study: <span class="quote">”<span class="quote">We don’t make
+jokes and games to make money—we make money so we can make more jokes and
+games.</span>”</span>
</p><p>
- Creative Commons’ focus is on building a vibrant, usable commons, powered by
+ Creative Commons’ focus is on building a vibrant, usable commons, powered by
collaboration and gratitude. Enabling communities of collaboration is at the
heart of our strategy. With that in mind, Creative Commons began this book
project. Led by Paul and Sarah, the project set out to define and advance
Paul dreams of a future where new models of creativity and innovation
overpower the inequality and scarcity that today define the worst parts of
capitalism. He is driven by the power of human connections between
-communities of creators. He takes a longer view than most, and it’s made him
+communities of creators. He takes a longer view than most, and it’s made him
a better educator, an insightful researcher, and also a skilled gardener. He
has a calm, cool voice that conveys a passion that inspires his colleagues
and community.
</p><p>
- Sarah is the best kind of lawyer—a true advocate who believes in the good of
+ Sarah is the best kind of lawyer—a true advocate who believes in the good of
people, and the power of collective acts to change the world. Over the past
-year I’ve seen Sarah struggle with the heartbreak that comes from investing
-so much into a political campaign that didn’t end as she’d hoped. Today,
-she’s more determined than ever to live with her values right out on her
+year I’ve seen Sarah struggle with the heartbreak that comes from investing
+so much into a political campaign that didn’t end as she’d hoped. Today,
+she’s more determined than ever to live with her values right out on her
sleeve. I can always count on Sarah to push Creative Commons to focus on our
-impact—to make the main thing the main thing. She’s practical,
-detail-oriented, and clever. There’s no one on my team that I enjoy debating
+impact—to make the main thing the main thing. She’s practical,
+detail-oriented, and clever. There’s no one on my team that I enjoy debating
more.
</p><p>
As coauthors, Paul and Sarah complement each other perfectly. They
passion and curiosity, and a deep respect for what goes into building the
commons and sharing with the world. They remained open to new ideas,
including the possibility that their initial theories would need refinement
-or might be completely wrong. That’s courageous, and it has made for a
+or might be completely wrong. That’s courageous, and it has made for a
better book that is insightful, honest, and useful.
</p><p>
From the beginning, CC wanted to develop this project with the principles
</p><p>
For 31 days in August of 2015, Sarah took point to organize and execute a
Kickstarter campaign to generate the core funding for the book. The
-remainder was provided by CC’s generous donors and supporters. In the end,
+remainder was provided by CC’s generous donors and supporters. In the end,
it became one of the most successful book projects on Kickstarter, smashing
-through two stretch goals and engaging over 1,600 donors—the majority of
+through two stretch goals and engaging over 1,600 donors—the majority of
them new supporters of Creative Commons.
</p><p>
Paul and Sarah worked openly throughout the project, publishing the plans,
community as a key value, and because the CC licenses have helped so many to
share in the ways that they choose with a global audience.
</p><p>
- Sarah writes, <span class="quote">”<span class="quote">Endeavors that are Made with Creative Commons thrive
+ Sarah writes, <span class="quote">”<span class="quote">Endeavors that are Made with Creative Commons thrive
when community is 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. 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 using CC.</span>”</span> Amanda Palmer, the other musician
+values symbolized by using CC.</span>”</span> Amanda Palmer, the other musician
profiled in the book, would surely add this from her case study:
-<span class="quote">”<span class="quote">There is no more satisfying end goal than having someone tell you
-that what you do is genuinely of value to them.</span>”</span>
+<span class="quote">”<span class="quote">There is no more satisfying end goal than having someone tell you
+that what you do is genuinely of value to them.</span>”</span>
</p><p>
This is not a typical business book. For those looking for a recipe or a
roadmap, you might be disappointed. But for those looking to pursue a social
end, to build something great through collaboration, or to join a powerful
-and growing global community, they’re sure to be satisfied. Made with
+and growing global community, they’re sure to be satisfied. Made with
Creative Commons offers a world-changing set of clearly articulated values
and principles, some essential tools for exploring your own business
opportunities, and two dozen doses of pure inspiration.
</p><p>
- In a 1996 Stanford Law Review article <span class="quote">”<span class="quote">The Zones of
-Cyberspace</span>”</span>, CC founder Lawrence Lessig wrote, <span class="quote">”<span class="quote">Cyberspace is a
+ In a 1996 Stanford Law Review article <span class="quote">”<span class="quote">The Zones of
+Cyberspace</span>”</span>, CC founder Lawrence Lessig wrote, <span class="quote">”<span class="quote">Cyberspace is a
place. People live there. They experience all the sorts of things that they
experience in real space, there. For some, they experience more. They
experience this not as isolated individuals, playing some high tech computer
game; they experience it in groups, in communities, among strangers, among
-people they come to know, and sometimes like.</span>”</span>
+people they come to know, and sometimes like.</span>”</span>
</p><p>
- I’m incredibly proud that Creative Commons is able to publish this book for
-the many communities that we have come to know and like. I’m grateful to
+ I’m incredibly proud that Creative Commons is able to publish this book for
+the many communities that we have come to know and like. I’m grateful to
Paul and Sarah for their creativity and insights, and to the global
communities that have helped us bring it to you. As CC board member
-Johnathan Nightingale often says, <span class="quote">”<span class="quote">It’s all made of people.</span>”</span>
+Johnathan Nightingale often says, <span class="quote">”<span class="quote">It’s all made of people.</span>”</span>
</p><p>
- That’s the true value of things that are Made with Creative Commons.
- </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
- \textit{ Ryan Merkley, CEO, Creative Commons}
- \end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="introduction"></a>Introdu
ction</h1></div></div></div><p>
- This book shows the world how sharing can be good for business—but with a
-twist.
+ That’s the true value of things that are Made with Creative Commons.
+ </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{ Ryan Merkley, VD, Creative Commons}
+ \end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="introduction"></a>Introdu
ktion</h1></div></div></div><p>
+ Den här boken visar världen hur delande kan vara bra för affärerna—men med
+en twist.
</p><p>
We began the project intending to explore how creators, organizations, and
businesses make money to sustain what they do when they share their work
business models that use Creative Commons but instead gather fresh ideas and
dynamic examples that spark new, innovative models and help others follow
suit by building on what already works. At the onset, we framed our
-investigation in familiar business terms. We created a blank <span class="quote">”<span class="quote">open
-business model canvas,</span>”</span> an interactive online tool that would help
+investigation in familiar business terms. We created a blank <span class="quote">”<span class="quote">open
+business model canvas,</span>”</span> an interactive online tool that would help
people design and analyze their business model.
</p><p>
Through the generous funding of Kickstarter backers, we set about this
project first by identifying and selecting a diverse group of creators,
organizations, and businesses who use Creative Commons in an integral
-way—what we call being Made with Creative Commons. We interviewed them and
+way—what we call being Made with Creative Commons. We interviewed them and
wrote up their stories. We analyzed what we heard and dug deep into the
literature.
</p><p>
around the works being shared, and generating revenue not for unlimited
growth but to sustain the operation.
</p><p>
- They often didn’t like hearing what they do described as an open business
+ They often didn’t like hearing what they do described as an open business
model. Their endeavor was something more than that. Something
different. Something that generates not just economic value but social and
cultural value. Something that involves human connection. Being Made with
-Creative Commons is not <span class="quote">”<span class="quote">business as usual.</span>”</span>
+Creative Commons is not <span class="quote">”<span class="quote">business as usual.</span>”</span>
</p><p>
- We had to rethink the way we conceived of this project. And it didn’t happen
+ We had to rethink the way we conceived of this project. And it didn’t happen
overnight. From the fall of 2015 through 2016, we documented our thoughts in
blog posts on Medium and with regular updates to our Kickstarter backers. We
shared drafts of case studies and analysis with our Kickstarter cocreators,
has been one of the great joys of this work, and, we hope, something that
has made the final product much richer than it ever could have been if
either of us undertook this project alone. We have preserved our voices
-throughout, and you’ll be able to sense our different but complementary
+throughout, and you’ll be able to sense our different but complementary
approaches as you read through our different sections.
</p><p>
While we recommend that you read the book from start to finish, each section
Part one, the overview, begins with a big-picture framework written by
Paul. He provides some historical context for the digital commons,
describing the three ways society has managed resources and shared
-wealth—the commons, the market, and the state. He advocates for thinking
+wealth—the commons, the market, and the state. He advocates for thinking
beyond business and market terms and eloquently makes the case for sharing
and enlarging the digital commons.
</p><p>
- The overview continues with Sarah’s chapter, as she considers what it means
+ The overview continues with Sarah’s chapter, as she considers what it means
to be successfully Made with Creative Commons. While making money is one
piece of the pie, there is also a set of public-minded values and the kind
of human connections that make sharing truly meaningful. This section
</p><p>
And to end part one, we have a short section that explains the different
Creative Commons licenses. We talk about the misconception that the more
-restrictive licenses—the ones that are closest to the all-rights-reserved
-model of traditional copyright—are the only ways to make money.
+restrictive licenses—the ones that are closest to the all-rights-reserved
+model of traditional copyright—are the only ways to make money.
</p><p>
Part two of the book is made up of the twenty-four stories of the creators,
businesses, and organizations we interviewed. While both of us participated
irrevocably changed. We hope this book inspires you and your enterprise to
use Creative Commons and in so doing contribute to the transformation of our
economy and world for the better.
- </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Paul and Sarah }
- \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Del I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Innehållsförteckning</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>Kapitel 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Innehållsförteckning</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">The Commons, the Market, and the State</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">The Four Aspects of a Resource</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">A Short History of the Commons</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">The Digital Revolution</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">The Birth of Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">The Changing Market</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefits of the Digital Commons</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Del I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Innehållsförteckning</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>Kapitel 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Innehållsförteckning</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">The Commons, the Market, and the State</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">The Four Aspects of a Resource</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">A Short History of the Commons</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">The Digital Revolution</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">The Birth of Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">The Changing Market</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefits of the Digital Commons</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Paul Stacey}
\end{flushright}</td></tr></table></div><p>
- Jonathan Rowe eloquently describes the commons as <span class="quote">”<span class="quote">the air and oceans,
-the web of species, wilderness and flowing water—all are parts of the
+ Jonathan Rowe eloquently describes the commons as <span class="quote">”<span class="quote">the air and oceans,
+the web of species, wilderness and flowing water—all are parts of the
commons. So are language and knowledge, sidewalks and public squares, 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.</span>
”</span><a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
+calligraphy.</span>
”</span><a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
</p><p>
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 broad
profile in our case studies use Creative Commons to share their resources
online over the Internet.
</p><p>
- The commons is not just about shared resources, however. It’s also about the
+ 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.<a href="#ftn.idm115" class="footnote" name="idm115"><sup class="footnote">[2]</sup></a> The creators, organizations, and businesses we
+common
—to put the resource into the commons—is a verb.<a href="#ftn.idm115" class="footnote" name="idm115"><sup class="footnote">[2]</sup></a> The creators, organizations, and businesses we
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.<a href="#ftn.idm117" class="footnote" name="idm117"><sup class="footnote">[3]</sup></a> Commoning is guided by a set of values and norms that balance the
</p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-commons-the-market-and-the-state"></a>The Commons, the Market, and the State</h2></div></div></div><p>
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
+government), and the market—with the last two being the dominant forms
today.<a href="#ftn.idm122" class="footnote" name="idm122"><sup class="footnote">[4]</sup></a>
</p><p>
The organizations and businesses in our case studies are unique in the way
build the commons. Beyond money, laws and regulations regarding property,
copyright, business, and finance can all be designed to foster the commons.
</p><div class="figure"><a name="fig-1"></a><p class="title"><b>Figur 1.1. Enterprise engagement with commons, state and market.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000008000000045C30360249076453E6.png" width="100%" alt="Enterprise engagement with commons, state and market."></td></tr></table></div></div></div><br class="figure-break"><p>
- It’s helpful to understand how the commons, market, and state manage
+ 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
want to engage in and use the commons, knowing how the commons operates will
commons the same way you do the market or state is not a strategy for
success.
</p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-four-aspects-of-a-resource"></a>The Four Aspects of a Resource</h2></div></div></div><p>
- As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
+ As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
for analyzing how natural resources are managed in a commons.<a href="#ftn.idm143" class="footnote" name="idm143"><sup class="footnote">[6]</sup></a> Her framework considered things like the
-biophysical characteristics of common resources, the community’s actors and
+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 simplified and generalized to apply to the
commons, the market, and the state for this chapter.
</p><p>
To compare and contrast the ways in which the commons, market, and state
-work, let’s consider four aspects of resource management: resource
+work, let’s consider four aspects of resource management: resource
characteristics, the people involved and the process they use, the norms and
rules they develop to govern use, and finally actual resource use along with
outcomes of that use (see Fig. <a class="xref" href="#fig-2" title="Figur 1.2. Four aspects of resource management">1.2</a>).
</p><div class="figure"><a name="fig-2"></a><p class="title"><b>Figur 1.2. Four aspects of resource management</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png" width="100%" alt="Four aspects of resource management"></td></tr></table></div></div></div><br class="figure-break"><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="characteristics"></a>Characteristics</h3></div></div></div><p>
Resources have particular characteristics or attributes that affect the way
they can be used. Some resources are natural; others are human
-produced. And—significantly for today’s commons—resources can be physical or
-digital, which affects a resource’s inherent potential.
+produced. And—significantly for today’s commons—resources can be physical or
+digital, which affects a resource’s inherent potential.
</p><p>
Physical resources exist in limited supply. If I have a physical resource
and give it to you, I no longer have it. When a resource is removed and
but money is charged to convert a digital resource into a physical one.
</p><p>
Beyond this idea of physical versus digital, the commons, market, and state
-conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Figur 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities
-for sale—from which value is extracted. The state sees resources as public
+conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Figur 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities
+for sale—from which value is extracted. The state sees resources as public
goods that provide value to state citizens. The commons sees resources as
common goods, providing a common wealth extending beyond state boundaries,
to be passed on in undiminished or enhanced form to future generations.
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 involved—as a contributor, user, or manager. The people
+they want to be involved—as a contributor, user, or manager. The people
involved include not only those who create and use resources but those
affected by outcome of use. Who you are affects your say, actions you can
take, and extent of decision making. In the commons, the community as a
just to economic efficiency but also to equity and
sustainability.<a href="#ftn.idm185" class="footnote" name="idm185"><sup class="footnote">[8]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>Goals</h3></div></div></div><p>
- The combination of the aspects we’ve discussed so far—the resource’s
-inherent characteristics, people and processes, and norms and rules—shape
+ The combination of the aspects we’ve discussed so far—the resource’s
+inherent characteristics, people and processes, and norms and rules—shape
how resources are used. Use is also influenced by the different goals the
state, market, and commons have.
</p><p>
But the more than 1.1 billion resources licensed with Creative Commons
around the world are indications of a grassroots move toward the
commons. The commons is making a resurgence. To understand the resilience of
-the commons and its current renewal, it’s helpful to know something of its
+the commons and its current renewal, it’s helpful to know something of its
history.
</p><p>
For centuries, indigenous people and preindustrialized societies managed
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.<a href="#ftn.idm213" class="footnote" name="idm213"><sup class="footnote">[11]</sup></a> In olden days,
-<span class="quote">”<span class="quote">commoners</span>”</span> were evicted from the land, fences and hedges
+<span class="quote">”<span class="quote">commoners</span>”</span> were evicted from the land, fences and hedges
erected, laws passed, and security set up to forbid access.<a href="#ftn.idm216" class="footnote" name="idm216"><sup class="footnote">[12]</sup></a> Gradually, resources became the property of the
state and the state became the primary means by which resources were
managed. (See Fig. <a class="xref" href="#fig-5" title="Figur 1.5. The commons is gradually superseded by the state.">1.5</a>).
However, the world today is going through turbulent times. The benefits of
the market have been offset by unequal distribution and overexploitation.
</p><p>
- Overexploitation was the topic of Garrett Hardin’s influential essay
-<span class="quote">”<span class="quote">The Tragedy of the Commons,</span>”</span> published in Science in
+ Overexploitation was the topic of Garrett Hardin’s influential essay
+<span class="quote">”<span class="quote">The Tragedy of the Commons,</span>”</span> published in Science in
1968. Hardin argues that everyone in a commons seeks to maximize personal
gain and will continue to do so even when the limits of the commons are
reached. The commons is then tragically depleted to the point where it can
-no longer support anyone. Hardin’s essay became widely accepted as an
+no longer support anyone. Hardin’s essay became widely accepted as an
economic truism and a justification for private property and free markets.
</p><p>
- However, there is one serious flaw with Hardin’s <span class="quote">”<span class="quote">The Tragedy of the
-Commons</span>”</span>—it’s fiction. Hardin did not actually study how real commons
+ However, there is one serious flaw with Hardin’s <span class="quote">”<span class="quote">The Tragedy of the
+Commons</span>”</span>—it’s fiction. Hardin did not actually study how real commons
work. Elinor Ostrom won the 2009 Nobel Prize in economics for her work
-studying different commons all around the world. Ostrom’s work shows that
+studying different commons all around the world. Ostrom’s work shows that
natural resource commons can be successfully managed by local communities
without any regulation by central authorities or without privatization.
Government and privatization are not the only two choices. There is a third
directly involved. With natural resources, there is a regional locality. The
people in the region are the most familiar with the natural resource, have
the most direct relationship and history with it, and are therefore best
-situated to manage it. Ostrom’s approach to the governance of natural
+situated to 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.<a href="#ftn.idm233" class="footnote" name="idm233"><sup class="footnote">[13]</sup></a>
found, in reality, managing common resources together forms a community and
encourages discourse. This naturally generates norms and rules that help
people work collectively and ensure a sustainable commons. Paradoxically,
-while Hardin’s essay is called The Tragedy of the Commons it might more
+while Hardin’s essay is called The Tragedy of the Commons it might more
accurately be titled The Tragedy of the Market.
</p><p>
- Hardin’s story is based on the premise of depletable resources. Economists
+ 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.<a href="#ftn.idm238" class="footnote" name="idm238"><sup class="footnote">[14]</sup></a> The
emergence of information technology and the Internet has led to an explosion
In the late 1990s, to make the sharing of source code and collaboration more
appealing to companies, the open-source-software initiative converted these
principles into licenses and standards for managing access to and
-distribution of software. The benefits of open source—such as reliability,
-scalability, and quality verified by independent peer review—became widely
+distribution of software. The benefits of open source—such as reliability,
+scalability, and quality verified by independent peer review—became widely
recognized and accepted. Customers liked the way 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
markets did build up around it. Business models based on the licenses and
standards of open-source software evolved alongside organizations that
managed software code on principles of abundance rather than scarcity. Eric
-Raymond’s essay <span class="quote">”<span class="quote">The Magic Cauldron</span>”</span> does a great job of
+Raymond’s essay <span class="quote">”<span class="quote">The Magic Cauldron</span>”</span> does a great job of
analyzing the economics and business models associated with open-source
software.<a href="#ftn.idm272" class="footnote" name="idm272"><sup class="footnote">[17]</sup></a> These models can provide
examples of sustainable approaches for those Made with Creative Commons.
</p><p>
- It isn’t just about an abundant availability of digital assets but also
+ It isn’t just about an abundant availability of digital assets but also
about abundance of participation. The growth of personal computing,
information technology, and the Internet made it possible for mass
participation in producing creative works and distributing them. Photos,
created and distributed by almost anyone. Despite this potential for
abundance, by default these digital works are governed by copyright
laws. Under copyright, a digital work is the property of the creator, and by
-law others are excluded from accessing and using it without the creator’s
+law others are excluded from accessing and using it without the creator’s
permission.
</p><p>
But people like to share. One of the ways we define ourselves is by sharing
permissions in plain language, which regular people can read and quickly
understand. It acts as a user-friendly interface to the 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
+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.<a href="#ftn.idm285" class="footnote" name="idm285"><sup class="footnote">[19]</sup></a> Taken together, these
three layers ensure creators, users, and even the Web itself understand the
Creative Commons to ensure works funded with taxpayer dollars are open and
free to the public that paid for them.
</p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-changing-market"></a>The Changing Market</h2></div></div></div><p>
- Today’s market is largely driven by global capitalism. Law and financial
+ Today’s market is largely driven by global capitalism. Law and financial
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,
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.<a href="#ftn.idm314" class="footnote" name="idm314"><sup class="footnote">[25]</sup></a>
-Seoul and Amsterdam call themselves <span class="quote">”<span class="quote">sharing cities,</span>”</span> looking
+Seoul and Amsterdam call themselves <span class="quote">”<span class="quote">sharing cities,</span>”</span> 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.<a href="#ftn.idm318" class="footnote" name="idm318"><sup class="footnote">[26]</sup></a>
Uber are still largely operating under the usual norms and rules of the
market, making them less like a commons and more 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
+or building an alternative to a corporate-driven market economy; it’s about
extending the deregulated free market into new areas of our
lives.<a href="#ftn.idm323" class="footnote" name="idm323"><sup class="footnote">[27]</sup></a> While none of the people we
interviewed for our case studies would describe themselves as part of the
looking to change the norms and rules by which the market operates.
</p><p>
For an ordinary corporation, making social benefit a part of its operations
-is difficult, as it’s legally required to make decisions that financially
+is difficult, as it’s legally required to make decisions that 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,
and other organizational forms offer alternatives to the traditional
corporation. Collectively, these alternative market entities are changing
the rules and norms of the market.<a href="#ftn.idm336" class="footnote" name="idm336"><sup class="footnote">[31]</sup></a>
- </p><p><span class="quote">”<span class="quote">A book on open business models</span>”</span> is how we described it in this
-book’s Kickstarter campaign. We used a handbook called Business Model
+ </p><p><span class="quote">”<span class="quote">A book on open business models</span>”</span> 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 <span class="quote">”<span class="quote">open process</span>”</span> involving
+is. Developed over nine years using an <span class="quote">”<span class="quote">open process</span>”</span> involving
470 coauthors from forty-five countries, it is useful as a framework for
talking about business models.<a href="#ftn.idm341" class="footnote" name="idm341"><sup class="footnote">[32]</sup></a>
</p><p>
- It contains a <span class="quote">”<span class="quote">business model canvas,</span>”</span> which conceives of a
+ It contains a <span class="quote">”<span class="quote">business model canvas,</span>”</span> which conceives of a
business model as having nine building blocks.<a href="#ftn.idm346" class="footnote" name="idm346"><sup class="footnote">[33]</sup></a> This blank canvas can serve as a tool for anyone to design their
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
-<span class="quote">”<span class="quote">type of open environment that the business fits
-in.</span>
”</span><a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
+<span class="quote">”<span class="quote">type of open environment that the business fits
+in.</span>
”</span><a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
useful when we analyzed businesses and helped start-ups plan their economic
model.
</p><p>
In our case study interviews, many expressed discomfort over describing
-themselves as an open business model—the term business model suggested
+themselves as an open business model—the term business model suggested
primarily being situated in the market. Where you sit on the
commons-to-market spectrum affects the extent to which you see yourself as a
business in the market. The more central to the mission shared resources
</p><p>
The creators, businesses, and organizations we profile all engage with the
market to generate revenue in some way. The ways in which this is done vary
-widely. Donations, pay what you can, memberships, <span class="quote">”<span class="quote">digital for free
-but physical for a fee,</span>”</span> crowdfunding, matchmaking, value-add
+widely. Donations, pay what you can, memberships, <span class="quote">”<span class="quote">digital for free
+but physical for a fee,</span>”</span> 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.)<a href="#ftn.idm358" class="footnote" name="idm358"><sup class="footnote">[35]</sup></a> There is no single magic bullet, and each endeavor has devised ways
and contributed to by everyone. Using the resources of others, contributing
your own, and mixing yours with others to create new works are all dynamic
forms of participation made possible by the commons. Being Made with
-Creative Commons means you’re engaging as many users with your resources as
+Creative Commons means you’re engaging as many users with your resources as
possible. Users are also authoring, editing, remixing, curating,
localizing, translating, and distributing. The commons makes it possible for
people to directly participate in culture, knowledge building, and even
than you take. Be open and inclusive. Add value. Make visible what you are
using from the commons, what you are adding, and what you are
monetizing. Maximize abundance. Give attribution. Express gratitude. Develop
-trust; don’t exploit. Build relationship and community. Be
+trust; don’t exploit. Build relationship and community. Be
transparent. Defend the commons.
</p><p>
The new digital commons is here to stay. Made With Creative Commons case
-studies show how it’s possible to be part of this commons while still
+studies show how it’s possible to be part of this commons while still
functioning within market and state systems. The commons generates benefits
neither the market nor state can achieve on their own. Rather than the
market or state dominating as primary means of resource management, a more
</p></div><div id="ftn.idm125" class="footnote"><p><a href="#idm125" class="para"><sup class="para">[5] </sup></a>
Ibid., 175.
</p></div><div id="ftn.idm143" class="footnote"><p><a href="#idm143" class="para"><sup class="para">[6] </sup></a>
- Daniel H. Cole, <span class="quote">”<span class="quote">Learning from Lin: Lessons and Cautions from the
-Natural Commons for the Knowledge Commons,</span>”</span> in Governing Knowledge
+ Daniel H. Cole, <span class="quote">”<span class="quote">Learning from Lin: Lessons and Cautions from the
+Natural Commons for the Knowledge Commons,</span>”</span> in Governing Knowledge
Commons, eds. Brett M. Frischmann, Michael J. Madison, and Katherine J.
Strandburg (New York: Oxford University Press, 2014), 53.
</p></div><div id="ftn.idm170" class="footnote"><p><a href="#idm170" class="para"><sup class="para">[7] </sup></a>
</p></div><div id="ftn.idm185" class="footnote"><p><a href="#idm185" class="para"><sup class="para">[8] </sup></a>
Bollier, Think Like a Commoner, 175.
</p></div><div id="ftn.idm191" class="footnote"><p><a href="#idm191" class="para"><sup class="para">[9] </sup></a>
- Joshua Farley and Ida Kubiszewski, <span class="quote">”<span class="quote">The Economics of Information in a
-Post-Carbon Economy,</span>”</span> in Free Knowledge: Confronting the
+ Joshua Farley and Ida Kubiszewski, <span class="quote">”<span class="quote">The Economics of Information in a
+Post-Carbon Economy,</span>”</span> 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.
+H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4.
</p></div><div id="ftn.idm202" class="footnote"><p><a href="#idm202" class="para"><sup class="para">[10] </sup></a>
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.
+2014), 42–43.
</p></div><div id="ftn.idm213" class="footnote"><p><a href="#idm213" class="para"><sup class="para">[11] </sup></a>
- Bollier, Think Like a Commoner, 55–78.
+ Bollier, Think Like a Commoner, 55–78.
</p></div><div id="ftn.idm216" class="footnote"><p><a href="#idm216" class="para"><sup class="para">[12] </sup></a>
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;
+Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
and Bollier, Think Like a Commoner, 88.
</p></div><div id="ftn.idm233" class="footnote"><p><a href="#idm233" class="para"><sup class="para">[13] </sup></a>
Brett M. Frischmann, Michael J. Madison, and Katherine J. Strandburg,
-<span class="quote">”<span class="quote">Governing Knowledge Commons,</span>”</span> in Frischmann, Madison, and
+<span class="quote">”<span class="quote">Governing Knowledge Commons,</span>”</span> in Frischmann, Madison, and
Strandburg Governing Knowledge Commons, 12.
</p></div><div id="ftn.idm238" class="footnote"><p><a href="#idm238" class="para"><sup class="para">[14] </sup></a>
- Farley and Kubiszewski, <span class="quote">”<span class="quote">Economics of Information,</span>”</span> in Elliott
+ Farley and Kubiszewski, <span class="quote">”<span class="quote">Economics of Information,</span>”</span> in Elliott
and Hepting, Free Knowledge, 203.
- </p></div><div id="ftn.idm261" class="footnote"><p><a href="#idm261" class="para"><sup class="para">[15] </sup></a><span class="quote">”<span class="quote">What Is Free Software?</span>”</span> GNU Operating System, the Free
-Software Foundation’s Licensing and Compliance Lab, accessed December 30,
+ </p></div><div id="ftn.idm261" class="footnote"><p><a href="#idm261" class="para"><sup class="para">[15] </sup></a><span class="quote">”<span class="quote">What Is Free Software?</span>”</span> GNU Operating System, the Free
+Software Foundation’s Licensing and Compliance Lab, accessed December 30,
2016, <a class="ulink" href="http://www.gnu.org/philosophy/free-sw" target="_top">http://www.gnu.org/philosophy/free-sw</a>.
</p></div><div id="ftn.idm267" class="footnote"><p><a href="#idm267" class="para"><sup class="para">[16] </sup></a>
- Wikipedia, s.v. <span class="quote">”<span class="quote">Open-source software,</span>”</span> last modified November
+ Wikipedia, s.v. <span class="quote">”<span class="quote">Open-source software,</span>”</span> last modified November
22, 2016.
</p></div><div id="ftn.idm272" class="footnote"><p><a href="#idm272" class="para"><sup class="para">[17] </sup></a>
- Eric S. Raymond, <span class="quote">”<span class="quote">The Magic Cauldron,</span>”</span> in The Cathedral and the
+ Eric S. Raymond, <span class="quote">”<span class="quote">The Magic Cauldron,</span>”</span> in The Cathedral and the
Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary,
-rev. ed. (Sebastopol, CA: O
’Reilly Media, 2001), <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
+rev. ed. (Sebastopol, CA: O
’Reilly Media, 2001), <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
</p></div><div id="ftn.idm278" class="footnote"><p><a href="#idm278" class="para"><sup class="para">[18] </sup></a>
New York Times Customer Insight Group, The Psychology of Sharing: Why Do
People Share Online? (New York: New York Times Customer Insight Group,
2011), <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
- </p></div><div id="ftn.idm285" class="footnote"><p><a href="#idm285" class="para"><sup class="para">[19] </sup></a><span class="quote">”<span class="quote">Licensing Considerations,</span>”</span> Creative Commons, accessed December
+ </p></div><div id="ftn.idm285" class="footnote"><p><a href="#idm285" class="para"><sup class="para">[19] </sup></a><span class="quote">”<span class="quote">Licensing Considerations,</span>”</span> Creative Commons, accessed December
30, 2016, <a class="ulink" href="http://creativecommons.org/share-your-work/licensing-considerations/" target="_top">http://creativecommons.org/share-your-work/licensing-considerations/</a>.
</p></div><div id="ftn.idm291" class="footnote"><p><a href="#idm291" class="para"><sup class="para">[20] </sup></a>
Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative
Commons, 2015), <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
</p></div><div id="ftn.idm297" class="footnote"><p><a href="#idm297" class="para"><sup class="para">[21] </sup></a>
- Wikipedia, s.v. <span class="quote">”<span class="quote">Open Government Partnership,</span>”</span> last modified
+ Wikipedia, s.v. <span class="quote">”<span class="quote">Open Government Partnership,</span>”</span> last modified
September 24, 2016, <a class="ulink" href="http://en.wikipedia.org/wiki/Open_Government_Partnership" target="_top">http://en.wikipedia.org/wiki/Open_Government_Partnership</a>.
</p></div><div id="ftn.idm304" class="footnote"><p><a href="#idm304" class="para"><sup class="para">[22] </sup></a>
Capra and Mattei, Ecology of Law, 114.
</p></div><div id="ftn.idm306" class="footnote"><p><a href="#idm306" class="para"><sup class="para">[23] </sup></a>
Ibid., 116.
</p></div><div id="ftn.idm309" class="footnote"><p><a href="#idm309" class="para"><sup class="para">[24] </sup></a>
- The Swedish International Development Cooperation Agency, <span class="quote">”<span class="quote">Stockholm
-Statement</span>
”</span> accessed February 15, 2017, <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
+ The Swedish International Development Cooperation Agency, <span class="quote">”<span class="quote">Stockholm
+Statement</span>
”</span> accessed February 15, 2017, <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
</p></div><div id="ftn.idm314" class="footnote"><p><a href="#idm314" class="para"><sup class="para">[25] </sup></a>
City of Bologna, Regulation on Collaboration between Citizens and the City
for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory
The Seoul Sharing City website is <a class="ulink" href="http://english.sharehub.kr" target="_top">http://english.sharehub.kr</a>;
for Amsterdam Sharing City, go to <a class="ulink" href="http://www.sharenl.nl/amsterdam-sharing-city/" target="_top">http://www.sharenl.nl/amsterdam-sharing-city/</a>.
</p></div><div id="ftn.idm323" class="footnote"><p><a href="#idm323" class="para"><sup class="para">[27] </sup></a>
- Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
+ Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
Books, 2015), 42.
</p></div><div id="ftn.idm326" class="footnote"><p><a href="#idm326" class="para"><sup class="para">[28] </sup></a>
- Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
+ Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
Something for Nothing, Reprint with new preface. (New York: Hyperion,
2010), 78.
</p></div><div id="ftn.idm330" class="footnote"><p><a href="#idm330" class="para"><sup class="para">[29] </sup></a>
</p></div><div id="ftn.idm336" class="footnote"><p><a href="#idm336" class="para"><sup class="para">[31] </sup></a>
Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution;
Journeys to a Generative Economy (San Francisco: Berrett-Koehler, 2012),
-8–9.
+8–9.
</p></div><div id="ftn.idm341" class="footnote"><p><a href="#idm341" class="para"><sup class="para">[32] </sup></a>
Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
John Wiley and Sons, 2010). A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
</p></div><div id="ftn.idm346" class="footnote"><p><a href="#idm346" class="para"><sup class="para">[33] </sup></a>
This business model canvas is available to download at <a class="ulink" href="http://strategyzer.com/canvas/business-model-canvas" target="_top">http://strategyzer.com/canvas/business-model-canvas</a>.
</p></div><div id="ftn.idm350" class="footnote"><p><a href="#idm350" class="para"><sup class="para">[34] </sup></a>
- We’ve made the <span class="quote">”<span class="quote">Open Business Model Canvas,</span>”</span> designed by the
+ We’ve made the <span class="quote">”<span class="quote">Open Business Model Canvas,</span>”</span> designed by the
coauthor Paul Stacey, available online at <a class="ulink" href="http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit" target="_top">http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit</a>.
You can also find the accompanying Open Business Model Canvas Questions at
<a class="ulink" href="http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit" target="_top">http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit</a>.
</p></div><div id="ftn.idm358" class="footnote"><p><a href="#idm358" class="para"><sup class="para">[35] </sup></a>
A more comprehensive list of revenue streams is available in this post I
-wrote on Medium on March 6, 2016. <span class="quote">”<span class="quote">What Is an Open Business Model and
-How Can You Generate Revenue?</span>
”</span>, available at <a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
+wrote on Medium on March 6, 2016. <span class="quote">”<span class="quote">What Is an Open Business Model and
+How Can You Generate Revenue?</span>
”</span>, available at <a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
</p></div><div id="ftn.idm369" class="footnote"><p><a href="#idm369" class="para"><sup class="para">[36] </sup></a>
Henry Chesbrough, Open Innovation: The New Imperative for Creating and
Profiting from Technology (Boston: Harvard Business Review Press, 2006),
-31–44.
- </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>Kapitel 2. How to Be Made with Creative Commons</h2></div></div></div><div class="toc"><p><b>Innehållsförteckning</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+31–44.
+ </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>Kapitel 2. How to Be Made with Creative Commons</h2></div></div></div><div class="toc"><p><b>Innehållsförteckning</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Sarah Hinchliff Pearson}
\end{flushright}</td></tr></table></div><p>
When we began this project in August 2015, we set out to write a book about
business models that involve Creative Commons licenses in some significant
-way—what we call being Made with Creative Commons. With the help of our
+way—what we call being Made with Creative Commons. With the help of our
Kickstarter backers, we chose twenty-four endeavors from all around the
world that are Made with Creative Commons. The mix is diverse, from an
individual musician to a university-textbook publisher to an electronics
manufacturer. Some make their own content and share under Creative Commons
licensing. Others are platforms for CC-licensed creative work made by
others. Many sit somewhere in between, both using and contributing creative
-work that’s shared with the public. Like all who use the licenses, these
-endeavors share their work—whether it’s open data or furniture designs—in a
+work that’s shared with the public. Like all who use the licenses, these
+endeavors share their work—whether it’s open data or furniture designs—in a
way that enables the public not only to access it but also to make use of
it.
</p><p>
different from the one that was revealing itself in our interviews and
research.
</p><p>
- It isn’t that we were wrong to think you can make money while using Creative
+ It isn’t that we were wrong to think you can make money while using Creative
Commons licenses. In many instances, CC can help make you more money. Nor
were we wrong that there are business models out there that others who want
to use CC licensing as part of their livelihood or business could
-replicate. What we didn’t realize was just how misguided it would be to
+replicate. What we didn’t realize was just how misguided it would be to
write a book about being Made with Creative Commons using only a business
lens.
</p><p>
According to the seminal handbook Business Model Generation, a business
-model <span class="quote">”<span class="quote">describes the rationale of how an organization creates,
-delivers, and captures value.</span>
”</span><a href="#ftn.idm396" class="footnote" name="idm396"><sup class="footnote">[37]</sup></a>
+model <span class="quote">”<span class="quote">describes the rationale of how an organization creates,
+delivers, and captures value.</span>
”</span><a href="#ftn.idm396" class="footnote" name="idm396"><sup class="footnote">[37]</sup></a>
Thinking about sharing in terms of creating and 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, <span class="quote">”<span class="quote">Business model can mean anything you want it to
-mean.</span>”</span>
+with him, <span class="quote">”<span class="quote">Business model can mean anything you want it to
+mean.</span>”</span>
</p><p>
Eventually, we got it. Being Made with Creative Commons is more than a
business model. While we will talk about specific revenue models as one
everything we learned from the case studies and write up the practical
lessons and takeaways. I spent months trying to jam what we learned into the
business-model box, convinced there must be some formula for the way things
-interacted. But there is no formula. You’ll probably have to discard that
+interacted. But there is no formula. You’ll probably have to discard that
way of thinking before you read any further.
</p><p>
In every interview, we started from the same simple questions. Amid all the
Whether the public makes use of the opportunity to copy and adapt your work,
sharing with a Creative Commons license is a symbol of how you want to
interact with the people who consume your work. Whenever you create
-something, <span class="quote">”<span class="quote">all rights reserved</span>”</span> under copyright is automatic,
-so the copyright symbol (©) on the work does not necessarily come across as
+something, <span class="quote">”<span class="quote">all rights reserved</span>”</span> under copyright is automatic,
+so the copyright symbol (©) on the work does not necessarily come across as
a marker of distrust or excessive protectionism. But using a CC license can
-be a symbol of the opposite—of wanting a real human relationship, rather
+be a symbol of the opposite—of wanting a real human relationship, rather
than an impersonal market transaction. It leaves open the possibility of
connection.
</p><p>
</p><p>
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, <span class="quote">”<span class="quote">Creators usually
-start doing what they do for love.</span>
”</span><a href="#ftn.idm410" class="footnote" name="idm410"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
+ways, this is nothing new. As Doctorow has written, <span class="quote">”<span class="quote">Creators usually
+start doing what they do for love.</span>
”</span><a href="#ftn.idm410" class="footnote" name="idm410"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
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 specific problem you have. The creators of Arduino
-told us that the key question when creating something is <span class="quote">”<span class="quote">Do you as
-the creator want to use it? It has to have personal use and meaning.</span>”</span>
+told us that the key question when creating something is <span class="quote">”<span class="quote">Do you as
+the creator want to use it? It has to have personal use and meaning.</span>”</span>
</p><p>
Many that are Made with Creative Commons have an express social mission that
underpins everything they do. In many cases, sharing with Creative Commons
expressly advances that social mission, and using the licenses can be the
difference between legitimacy and hypocrisy. Noun Project co-founder Edward
Boatman told us they could not have stated their social mission of sharing
-with a straight face if they weren’t willing to show the world that it was
+with a straight face if they weren’t willing to show the world that it was
OK to share their content using a Creative Commons license.
</p><p>
This dynamic is probably one reason why there are so many nonprofit examples
where profit is not paramount, and producing social good and human
connection are integral to success.
</p><p>
- Even if profit isn’t the end goal, you have to bring in money to be
+ Even if profit isn’t the end goal, you have to bring in money to be
successfully Made with Creative Commons. At a bare minimum, you have to make
enough money to keep the lights on.
</p><p>
generally a much lower threshold for sustainability than there used to be
for any creative endeavor. Digital technology has made it easier than ever
to create, and easier than ever to distribute. As Doctorow put it in his
-book Information Doesn’t Want to Be Free, <span class="quote">”<span class="quote">If analog dollars have
+book Information Doesn’t Want to Be Free, <span class="quote">”<span class="quote">If analog dollars have
turned into digital dimes (as the critics of ad-supported media have it),
-there is the fact that it’s possible to run a business that gets the same
-amount of advertising as its forebears at a fraction of the price.</span>”</span>
+there is the fact that it’s possible to run a business that gets the same
+amount of advertising as its forebears at a fraction of the price.</span>”</span>
</p><p>
Some creation costs are the same as they always were. It takes the same
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
+painting. Technology can’t change that. But other costs are dramatically
reduced by technology, particularly in production-heavy domains like
filmmaking.<a href="#ftn.idm419" class="footnote" name="idm419"><sup class="footnote">[39]</sup></a> CC-licensed content and
content in the public domain, as well as the work of volunteer
-collaborators, can also dramatically reduce costs if they’re being used as
+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 would be created whether or not the creator is paid because it
is a labor of love.
and even expenses associated with the various ways money is being made, like
touring or custom training.
</p><p>
- It’s important to recognize that the biggest impact of technology on
+ It’s important to recognize that the biggest impact of technology on
creative endeavors is that creators can now foot the costs of creation and
distribution themselves. People now often have a direct route to their
potential public without necessarily needing intermediaries like record
-labels and book publishers. Doctorow wrote, <span class="quote">”<span class="quote">If you’re a creator who
+labels and book publishers. Doctorow wrote, <span class="quote">”<span class="quote">If you’re a creator 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.</span>
”</span><a href="#ftn.idm426" class="footnote" name="idm426"><sup class="footnote">[41]</sup></a>
+of ways to do it without them.</span>
”</span><a href="#ftn.idm426" class="footnote" name="idm426"><sup class="footnote">[41]</sup></a>
Previously, distribution of creative work involved the 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.
</p><p>
- Whether for an individual creator or a larger endeavor, it usually isn’t
-enough to break even if you want to make what you’re doing a livelihood. You
+ Whether for an individual creator or a larger endeavor, it usually isn’t
+enough to break even if you want to make what you’re doing a livelihood. You
need to build in some support for the general operation. This extra bit
looks different for everyone, but importantly, in nearly all cases for those
-Made with Creative Commons, the definition of <span class="quote">”<span class="quote">enough money</span>”</span>
+Made with Creative Commons, the definition of <span class="quote">”<span class="quote">enough money</span>”</span>
looks a lot different than it does in the world of venture capital and stock
options. It is more about sustainability and less about unlimited growth and
-profit. SparkFun founder Nathan Seidle told us, <span class="quote">”<span class="quote">Business model is a
+profit. SparkFun founder Nathan Seidle told us, <span class="quote">”<span class="quote">Business model is a
really grandiose word for it. It is really just about keeping the operation
-going day to day.</span>”</span>
+going day to day.</span>”</span>
</p><p>
This book is a testament to the notion that it is possible to make money
while using CC licenses and CC-licensed content, but we are still very much
</p><p>
There are, however, plenty of ways in which CC licensing can be good for
business in fairly predictable ways. The first is how it helps solve
-<span class="quote">”<span class="quote">problem zero.</span>”</span>
+<span class="quote">”<span class="quote">problem zero.</span>”</span>
</p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="problem-zero-getting-discovered"></a>Problem Zero: Getting Discovered</h2></div></div></div><p>
Once you create or collect your content, the next step is finding users,
-customers, fans—in other words, your people. As Amanda Palmer wrote,
-<span class="quote">”<span class="quote">It has to start with the art. The songs had to touch people
+customers, fans—in other words, your people. As Amanda Palmer wrote,
+<span class="quote">”<span class="quote">It has to start with the art. The songs had to touch people
initially, and mean something, for anything to work at
-all.</span>”</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[42]</sup></a> There isn’t any magic to
+all.</span>”</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[42]</sup></a> There isn’t any magic to
finding your people, and 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 by
shelf space, so there is room for every obscure interest, taste, and need
imaginable. This is what Chris Anderson dubbed the Long Tail, where
-consumption becomes less about mainstream mass <span class="quote">”<span class="quote">hits</span>”</span> and more
-about micromarkets for every particular niche. As Anderson wrote, <span class="quote">”<span class="quote">We
+consumption becomes less about mainstream mass <span class="quote">”<span class="quote">hits</span>”</span> and more
+about micromarkets for every particular niche. As Anderson wrote, <span class="quote">”<span class="quote">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.</span>
”</span><a href="#ftn.idm442" class="footnote" name="idm442"><sup class="footnote">[43]</sup></a> We are no longer limited
+not.</span>
”</span><a href="#ftn.idm442" class="footnote" name="idm442"><sup class="footnote">[43]</sup></a> We are no longer limited
to what appeals to the masses.
</p><p>
- While finding <span class="quote">”<span class="quote">your people</span>”</span> online is theoretically easier than
+ While finding <span class="quote">”<span class="quote">your people</span>”</span> online is theoretically easier than
in the analog world, as a practical matter it can still be difficult to
actually get noticed. The Internet is a firehose of content, one that 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.<a href="#ftn.idm446" class="footnote" name="idm446"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">”<span class="quote">The
+well.<a href="#ftn.idm446" class="footnote" name="idm446"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">”<span class="quote">The
greatest change of the past decade has been the shift in time people spend
consuming amateur content instead of professional
-content.</span>
”</span><a href="#ftn.idm449" class="footnote" name="idm449"><sup class="footnote">[45]</sup></a> To top it all off, you
-have to compete against the rest of their lives, too—<span class="quote">”<span class="quote">friends, family,
-music playlists, soccer games, and nights on the town.</span>
”</span><a href="#ftn.idm452" class="footnote" name="idm452"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
+content.</span>
”</span><a href="#ftn.idm449" class="footnote" name="idm449"><sup class="footnote">[45]</sup></a> To top it all off, you
+have to compete against the rest of their lives, too—<span class="quote">”<span class="quote">friends, family,
+music playlists, soccer games, and nights on the town.</span>
”</span><a href="#ftn.idm452" class="footnote" name="idm452"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
right people.
</p><p>
When you come to the Internet armed with an all-rights-reserved mentality
from the start, you are often restricting access to your work before there
is even any demand for it. In many cases, requiring payment 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
+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.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
+zero.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
charge money for 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
-discovered and find <span class="quote">”<span class="quote">your people,</span>”</span> prohibiting people from
+discovered and find <span class="quote">”<span class="quote">your people,</span>”</span> prohibiting people from
copying your work and sharing it with others is counterproductive.
</p><p>
- 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, <span class="quote">”<span class="quote">Recognition is
+ 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, <span class="quote">”<span class="quote">Recognition is
one of many necessary preconditions for artistic
-success.</span>
”</span><a href="#ftn.idm460" class="footnote" name="idm460"><sup class="footnote">[48]</sup></a>
+success.</span>
”</span><a href="#ftn.idm460" class="footnote" name="idm460"><sup class="footnote">[48]</sup></a>
</p><p>
Choosing not to spend time and energy restricting access to your work and
policing infringement also builds goodwill. Lumen Learning, a for-profit
It is not just that restricting access to your work may undermine your
social mission. It also may alienate the people who most value your creative
work. If people like your work, their natural instinct will be to share it
-with others. But as David Bollier wrote, <span class="quote">”<span class="quote">Our natural human impulses
-to imitate and share—the essence of culture—have been
-criminalized.</span>
”</span><a href="#ftn.idm465" class="footnote" name="idm465"><sup class="footnote">[49]</sup></a>
+with others. But as David Bollier wrote, <span class="quote">”<span class="quote">Our natural human impulses
+to imitate and share—the essence of culture—have been
+criminalized.</span>
”</span><a href="#ftn.idm465" class="footnote" name="idm465"><sup class="footnote">[49]</sup></a>
</p><p>
The fact that copying can carry criminal penalties undoubtedly deters
copying it, but copying with the click of a button is too easy and
convenient to ever fully stop it. Try as the copyright industry might to
-persuade us otherwise, copying a copyrighted work just doesn’t feel like
-stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
-creative work has no impact on anyone else’s ability to make use of it.
+persuade us otherwise, copying a copyrighted work just doesn’t feel like
+stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
+creative work has no impact on anyone else’s ability to make use of it.
</p><p>
If you take some amount of copying and sharing your work as a given, you can
invest your time and resources elsewhere, rather than wasting them on
playing a cat and mouse game with people who want to copy and share your
-work. Lizzy Jongma from the Rijksmuseum said, <span class="quote">”<span class="quote">We could spend a lot of
+work. Lizzy Jongma from the Rijksmuseum said, <span class="quote">”<span class="quote">We could spend a lot of
money trying to protect works, but people are going to do it anyway. And
-they will use bad-quality versions.</span>”</span> Instead, they started releasing
+they will use bad-quality versions.</span>”</span> Instead, they started releasing
high-resolution digital copies of their collection into the public domain
and making them available for free on their website. For them, sharing was a
form of quality control over the copies that were inevitably being shared
potentially abundant resource it is.<a href="#ftn.idm471" class="footnote" name="idm471"><sup class="footnote">[50]</sup></a>
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, <span class="quote">”<span class="quote">Using CC
-licenses shows you get the Internet.</span>”</span>
+advantage. As my friend and colleague Eric Steuer once said, <span class="quote">”<span class="quote">Using CC
+licenses shows you get the Internet.</span>”</span>
</p><p>
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
There are all kinds of way to leverage the power of sharing and remix to
your benefit. Here are a few.
</p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-grow-a-larger-audience"></a>Use CC to grow a larger audience</h3></div></div></div><p>
- Putting a Creative Commons license on your content won’t make it
+ Putting a Creative Commons license on your content won’t make it
automatically go viral, but eliminating legal barriers to copying the work
-certainly can’t hurt the chances that your work will be shared. The CC
+certainly can’t hurt the chances that your work will be shared. The CC
license symbolizes that sharing is welcome. It can act as a little tap on
-the shoulder to those who come across the work—a nudge to copy the work if
+the shoulder to those who come across the work—a nudge to copy the work if
they have any inkling of doing so. All things being equal, if one piece of
-content has a sign that says Share and the other says Don’t Share (which is
-what <span class="quote">”<span class="quote">©</span>”</span> means), which do you think people are more likely to
+content has a sign that says Share and the other says Don’t Share (which is
+what <span class="quote">”<span class="quote">©</span>”</span> means), which do you think people are more likely to
share?
</p><p>
The Conversation is an online news site with in-depth articles written by
</p><p>
The idea that more eyeballs equates with more success is a form of the max
strategy, adopted by Google and other technology companies. According to
-Google’s Eric Schmidt, the idea is simple: <span class="quote">”<span class="quote">Take whatever it is you
+Google’s Eric Schmidt, the idea is simple: <span class="quote">”<span class="quote">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.</span>
”</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[52]</sup></a>
+as well put things everywhere.</span>
”</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[52]</sup></a>
This strategy is what often motivates companies to 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
</p><p>
Attribution can be about more than just receiving credit. It can also be
about establishing provenance. People naturally want to know where content
-came from—the source of a work is sometimes just as interesting as the work
+came from—the source of a work is sometimes just as interesting as the work
itself. Opendesk is a platform for furniture designers to share their
designs. Consumers who like those designs can then get matched with local
makers who turn the designs into real-life furniture. The fact that I,
As we will cover in more detail later, many endeavors that are Made with
Creative Commons make money by providing a product or service other than the
CC-licensed work. Sometimes that other product or service is completely
-unrelated to the CC content. Other times it’s a physical copy or live
+unrelated to the CC content. Other times it’s a physical copy or live
performance of the CC content. In all cases, the CC content can attract
people to your other product or service.
</p><p>
- Knowledge Unlatched’s Pinter told us she has seen time and again how
-offering CC-licensed content—that is, digitally for free—actually increases
+ Knowledge Unlatched’s Pinter told us she has seen time and again how
+offering CC-licensed content—that is, digitally for free—actually increases
sales of the printed goods because it functions as a marketing tool. We see
this phenomenon regularly with famous artwork. The Mona Lisa is likely the
most recognizable painting on the planet. Its ubiquity has the effect of
</p><p>
Four of the six CC licenses enable reusers to take apart, build upon, or
otherwise adapt the work. Depending on the context, adaptation can mean
-wildly different things—translating, updating, localizing, improving,
+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.<a href="#ftn.idm512" class="footnote" name="idm512"><sup class="footnote">[57]</sup></a> Adaptation is more game
usefulness. For photography, the ability to adapt a photo is less important.
</p><p>
This is a way to counteract a potential downside of the abundance of free
-and open content described above. As Anderson wrote in Free, <span class="quote">”<span class="quote">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.</span>”</span><a href="#ftn.idm516" class="footnote" name="idm516"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
+and open content described above. As Anderson wrote in Free, <span class="quote">”<span class="quote">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.</span>”</span><a href="#ftn.idm516" class="footnote" name="idm516"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
penny for something changes our perception of that thing, then surely the
act of remixing it enhances our perception exponentially.<a href="#ftn.idm518" class="footnote" name="idm518"><sup class="footnote">[59]</sup></a> We know that people will pay more for products they
had a part in creating.<a href="#ftn.idm520" class="footnote" name="idm520"><sup class="footnote">[60]</sup></a> And we know
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, <span class="quote">”<span class="quote">To participate is to act as if your
+Surplus, Clay Shirky says, <span class="quote">”<span class="quote">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.</span>
”</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[62]</sup></a>
+response is part of the event.</span>
”</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[62]</sup></a>
Opening the door to your content can get people more deeply tied to your
work.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-differentiate-yourself"></a>Use CC to differentiate yourself</h3></div></div></div><p>
the rules of establishment players in the media. Business 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.<a href="#ftn.idm531" class="footnote" name="idm531"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
+creators, often at the expense of the creator
’s best interest.<a href="#ftn.idm531" class="footnote" name="idm531"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
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
-cannot. <span class="quote">”<span class="quote">Don’t go into a market and play by the incumbent
-rules,</span>”</span> David said. <span class="quote">”<span class="quote">Change the rules of engagement.</span>”</span>
+cannot. <span class="quote">”<span class="quote">Don’t go into a market and play by the incumbent
+rules,</span>”</span> David said. <span class="quote">”<span class="quote">Change the rules of engagement.</span>”</span>
</p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-money"></a>Making Money</h2></div></div></div><p>
Like any moneymaking endeavor, those that are Made with Creative Commons
have to generate some type of value for their audience or
revenue, some market-based and some not. One common strategy is using grant
funding for content creation when research-and-development costs are
particularly high, and then finding a different revenue stream (or streams)
-for ongoing expenses. As Shirky wrote, <span class="quote">”<span class="quote">The trick is in knowing when
+for ongoing expenses. As Shirky wrote, <span class="quote">”<span class="quote">The trick is in knowing when
markets are an optimal way of organizing interactions and when they are
-not.</span>
”</span><a href="#ftn.idm544" class="footnote" name="idm544"><sup class="footnote">[65]</sup></a>
+not.</span>
”</span><a href="#ftn.idm544" class="footnote" name="idm544"><sup class="footnote">[65]</sup></a>
</p><p>
Our case studies explore in more detail the various revenue-generating
mechanisms used by the creators, organizations, and businesses we
or not.<a href="#ftn.idm555" class="footnote" name="idm555"><sup class="footnote">[68]</sup></a> 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, <span class="quote">”<span class="quote">Copyright protection schemes, whether coded
+Free, Anderson wrote, <span class="quote">”<span class="quote">Copyright protection schemes, whether coded
into either law or software, are simply holding up a price against the force
-of gravity.</span>”</span>
+of gravity.</span>”</span>
</p><p>
- Of course, this doesn’t mean that content-driven endeavors have no future in
+ Of course, this doesn’t mean that content-driven endeavors have no future in
the traditional marketplace. In Free, Anderson explains how when one product
or service becomes free, as information and content largely have in the
-digital age, other things become more valuable. <span class="quote">”<span class="quote">Every abundance
-creates a new scarcity,</span>”</span> he wrote. You just have to find some way
+digital age, other things become more valuable. <span class="quote">”<span class="quote">Every abundance
+creates a new scarcity,</span>”</span> he wrote. You just have to find some way
other than the content to provide value to your audience or customers. As
-Anderson says, <span class="quote">”<span class="quote">It’s easy to compete with Free: simply offer something
-better or at least different from the free version.</span>
”</span><a href="#ftn.idm561" class="footnote" name="idm561"><sup class="footnote">[69]</sup></a>
+Anderson says, <span class="quote">”<span class="quote">It’s easy to compete with Free: simply offer something
+better or at least different from the free version.</span>
”</span><a href="#ftn.idm561" class="footnote" name="idm561"><sup class="footnote">[69]</sup></a>
</p><p>
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 endeavors in the
Here are the most common high-level categories.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-custom-service-to-consumers-of-your-work-market-based"></a>Providing a custom service to consumers of your work
<span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
- In this age of information abundance, we don’t lack for content. The trick
+ 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, <span class="quote">”<span class="quote">Commodity information
+are particularly valuable. As Anderson wrote, <span class="quote">”<span class="quote">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.</span>
”</span><a href="#ftn.idm571" class="footnote" name="idm571"><sup class="footnote">[70]</sup></a> This can be anything
-from the artistic and cultural consulting services provided by Ártica to the
-custom-song business of Jonathan <span class="quote">”<span class="quote">Song-A-Day</span>”</span> Mann.
+expensive.</span>
”</span><a href="#ftn.idm571" class="footnote" name="idm571"><sup class="footnote">[70]</sup></a> This can be anything
+from the artistic and cultural consulting services provided by Ártica to the
+custom-song business of Jonathan <span class="quote">”<span class="quote">Song-A-Day</span>”</span> Mann.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-physical-copy-market-based"></a>Charging for the physical copy <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
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).<a href="#ftn.idm578" class="footnote" name="idm578"><sup class="footnote">[71]</sup></a>
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
+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 hands. Or in domains where the content isn’t useful until it is in
+in their hands. Or in domains where the content isn’t useful until it is in
physical form, like furniture designs. In those situations, a significant
portion of consumers will pay for the convenience of having someone else put
the physical version together for them. Some endeavors squeeze even more out
offer more valuable to the paying customers. This is a variation of a
traditional business model built on free called multi-sided
platforms.<a href="#ftn.idm589" class="footnote" name="idm589"><sup class="footnote">[72]</sup></a> Access to your audience
-isn’t the only thing people are willing to pay for—there are other services
+isn’t the only thing people are willing to pay for—there are other services
you can provide as well.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-advertisers-or-sponsors-market-based"></a>Charging advertisers or sponsors <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
The traditional model of subsidizing free content is advertising. In this
pay to be featured on the platform. Obviously, this revenue stream is only
available to those who rely on work created, at least in part, by
others. The most well-known version of this model is the
-<span class="quote">”<span class="quote">author-processing charge</span>”</span> of open-access journals like those
+<span class="quote">”<span class="quote">author-processing charge</span>”</span> of open-access journals like those
published by the Public Library of Science, but there are other
variations. The Conversation is primarily funded by a university-membership
model, where universities pay to have their faculties participate as writers
some direct value provided to them, many of the revenue streams were more
about providing value, building a relationship, and then eventually finding
some money that flows back out of a sense of reciprocity. While some look
-like traditional nonprofit funding models, they aren’t charity. The endeavor
+like traditional nonprofit funding models, they aren’t charity. The endeavor
exchange value with people, just not necessarily synchronously or in a way
that requires that those values be equal. As David Bollier wrote in Think
-Like a Commoner, <span class="quote">”<span class="quote">There is no self-serving calculation of whether the
-value given and received is strictly equal.</span>”</span>
+Like a Commoner, <span class="quote">”<span class="quote">There is no self-serving calculation of whether the
+value given and received is strictly equal.</span>”</span>
</p><p>
- This should be a familiar dynamic—it is the way you deal with your friends
+ This should be a familiar dynamic—it is the way you deal with your friends
and family. We give without regard for what and when we will get back. David
-Bollier wrote, <span class="quote">”<span class="quote">Reciprocal social exchange lies at the heart of human
+Bollier wrote, <span class="quote">”<span class="quote">Reciprocal social exchange lies at the heart of human
identity, community and culture. It is a vital brain function that helps the
-human species survive and evolve.</span>”</span>
+human species survive and evolve.</span>”</span>
</p><p>
What is rare is to incorporate this sort of relationship into an endeavor
that also engages with the market.<a href="#ftn.idm626" class="footnote" name="idm626"><sup class="footnote">[76]</sup></a> We
-almost can’t help but think of relationships in the market as being centered
+almost can’t help but think of relationships in the market as being centered
on an even-steven exchange of value.<a href="#ftn.idm628" class="footnote" name="idm628"><sup class="footnote">[77]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="memberships-and-individual-donations-reciprocity-based"></a>Memberships and individual donations
<span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
a social mission, the more likely this strategy is to succeed.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="the-pay-what-you-want-model-reciprocity-based"></a>The pay-what-you-want model <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
In the pay-what-you-want model, the beneficiary of Creative Commons content
-is invited to give—at any amount they can and feel is appropriate, based on
+is invited to give—at any amount they can and feel is appropriate, based on
the public and personal value they feel is generated by the open
-content. Critically, these models are not touted as <span class="quote">”<span class="quote">buying</span>”</span>
+content. Critically, these models are not touted as <span class="quote">”<span class="quote">buying</span>”</span>
something free. They are similar to a tip jar. People make financial
contributions as an act of gratitude. These models capitalize on the fact
that we are naturally inclined to give money for things we value in the
Crowdfunding models are based on recouping the costs of creating and
distributing content before the content is created. If the endeavor is Made
with Creative Commons, anyone who wants the work in question could simply
-wait until it’s created and then access it for free. That means, for this
+wait until it’s created and then access it for free. That means, for this
model to work, people have to care about more than just receiving the
work. They have to want you to succeed. Amanda Palmer credits the success of
her crowdfunding on Kickstarter and Patreon to the years she spent building
her community and creating a connection with her fans. She wrote in The Art
-of Asking, <span class="quote">”<span class="quote">Good art is made, good art is shared, help is offered,
+of Asking, <span class="quote">”<span class="quote">Good art is made, good art is shared, help is offered,
ears are bent, emotions are exchanged, the compost of real, deep connection
is sprayed all over the fields. Then one day, the artist steps up and asks
for something. And if the ground has been fertilized enough, the audience
-says, without hesitation: of course.</span>”</span>
+says, without hesitation: of course.</span>”</span>
</p><p>
Other types of crowdfunding rely on a sense of responsibility that a
particular community may feel. Knowledge Unlatched pools funds from major
to the idea of open access generally.
</p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-human-connections"></a>Making Human Connections</h2></div></div></div><p>
Regardless of how they made money, in our interviews, we repeatedly heard
-language like <span class="quote">”<span class="quote">persuading people to buy</span>”</span> and <span class="quote">”<span class="quote">inviting
-people to pay.</span>”</span> We heard it even in connection with revenue streams
-that sit squarely within the market. Cory Doctorow told us, <span class="quote">”<span class="quote">I have to
-convince my readers that the right thing to do is to pay me.</span>”</span> The
+language like <span class="quote">”<span class="quote">persuading people to buy</span>”</span> and <span class="quote">”<span class="quote">inviting
+people to pay.</span>”</span> We heard it even in connection with revenue streams
+that sit squarely within the market. Cory Doctorow told us, <span class="quote">”<span class="quote">I have to
+convince my readers that the right thing to do is to pay me.</span>”</span> The
founders of the for-profit company Lumen Learning showed us the letter they
send to those who opt not to pay for the services they provide in connection
-with their CC-licensed educational content. It isn’t a cease-and-desist
-letter; it’s an invitation to pay because it’s the right thing to do. This
+with their CC-licensed educational content. It isn’t a cease-and-desist
+letter; it’s an invitation to pay because it’s the right thing to do. This
sort of behavior toward what could be considered nonpaying customers is
largely unheard of in the traditional marketplace. But it seems to be part
of the fabric of being Made with Creative Commons.
</p><p>
Nearly every endeavor we profiled relied, at least in part, on people being
invested in what they do. The closer the Creative Commons content is to
-being <span class="quote">”<span class="quote">the product,</span>”</span> the more pronounced this dynamic has to
+being <span class="quote">”<span class="quote">the product,</span>”</span> the more pronounced this dynamic has to
be. Rather than simply selling a product or service, they are making
ideological, personal, and creative connections with the people who value
what they do.
licensing a copyrighted work under a set of standardized terms, but also
about community, social good, contributing ideas, expressing a value system,
working together. These components of sharing are hard to cultivate if you
-think about what you do in purely market terms. Decent social behavior isn’t
+think about what you do in purely market terms. Decent social behavior isn’t
as intuitive when we are doing something that involves monetary exchange. It
takes a conscious effort to foster the context for real sharing, based not
strictly on impersonal market exchange, but on connections with the people
-with whom you share—connections with you, with your work, with your values,
+with whom you share—connections with you, with your work, with your values,
with each other.
</p><p>
The rest of this section will explore some of the common strategies that
licenses work to demonstrate their humanity. For some, this means pouring
their lives out on the page. For others, it means showing their creative
process, giving a glimpse into how they do what they do. As writer Austin
-Kleon wrote, <span class="quote">”<span class="quote">Our work doesn’t speak for itself. Human beings want to
+Kleon wrote, <span class="quote">”<span class="quote">Our work doesn’t speak for itself. Human beings want to
know where things came from, how they were made, and who 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.</span>
”</span><a href="#ftn.idm665" class="footnote" name="idm665"><sup class="footnote">[79]</sup></a>
+understand about your work affects how they value it.</span>
”</span><a href="#ftn.idm665" class="footnote" name="idm665"><sup class="footnote">[79]</sup></a>
</p><p>
A critical component to doing this effectively is not worrying about being a
-<span class="quote">”<span class="quote">brand.</span>”</span> That means not being afraid to be vulnerable. Amanda
-Palmer says, <span class="quote">”<span class="quote">When you’re afraid of someone’s judgment, you can’t
-connect with them. You’re too preoccupied with the task of impressing
-them.</span>”</span> Not everyone is suited to live life as an open book like
-Palmer, and that’s OK. There are a lot of ways to be human. The trick is
+<span class="quote">”<span class="quote">brand.</span>”</span> That means not being afraid to be vulnerable. Amanda
+Palmer says, <span class="quote">”<span class="quote">When you’re afraid of someone’s judgment, you can’t
+connect with them. You’re too preoccupied with the task of impressing
+them.</span>”</span> Not everyone is suited to live life as an open book like
+Palmer, and that’s OK. There are a lot of ways to be human. The trick is
just avoiding pretense and the temptation to artificially craft an
-image. People don’t just want the glossy version of you. They can’t relate
+image. People don’t just want the glossy version of you. They can’t relate
to it, at least not in a meaningful way.
</p><p>
This advice is probably even more important for businesses and organizations
States, corporations are people!). When 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 <span class="quote">”<span class="quote">humanizing your interactions</span>”</span>
-with the public.<a href="#ftn.idm672" class="footnote" name="idm672"><sup class="footnote">[80]</sup></a> But it can’t be a
-gimmick. You can’t fake being human.
+business-speak, this is about <span class="quote">”<span class="quote">humanizing your interactions</span>”</span>
+with the public.<a href="#ftn.idm672" class="footnote" name="idm672"><sup class="footnote">[80]</sup></a> But it can’t be a
+gimmick. You can’t fake being human.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-open-and-accountable"></a>Be open and accountable</h3></div></div></div><p>
Transparency helps people understand who you are and why you do what you do,
but it also inspires trust. Max Temkin of Cards Against Humanity told us,
-<span class="quote">”<span class="quote">One of the most surprising things you can do in capitalism is just be
-honest with people.</span>”</span> That means sharing the good and the bad. As
-Amanda Palmer wrote, <span class="quote">”<span class="quote">You can fix almost anything by authentically
-communicating.</span>”</span><a href="#ftn.idm679" class="footnote" name="idm679"><sup class="footnote">[81]</sup></a> It isn’t about
+<span class="quote">”<span class="quote">One of the most surprising things you can do in capitalism is just be
+honest with people.</span>”</span> That means sharing the good and the bad. As
+Amanda Palmer wrote, <span class="quote">”<span class="quote">You can fix almost anything by authentically
+communicating.</span>”</span><a href="#ftn.idm679" class="footnote" name="idm679"><sup class="footnote">[81]</sup></a> It isn’t about
trying to satisfy everyone or trying to sugarcoat mistakes or bad news, but
instead about explaining your rationale and then being prepared to defend it
when people are critical.<a href="#ftn.idm681" class="footnote" name="idm681"><sup class="footnote">[82]</sup></a>
lowest-common-denominator solutions and avoid the sort of candid exchange of
ideas that cultivates healthy collaboration.<a href="#ftn.idm684" class="footnote" name="idm684"><sup class="footnote">[83]</sup></a> Instead, it can be as simple as asking for input and then giving
context and explanation about decisions you make, even if soliciting
-feedback and inviting discourse is time-consuming. If you don’t go through
+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.<a href="#ftn.idm686" class="footnote" name="idm686"><sup class="footnote">[84]</sup></a> But when you get it right, it can guarantee the type of diversity
of thought that helps endeavors excel. And it is another way to get people
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="design-for-the-good-actors"></a>Design for the good actors</h3></div></div></div><p>
Traditional economics assumes people make decisions based solely on their
own economic self-interest.<a href="#ftn.idm691" class="footnote" name="idm691"><sup class="footnote">[85]</sup></a> Any
-relatively introspective human knows this is a fiction—we are much more
+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.<a href="#ftn.idm693" class="footnote" name="idm693"><sup class="footnote">[86]</sup></a> Being Made with Creative
Commons requires an assumption that people will largely act on those social
-motivations, motivations that would be considered <span class="quote">”<span class="quote">irrational</span>”</span>
-in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">”<span class="quote">It is
+motivations, motivations that would be considered <span class="quote">”<span class="quote">irrational</span>”</span>
+in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">”<span class="quote">It is
best to ignore people who try to scare you about free riding. That fear is
-based on a very shallow view of what motivates human behavior.</span>”</span> There
+based on a very shallow view of what motivates human behavior.</span>”</span> There
will always be people who will act in purely selfish ways, but endeavors
that are Made with Creative Commons design for the good actors.
</p><p>
The assumption that people will largely do the right thing can be a
-self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">”<span class="quote">Systems
+self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">”<span class="quote">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.</span>
”</span><a href="#ftn.idm699" class="footnote" name="idm699"><sup class="footnote">[87]</sup></a> When we acknowledge that people are often motivated
+better than neoclassical economics would predict.</span>
”</span><a href="#ftn.idm699" class="footnote" name="idm699"><sup class="footnote">[87]</sup></a> When we acknowledge that people are often motivated
by something other than financial self-interest, we design our endeavors in
ways that encourage and accentuate our social instincts.
</p><p>
- Rather than trying to exert control over people’s behavior, this mode of
+ Rather than trying to exert control over people’s behavior, this mode of
operating requires a certain level of trust. We might not realize it, but
our daily lives are already built on trust. As Surowiecki wrote in The
-Wisdom of Crowds, <span class="quote">”<span class="quote">It’s impossible for a society to rely on law alone
-to make sure citizens act honestly and responsibly. And it’s impossible for
+Wisdom of Crowds, <span class="quote">”<span class="quote">It’s impossible for a society to rely on law alone
+to make sure citizens act honestly and responsibly. And it’s impossible for
any organization to rely on contracts alone to make sure that its managers
-and workers live up to their obligation.</span>”</span> Instead, we largely trust
-that people—mostly strangers—will do what they are supposed to
+and workers live up to their obligation.</span>”</span> Instead, we largely trust
+that people—mostly strangers—will do what they are supposed to
do.<a href="#ftn.idm703" class="footnote" name="idm703"><sup class="footnote">[88]</sup></a> And most often, they do.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="treat-humans-like-well-humans"></a>Treat humans like, well, humans</h3></div></div></div><p>
For creators, treating people as humans means not treating them like
-fans. As Kleon says, <span class="quote">”<span class="quote">If you want fans, you have to be a fan
-first.</span>
”</span><a href="#ftn.idm709" class="footnote" name="idm709"><sup class="footnote">[89]</sup></a> Even if you happen to be
+fans. As Kleon says, <span class="quote">”<span class="quote">If you want fans, you have to be a fan
+first.</span>
”</span><a href="#ftn.idm709" class="footnote" name="idm709"><sup class="footnote">[89]</sup></a> Even if you happen to be
one of the few to reach 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.
ensure its employees have personal, one-on-one interaction with users.
</p><p>
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
+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.<a href="#ftn.idm715" class="footnote" name="idm715"><sup class="footnote">[91]</sup></a> 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
+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.<a href="#ftn.idm717" class="footnote" name="idm717"><sup class="footnote">[92]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="state-your-principles-and-stick-to-them"></a>State your principles and stick to them</h3></div></div></div><p>
Being Made with Creative Commons makes a statement about who you are and
be drawn to endeavors that are Made with Creative Commons as a way of
demonstrating their own commitment to the Creative Commons value system,
akin to a political statement. Other times people will identify and feel
-connected with an endeavor’s separate social mission. Often both.
+connected with an endeavor’s separate social mission. Often both.
</p><p>
- The expression of your values doesn’t have to be implicit. In fact, many of
+ The expression of your values doesn’t have to be implicit. In fact, many of
the people we interviewed talked about how important it is to state your
guiding principles up front. Lumen Learning attributes a lot of their
success to having been outspoken about the fundamental values that guide
operate.
</p><p>
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
+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.<a href="#ftn.idm724" class="footnote" name="idm724"><sup class="footnote">[93]</sup></a> It attracts committed
employees, motivates contributors, and builds trust.
are drawn to the values symbolized by using CC.
</p><p>
To be sustainable, though, you have to work to nurture community. People
-have to care—about you and each other. One critical piece to this is
+have to care—about you and each other. One critical piece to this is
fostering a sense of belonging. As Jono Bacon writes in The Art of
-Community, <span class="quote">”<span class="quote">If there is no belonging, there is no community.</span>”</span>
+Community, <span class="quote">”<span class="quote">If there is no belonging, there is no community.</span>”</span>
For Amanda Palmer and her band, that meant creating an accepting and
-inclusive environment where people felt a part of their <span class="quote">”<span class="quote">weird little
-family.</span>
”</span><a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[95]</sup></a> For organizations like
+inclusive environment where people felt a part of their <span class="quote">”<span class="quote">weird little
+family.</span>
”</span><a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[95]</sup></a> For organizations like
Red Hat, that means connecting around common beliefs or goals. As the CEO
-Jim Whitehurst wrote in The Open Organization, <span class="quote">”<span class="quote">Tapping into passion
+Jim Whitehurst wrote in The Open Organization, <span class="quote">”<span class="quote">Tapping into passion
is especially important in building the kinds of participative communities
-that drive open organizations.</span>
”</span><a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[96]</sup></a>
+that drive open organizations.</span>
”</span><a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[96]</sup></a>
</p><p>
Communities that collaborate together take deliberate planning. Surowiecki
-wrote, <span class="quote">”<span class="quote">It takes a lot of work to put the group together. It’s
-difficult to ensure that people are working in the group’s interest 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.</span>
”</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[97]</sup></a> Building true community
+wrote, <span class="quote">”<span class="quote">It takes a lot of work to put the group together. It’s
+difficult to ensure that people are working in the group’s interest 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.</span>
”</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[97]</sup></a> Building true community
requires giving people within the community the power to create or influence
the rules that govern the community.<a href="#ftn.idm743" class="footnote" name="idm743"><sup class="footnote">[98]</sup></a> If
the rules are created and imposed in a top-down manner, people feel like
-they don’t have a voice, which in turn leads to disengagement.
+they don’t have a voice, which in turn leads to disengagement.
</p><p>
Community takes work, but working together, or even simply being connected
around common interests or values, is in many ways what sharing is about.
Conventional wisdom in the marketplace dictates that people should try to
extract as much money as possible from resources. This is essentially what
defines so much of the so-called sharing economy. In an article on the
-Harvard Business Review website called <span class="quote">”<span class="quote">The Sharing Economy Isn’t
-about Sharing at All,</span>”</span> authors Giana Eckhardt and Fleura Bardhi
+Harvard Business Review website called <span class="quote">”<span class="quote">The Sharing Economy Isn’t
+about Sharing at All,</span>”</span> authors Giana Eckhardt and Fleura Bardhi
explained how the anonymous market-driven trans-actions in most
sharing-economy businesses are purely about monetizing access.<a href="#ftn.idm750" class="footnote" name="idm750"><sup class="footnote">[99]</sup></a> As Lisa Gansky put it in her book The Mesh, the
primary strategy of the sharing economy is to sell the same product multiple
times, by selling access rather than ownership.<a href="#ftn.idm754" class="footnote" name="idm754"><sup class="footnote">[100]</sup></a> That is not sharing.
</p><p>
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 from
+take. You can’t simply treat open content as a free pool of resources from
which to extract value. Part of giving back to the ecosystem is contributing
-content back to the public under CC licenses. But it doesn’t have to just be
+content back to the public under CC licenses. But it doesn’t have to just be
about creating content; it can be about adding 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
small, incremental edits made by a diverse range of people acting on their
own are immensely valuable in the aggregate. Those same 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
+and people are inherently less motivated to contribute when it doesn’t
appear that their efforts will make much of a difference.<a href="#ftn.idm772" class="footnote" name="idm772"><sup class="footnote">[105]</sup></a>
</p><p>
It is easy to romanticize the opportunities for global cocreation made
possible by the Internet, and, indeed, the successful examples of it are
truly incredible and inspiring. But in a wide range of
-circumstances—perhaps more often than not—community cocreation is not part
+circumstances—perhaps more often than not—community cocreation is not part
of the equation, even within endeavors built on CC content. Shirky wrote,
-<span class="quote">”<span class="quote">Sometimes the value of professional work trumps the value of amateur
+<span class="quote">”<span class="quote">Sometimes the value of professional work trumps the value of amateur
sharing or a feeling of belonging.<a href="#ftn.idm776" class="footnote" name="idm776"><sup class="footnote">[106]</sup></a> The
textbook publisher OpenStax, which distributes all of its material for free
under CC licensing, is an example of this dynamic. Rather than tapping the
individual creators, where the creative work is the basis for what 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,</span>”</span>The only department where I wasn’t open to input was the
+said,</span>”</span>The only department where I wasn’t open to input was the
writing, the music itself."<a href="#ftn.idm778" class="footnote" name="idm778"><sup class="footnote">[107]</sup></a>
</p><p>
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
-<span class="quote">”<span class="quote">making in public</span>”</span> opens the door to letting people feel more
+<span class="quote">”<span class="quote">making in public</span>”</span> opens the door to letting people feel more
invested in your creative work.<a href="#ftn.idm782" class="footnote" name="idm782"><sup class="footnote">[108]</sup></a> And it
shows a nonterritorial approach to ideas 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
+mentality—treating ideas like something plentiful—and it can create an
environment where collaboration flourishes.<a href="#ftn.idm784" class="footnote" name="idm784"><sup class="footnote">[109]</sup></a>
</p><p>
There is no one way to involve people in what you do. They key is finding a
Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
John Wiley and Sons, 2010), 14. A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
</p></div><div id="ftn.idm410" class="footnote"><p><a href="#idm410" class="para"><sup class="para">[38] </sup></a>
- Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
-Age (San Francisco, CA: McSweeney’s, 2014) 68.
+ Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
+Age (San Francisco, CA: McSweeney’s, 2014) 68.
</p></div><div id="ftn.idm419" class="footnote"><p><a href="#idm419" class="para"><sup class="para">[39] </sup></a>
Ibid., 55.
</p></div><div id="ftn.idm422" class="footnote"><p><a href="#idm422" class="para"><sup class="para">[40] </sup></a>
- Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
+ Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
Something for Nothing, reprint with new preface (New York: Hyperion, 2010),
224.
</p></div><div id="ftn.idm426" class="footnote"><p><a href="#idm426" class="para"><sup class="para">[41] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 44.
+ Doctorow, Information Doesn’t Want to Be Free, 44.
</p></div><div id="ftn.idm438" class="footnote"><p><a href="#idm438" class="para"><sup class="para">[42] </sup></a>
Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let
People Help (New York: Grand Central, 2014), 121.
</p></div><div id="ftn.idm455" class="footnote"><p><a href="#idm455" class="para"><sup class="para">[47] </sup></a>
Anderson, Free, 62.
</p></div><div id="ftn.idm460" class="footnote"><p><a href="#idm460" class="para"><sup class="para">[48] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 38.
+ Doctorow, Information Doesn’t Want to Be Free, 38.
</p></div><div id="ftn.idm465" class="footnote"><p><a href="#idm465" class="para"><sup class="para">[49] </sup></a>
Bollier, Think Like a Commoner, 68.
</p></div><div id="ftn.idm471" class="footnote"><p><a href="#idm471" class="para"><sup class="para">[50] </sup></a>
Anderson, Free, 86.
</p></div><div id="ftn.idm475" class="footnote"><p><a href="#idm475" class="para"><sup class="para">[51] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 144.
+ Doctorow, Information Doesn’t Want to Be Free, 144.
</p></div><div id="ftn.idm485" class="footnote"><p><a href="#idm485" class="para"><sup class="para">[52] </sup></a>
Anderson, Free, 123.
</p></div><div id="ftn.idm488" class="footnote"><p><a href="#idm488" class="para"><sup class="para">[53] </sup></a>
Ibid., 70.
</p></div><div id="ftn.idm495" class="footnote"><p><a href="#idm495" class="para"><sup class="para">[55] </sup></a>
James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005),
-124. Surowiecki says, <span class="quote">”<span class="quote">The measure of success of laws and contracts is
-how rarely they are invoked.</span>”</span>
+124. Surowiecki says, <span class="quote">”<span class="quote">The measure of success of laws and contracts is
+how rarely they are invoked.</span>”</span>
</p></div><div id="ftn.idm505" class="footnote"><p><a href="#idm505" class="para"><sup class="para">[56] </sup></a>
Anderson, Free, 44.
</p></div><div id="ftn.idm512" class="footnote"><p><a href="#idm512" class="para"><sup class="para">[57] </sup></a>
</p></div><div id="ftn.idm526" class="footnote"><p><a href="#idm526" class="para"><sup class="para">[62] </sup></a>
Ibid., 21.
</p></div><div id="ftn.idm531" class="footnote"><p><a href="#idm531" class="para"><sup class="para">[63] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 43.
+ Doctorow, Information Doesn’t Want to Be Free, 43.
</p></div><div id="ftn.idm538" class="footnote"><p><a href="#idm538" class="para"><sup class="para">[64] </sup></a>
- William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">”<span class="quote">Ten
-Nonprofit Funding Models,</span>”</span> Stanford Social Innovation Review, Spring
+ William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">”<span class="quote">Ten
+Nonprofit Funding Models,</span>”</span> Stanford Social Innovation Review, Spring
2009, <a class="ulink" href="http://ssir.org/articles/entry/ten_nonprofit_funding_models" target="_top">http://ssir.org/articles/entry/ten_nonprofit_funding_models</a>.
</p></div><div id="ftn.idm544" class="footnote"><p><a href="#idm544" class="para"><sup class="para">[65] </sup></a>
Shirky, Cognitive Surplus, 111.
</p></div><div id="ftn.idm724" class="footnote"><p><a href="#idm724" class="para"><sup class="para">[93] </sup></a>
Ibid., 36.
</p></div><div id="ftn.idm729" class="footnote"><p><a href="#idm729" class="para"><sup class="para">[94] </sup></a>
- Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
+ Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
2012), 36.
</p></div><div id="ftn.idm734" class="footnote"><p><a href="#idm734" class="para"><sup class="para">[95] </sup></a>
Palmer, Art of Asking, 98.
</p></div><div id="ftn.idm743" class="footnote"><p><a href="#idm743" class="para"><sup class="para">[98] </sup></a>
Bollier, Think Like a Commoner, 29.
</p></div><div id="ftn.idm750" class="footnote"><p><a href="#idm750" class="para"><sup class="para">[99] </sup></a>
- Giana Eckhardt and Fleura Bardhi, <span class="quote">”<span class="quote">The Sharing Economy Isn’t about
-Sharing at All,</span>”</span> Harvard Business Review (website), January 28, 2015,
+ Giana Eckhardt and Fleura Bardhi, <span class="quote">”<span class="quote">The Sharing Economy Isn’t about
+Sharing at All,</span>”</span> Harvard Business Review (website), January 28, 2015,
<a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
</p></div><div id="ftn.idm754" class="footnote"><p><a href="#idm754" class="para"><sup class="para">[100] </sup></a>
Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with
new epilogue (New York: Portfolio, 2012).
</p></div><div id="ftn.idm757" class="footnote"><p><a href="#idm757" class="para"><sup class="para">[101] </sup></a>
- David Lee, <span class="quote">”<span class="quote">Inside Medium: An Attempt to Bring Civility to the
-Internet,</span>
”</span> BBC News, March 3, 2016, <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
+ David Lee, <span class="quote">”<span class="quote">Inside Medium: An Attempt to Bring Civility to the
+Internet,</span>
”</span> BBC News, March 3, 2016, <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
</p></div><div id="ftn.idm765" class="footnote"><p><a href="#idm765" class="para"><sup class="para">[102] </sup></a>
Anderson, Makers, 148.
</p></div><div id="ftn.idm767" class="footnote"><p><a href="#idm767" class="para"><sup class="para">[103] </sup></a>
</p></div><div id="ftn.idm787" class="footnote"><p><a href="#idm787" class="para"><sup class="para">[110] </sup></a>
Whitehurst, foreword to Open Organization.
</p></div><div id="ftn.idm789" class="footnote"><p><a href="#idm789" class="para"><sup class="para">[111] </sup></a>
- Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
+ Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
Collaborative Consumption (New York: Harper Business, 2010), 188.
</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Kapitel 3. The Creative Commons Licenses</h2></div></div></div><p>
All of the Creative Commons licenses grant a basic set of permissions. At a
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 license is
-often compared to <span class="quote">”<span class="quote">copyleft</span>”</span> free and open source software
+often compared to <span class="quote">”<span class="quote">copyleft</span>”</span> free and open source software
licenses. All new works based on yours will carry the same license, so any
derivatives will also allow commercial use.
</p><p>
</p><p>
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
+acknowledge you, they don’t have to license their derivative works on the
same terms.
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
</p><p>
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 they can’t
+works and share them with others as long as they credit you, but they can’t
change them or use them commercially.
</p><p>
In addition to these six licenses, Creative Commons has two public-domain
-tools—one for creators and the other for those who manage collections of
+tools—one for creators and the other for those who manage collections of
existing works by authors whose terms of copyright have expired:
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001900000008DBE3414994CD27786.png" width="40.0%"></span>
</p><p>
CC0 enables authors and copyright owners to dedicate their works to the
-worldwide public domain (<span class="quote">”<span class="quote">no rights reserved</span>”</span>).
+worldwide public domain (<span class="quote">”<span class="quote">no rights reserved</span>”</span>).
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
</p><p>
commercial rights is only one of those ways. It is certainly true that a
license that allows others to make commercial use of your work (CC BY, CC
BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you
-apply an Attribution (CC BY) license to your book, you can’t force a film
+apply an Attribution (CC BY) license to your book, you can’t force a film
company to pay you royalties if they turn your book into a feature-length
film, or prevent another company from selling physical copies of your work.
</p><p>
portion of the exclusive bundle of rights that copyright grants to
creators. In some cases, reserving those rights is important to how you
bring in revenue. In other cases, creators use a NonCommercial or NoDerivs
-license because they can’t give up on the dream of hitting the creative
+license because they can’t give up on the dream of hitting the creative
jackpot. The music platform Tribe of Noise told us the NonCommercial
licenses were popular among their users because people still held out the
dream of having a major record label discover their work.
</p><p>
For more about the licenses including examples and tips on sharing your work
in the digital commons, start with the Creative Commons page called
-<span class="quote">
”<span class="quote">Share Your Work</span>”</span> at <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
- </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Del
II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
+<span class="quote">
”<span class="quote">Share Your Work</span>”</span> at <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
+ </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Del
 II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
The twenty-four case studies in this section were chosen from hundreds of
nominations received from Kickstarter backers, Creative Commons staff, and
the global Creative Commons community. We selected eighty potential
each case study is to tell the story about the endeavor and the role sharing
plays within it, largely the way in which it was told to us by those we
interviewed.
- </p><div class="toc"><p><b>Inneh
ållsförteckning</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>Kapitel 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="toc"><p><b>Inneh
Ã¥llsförteckning</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ã\81rtica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>Kapitel 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Arduino is a for-profit open-source electronics platform and computer
hardware and software company. Founded in 2005 in Italy.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: David Cuartielles and Tom
Igoe, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
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 programming
to quickly prototype design ideas. As musicians, artists, and designers,
-they needed a platform that didn’t require engineering expertise. A group of
+they needed a platform that didn’t require engineering expertise. A group of
teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe,
Gianluca Martino, and David Mellis, built a platform that combined different
open technologies. They called it Arduino. The platform integrated software,
Attribution-Share-Alike license (CC BY-SA), and software with the GNU
General Public License.
</p><p>
- Arduino boards are able to read inputs—light on a sensor, a finger on a
-button, or a Twitter message—and turn it into outputs—activating a motor,
+ Arduino boards are able to read inputs—light on a sensor, a finger on a
+button, or a Twitter message—and turn it into outputs—activating a motor,
turning on an LED, publishing something online. You send a set of
instructions to the microcontroller on the board by using the Arduino
programming language and Arduino software (based on a piece of open-source
software called Processing, a programming tool used to make visual art).
- </p><p><span class="quote">”<span class="quote">The reasons for making Arduino open source are complicated,</span>”</span>
+ </p><p><span class="quote">”<span class="quote">The reasons for making Arduino open source are complicated,</span>”</span>
Tom says. Partly it was about supporting flexibility. The open-source nature
of Arduino empowers users to modify it and create a lot of different
variations, adding on top of what the founders build. David says this
-<span class="quote">”<span class="quote">ended up strengthening the platform far beyond what we had even
-thought of building.</span>”</span>
+<span class="quote">”<span class="quote">ended up strengthening the platform far beyond what we had even
+thought of building.</span>”</span>
</p><p>
For Tom another factor was the impending closure of the Ivrea design
-school. He’d seen other organizations close their doors and all their work
+school. He’d seen other organizations close their doors and all their work
and research just disappear. Open-sourcing ensured that Arduino would
outlive the Ivrea closure. Persistence is one thing Tom really likes about
open source. If key people leave, or a company shuts down, an open-source
-product lives on. In Tom’s view, <span class="quote">”<span class="quote">Open sourcing makes it easier to
-trust a product.</span>”</span>
+product lives on. In Tom’s view, <span class="quote">”<span class="quote">Open sourcing makes it easier to
+trust a product.</span>”</span>
</p><p>
With the school closing, David and some of the other Arduino founders
started a consulting firm and multidisciplinary design studio they called
in creative ways. Revenue from Tinker was invested in sustaining and
enhancing Arduino.
</p><p>
- For Tom, part of Arduino’s success is because the founders made themselves
+ For Tom, part of Arduino’s success is because the founders made themselves
the first customer of their product. They made products they themselves
-personally wanted. It was a matter of <span class="quote">”<span class="quote">I need this thing,</span>”</span> not
-<span class="quote">”<span class="quote">If we make this, we’ll make a lot of money.</span>”</span> Tom notes that
+personally wanted. It was a matter of <span class="quote">”<span class="quote">I need this thing,</span>”</span> not
+<span class="quote">”<span class="quote">If we make this, we’ll make a lot of money.</span>”</span> Tom notes that
being your own first customer makes you more confident and convincing at
selling your product.
</p><p>
- Arduino’s business model has evolved over time—and Tom says model is a
+ Arduino’s business model has evolved over time—and Tom says model is a
grandiose term for it. Originally, they just wanted to make a few boards and
get them out into the world. They started out with two hundred boards, sold
them, and made a little profit. They used that to make another thousand,
they simply tried to generate enough funding to keep the venture going day
to day. When they hit the ten thousand mark, they started to think about
Arduino as a company. By then it was clear you can open-source the design
-but still manufacture the physical product. As long as it’s a quality
+but still manufacture the physical product. As long as it’s a quality
product and sold at a reasonable price, people will buy it.
</p><p>
- Arduino now has a worldwide community of makers—students, hobbyists,
+ Arduino now has a worldwide community of makers—students, hobbyists,
artists, programmers, and professionals. Arduino provides a wiki called
Playground (a wiki is where all users can edit and add pages, contributing
to and benefiting from collective research). People share code, circuit
diagrams, tutorials, DIY instructions, and tips and tricks, and show off
-their projects. In addition, there’s a multilanguage discussion forum where
+their projects. In addition, there’s a multilanguage discussion forum where
users can get help using Arduino, discuss topics like robotics, and make
suggestions for new Arduino product designs. As of January 2017, 324,928
members had made 2,989,489 posts on 379,044 topics. The worldwide community
For a business, getting to the end of the year and not being in the red is a
success. Arduino may have an open-licensing strategy, but they are still a
business, and all the things needed to successfully run one still
-apply. David says, <span class="quote">”<span class="quote">If you do those other things well, sharing things
-in an open-source way can only help you.</span>”</span>
+apply. David says, <span class="quote">”<span class="quote">If you do those other things well, sharing things
+in an open-source way can only help you.</span>”</span>
</p><p>
While openly licensing the designs, documentation, and software ensures
-longevity, it does have risks. There’s a possibility that others will create
+longevity, it does have risks. There’s a possibility that others will create
knockoffs, clones, and copies. The CC BY-SA license means anyone can produce
copies of their boards, redesign them, and even sell boards that copy the
-design. They don’t have to pay a license fee to Arduino or even ask
+design. They don’t have to pay a license fee to Arduino or even ask
permission. However, if they republish the design of the board, they have to
give attribution to Arduino. If they change the design, they must release
the new design using the same Creative Commons license to ensure that the
form-factor of classic boards), shields (elements that can be plugged onto a
board to give it extra features), and kits.<a href="#ftn.idm884" class="footnote" name="idm884"><sup class="footnote">[112]</sup></a>
</p><p>
- Arduino’s focus is on high-quality boards, well-designed support materials,
+ Arduino’s focus is on high-quality boards, well-designed support materials,
and the building of community; this focus is one of the keys to their
success. And being open lets you build a real community. David says
-Arduino’s community is a big strength and something that really does
-matter—in his words, <span class="quote">”<span class="quote">It’s good business.</span>”</span> When they started,
+Arduino’s community is a big strength and something that really does
+matter—in his words, <span class="quote">”<span class="quote">It’s good business.</span>”</span> When they started,
the Arduino team had almost entirely no idea how to build a community. They
started by conducting numerous workshops, working directly with people using
the platform to make sure the hardware and software worked the way it was
-meant to work and solved people’s problems. The community grew organically
+meant to work and solved people’s problems. The community grew organically
from there.
</p><p>
A key decision for Arduino was trademarking the name. The founders needed a
easily identify their products, and the products sanctioned by them. If
others want to sell boards using the Arduino name and logo, they have to pay
a small fee to Arduino. This allows Arduino to scale up manufacturing and
-distribution while at the same time ensuring the Arduino brand isn’t hurt by
+distribution while at the same time ensuring the Arduino brand isn’t hurt by
low-quality copies.
</p><p>
Current official manufacturers are Smart Projects in Italy, SparkFun in the
manufacturers that are allowed to use the Arduino logo on their
boards. Trademarking their brand provided the founders with a way to protect
Arduino, build it out further, and fund software and tutorial
-development. The trademark-licensing fee for the brand became Arduino’s
+development. The trademark-licensing fee for the brand became Arduino’s
revenue-generating model.
</p><p>
- How far to open things up wasn’t always something the founders perfectly
+ How far to open things up wasn’t always something the founders perfectly
agreed on. David, who was always one to advocate for opening things up more,
had some fears about protecting the Arduino name, thinking people would be
mad if they policed their brand. There was some early backlash with a
default strategy, and then think about whether there is anything that really
needs to be protected and why. There are lots of good reasons to not open up
certain elements. This strategy of sharing everything is certainly the
-complete opposite of how today’s world operates, where nothing is
+complete opposite of how today’s world operates, where nothing is
shared. Tom suggests a business formalize which elements are based on open
sharing and which are closed. An Arduino blog post from 2013 entitled
-<span class="quote">”<span class="quote">Send In the Clones,</span>”</span> by one of the founders Massimo Banzi,
+<span class="quote">”<span class="quote">Send In the Clones,</span>”</span> by one of the founders Massimo 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.<a href="#ftn.idm894" class="footnote" name="idm894"><sup class="footnote">[113]</sup></a>
</p><p>
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 making
-more things possible but doesn’t always focus on making it easy to use and
-adapt. This is where Arduino steps in. Arduino’s goal is <span class="quote">”<span class="quote">making
-things that help other people make things.</span>”</span>
+more things possible but doesn’t always focus on making it easy to use and
+adapt. This is where Arduino steps in. Arduino’s goal is <span class="quote">”<span class="quote">making
+things that help other people make things.</span>”</span>
</p><p>
Arduino has been hugely successful in making technology and electronics
-reach a larger audience. For Tom, Arduino has been about <span class="quote">”<span class="quote">the
-democratization of technology.</span>”</span> Tom sees Arduino’s open-source
+reach a larger audience. For Tom, Arduino has been about <span class="quote">”<span class="quote">the
+democratization of technology.</span>”</span> Tom sees Arduino’s open-source
strategy as helping the world get over the idea that technology has to be
-protected. Tom says, <span class="quote">”<span class="quote">Technology is a literacy everyone should
-learn.</span>”</span>
+protected. Tom says, <span class="quote">”<span class="quote">Technology is a literacy everyone should
+learn.</span>”</span>
</p><p>
- Ultimately, for Arduino, going open has been good business—good for product
+ Ultimately, for Arduino, going open has been good business—good for product
development, good for distribution, good for pricing, and good for
manufacturing.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm884" class="footnote"><p><a href="#idm884" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm894" class="footnote"><p><a href="#idm894" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>Kapitel 5.
Ártica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
- Ártica provides online courses and consulting services focused on how to use
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm884" class="footnote"><p><a href="#idm884" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm894" class="footnote"><p><a href="#idm894" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>Kapitel 5.
Ã\81rtica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
+ 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.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: March 9, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: Mariana Fossatti and Jorge
Gemetto, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
+ The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
ultimate example of DIY. Not only are they successful entrepreneurs, the
niche in which their small business operates is essentially one they built
themselves.
</p><p>
- Their dream jobs didn’t exist, so they created them.
+ Their dream jobs didn’t exist, so they created them.
</p><p>
In 2011, Mariana was a sociologist working for an international organization
to develop research and online education about rural-development
were bloggers and heavy users of social media, and both had a passion for
arts and culture. They decided to take their skills in digital technology
and online learning and apply them to a topic area they loved. They launched
-Ártica, an online business that provides education and consulting for people
+Ártica, an online business that provides education and consulting for people
and institutions creating artistic and cultural projects on the Internet.
</p><p>
- Ártica feels like a uniquely twenty-first century business. The small
+ Ártica feels like a uniquely twenty-first century business. The small
company has a global online presence with no physical offices. Jorge and
Mariana live in Uruguay, and the other two full-time employees, who Jorge
and Mariana have never actually met in person, live in Spain. They started
directly tap into an audience without relying upon gatekeepers or
intermediaries.
</p><p>
- Ártica offers personalized education and consulting services, and helps
+ Ártica offers personalized education and consulting services, and helps
clients implement projects. All of these services are customized. They call
-it an <span class="quote">”<span class="quote">artisan</span>”</span> process because of the time and effort it takes
+it an <span class="quote">”<span class="quote">artisan</span>”</span> process because of the time and effort it takes
to adapt their work for the particular needs of students and
-clients. <span class="quote">”<span class="quote">Each student or client is paying for a specific solution to
-his or her problems and questions,</span>”</span> Mariana said. Rather than sell
+clients. <span class="quote">”<span class="quote">Each student or client is paying for a specific solution to
+his or her problems and questions,</span>”</span> Mariana said. Rather than sell
access to their content, they provide it for free and charge for the
personalized services.
</p><p>
When they started, they offered a smaller number of courses designed to
-attract large audiences. <span class="quote">”<span class="quote">Over the years, we realized that online
-communities are more specific than we thought,</span>”</span> Mariana said. Ártica
+attract large audiences. <span class="quote">”<span class="quote">Over the years, we realized that online
+communities are more specific than we thought,</span>”</span> Mariana said. Ártica
now provides more options for classes and has lower enrollment in each
course. This means they can provide more attention to individual students
and offer classes on more specialized topics.
when they work with cultural institutions, and some are smaller projects
commissioned by individual artists.
</p><p>
- Ártica also seeks out public and private funding for specific
+ Ártica also seeks out public and private funding for specific
projects. Sometimes, even if they are unsuccessful in subsidizing a project
like a new course or e-book, they will go ahead because they believe in
it. They take the stance that every new project leads them to something new,
every new resource they create opens new doors.
</p><p>
- Ártica relies heavily on their free Creative Commons–licensed content to
-attract new students and clients. Everything they create—online education,
-blog posts, videos—is published under an Attribution-ShareAlike license (CC
-BY-SA). <span class="quote">”<span class="quote">We use a ShareAlike license because we want to give the
+ Ártica relies heavily on their free Creative Commons–licensed content to
+attract new students and clients. Everything they create—online education,
+blog posts, videos—is published under an Attribution-ShareAlike license (CC
+BY-SA). <span class="quote">”<span class="quote">We use a ShareAlike license because we want to give the
greatest freedom to our students and readers, and we also want that freedom
-to be viral,</span>”</span> Jorge said. For them, giving others the right to reuse
-and remix their content is a fundamental value. <span class="quote">”<span class="quote">How can you offer an
+to be viral,</span>”</span> Jorge said. For them, giving others the right to reuse
+and remix their content is a fundamental value. <span class="quote">”<span class="quote">How can you offer an
online educational service without giving permission to download, make and
-keep copies, or print the educational resources?</span>”</span> Jorge
-said. <span class="quote">”<span class="quote">If we want to do the best for our students—those who trust in
+keep copies, or print the educational resources?</span>”</span> Jorge
+said. <span class="quote">”<span class="quote">If we want to do the best for our students—those who trust in
us to the point that they are willing to pay online without face-to-face
-contact—we have to offer them a fair and ethical agreement.</span>”</span>
+contact—we have to offer them a fair and ethical agreement.</span>”</span>
</p><p>
They also believe sharing their ideas and expertise openly helps them build
their reputation and visibility. People often share and cite their work. A
few years ago, a publisher even picked up one of their e-books and
-distributed printed copies. Ártica views reuse of their work as a way to
+distributed printed copies. Ártica views reuse of their work as a way to
open up new opportunities for their business.
</p><p>
This belief that openness creates new opportunities reflects another
-belief—in serendipity. When describing their process for creating content,
+belief—in serendipity. When describing their process for creating content,
they spoke of all of the spontaneous and organic ways they find
-inspiration. <span class="quote">”<span class="quote">Sometimes, the collaborative process starts with a
-conversation between us, or with friends from other projects,</span>”</span> Jorge
-said. <span class="quote">”<span class="quote">That can be the first step for a new blog post or another
+inspiration. <span class="quote">”<span class="quote">Sometimes, the collaborative process starts with a
+conversation between us, or with friends from other projects,</span>”</span> Jorge
+said. <span class="quote">”<span class="quote">That can be the first step for a new blog post or another
simple piece of content, which can evolve to a more complex product in the
-future, like a course or a book.</span>”</span>
+future, like a course or a book.</span>”</span>
</p><p>
Rather than planning their work in advance, they let their creative process
-be dynamic. <span class="quote">”<span class="quote">This doesn’t mean that we don’t need to work hard in
+be dynamic. <span class="quote">”<span class="quote">This doesn’t mean that we don’t need to work hard in
order to get good professional results, but the design process is more
-flexible,</span>”</span> Jorge said. They share early and often, and they adjust
+flexible,</span>”</span> Jorge said. They share early and often, and they adjust
based on what they learn, always exploring and testing new ideas and ways of
operating. In many ways, for them, the process is just as important as the
final product.
</p><p>
People and relationships are also just as important, sometimes
-more. <span class="quote">”<span class="quote">In the educational and cultural business, it is more important
+more. <span class="quote">”<span class="quote">In the educational and cultural business, it is more important
to pay attention to people and process, rather than content or specific
-formats or materials,</span>”</span> Mariana said. <span class="quote">”<span class="quote">Materials and content
-are fluid. The important thing is the relationships.</span>”</span>
+formats or materials,</span>”</span> Mariana said. <span class="quote">”<span class="quote">Materials and content
+are fluid. The important thing is the relationships.</span>”</span>
</p><p>
- Ártica believes in the power of the network. They seek to make connections
+ Ártica believes in the power of the network. They seek to make connections
with people and institutions across the globe so they can learn from them
and share their knowledge.
</p><p>
- At the core of everything Ártica does is a set of values. <span class="quote">”<span class="quote">Good
-content is not enough,</span>”</span> Jorge said. <span class="quote">”<span class="quote">We also think that it is
+ At the core of everything Ártica does is a set of values. <span class="quote">”<span class="quote">Good
+content is not enough,</span>”</span> Jorge said. <span class="quote">”<span class="quote">We also think that it is
very important to take a stand for some things in the cultural
-sector.</span>”</span> Mariana and Jorge are activists. They defend free culture
+sector.</span>”</span> Mariana and Jorge are activists. They defend free culture
(the movement promoting the freedom to modify and distribute creative work)
and work to demonstrate the intersection between free culture and other
social-justice movements. Their efforts to involve people in their work and
tied closely to their belief system. Ultimately, what drives their work is
a mission to democratize art and culture.
</p><p>
- Of course, Ártica also has to make enough money to cover its expenses. Human
+ Of course, Ártica also has to make enough money to cover its expenses. Human
resources are, by far, their biggest expense. They tap a network of
collaborators on a case-by-case basis and hire contractors for specific
projects. Whenever possible, they draw from artistic and cultural resources
in the commons, and they rely on free software. Their operation is small,
efficient, and sustainable, and because of that, it is a success.
- </p><p><span class="quote">”<span class="quote">There are lots of people offering online courses,</span>”</span> Jorge
-said. <span class="quote">”<span class="quote">But it is easy to differentiate us. We have an approach that is
-very specific and personal.</span>”</span> Ártica’s model is rooted in the personal
+ </p><p><span class="quote">”<span class="quote">There are lots of people offering online courses,</span>”</span> Jorge
+said. <span class="quote">”<span class="quote">But it is easy to differentiate us. We have an approach that is
+very specific and personal.</span>”</span> Ártica’s model is rooted in the personal
at every level. For Mariana and Jorge, success means doing what brings them
personal meaning and purpose, and doing it sustainably and collaboratively.
</p><p>
In their work with younger artists, Mariana and Jorge try to emphasize that
this model of success is just as valuable as the picture of success we get
-from the media. <span class="quote">”<span class="quote">If they seek only the traditional type of success,
-they will get frustrated,</span>”</span> Mariana said. <span class="quote">”<span class="quote">We try to show them
-another image of what it looks like.</span>”</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Kapitel 6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+from the media. <span class="quote">”<span class="quote">If they seek only the traditional type of success,
+they will get frustrated,</span>”</span> Mariana said. <span class="quote">”<span class="quote">We try to show them
+another image of what it looks like.</span>”</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Kapitel 6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
The Blender Institute is an animation studio that creates 3-D films using
Blender software. Founded in 2006 in the Netherlands.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: March 8, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Francesco Siddi, production
coordinator
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
the creative and technical community working together.
</p><p>
Rather than just talking about the theoretical benefits of sharing and free
-culture, Ton is very much about doing and making free culture. Blender’s
-production coordinator Francesco Siddi told us, <span class="quote">”<span class="quote">Ton believes if you
-don’t make content using your tools, then you’re not doing anything.</span>”</span>
+culture, Ton is very much about doing and making free culture. Blender’s
+production coordinator Francesco Siddi told us, <span class="quote">”<span class="quote">Ton believes if you
+don’t make content using your tools, then you’re not doing anything.</span>”</span>
</p><p>
- Blender’s history begins in the late 1990s, when Ton created the Blender
+ Blender’s history begins in the late 1990s, when Ton created the Blender
software. Originally, the software was an in-house resource for his
animation studio based in the Netherlands. Investors became interested in
the software, so he began marketing the software to the public, offering a
free version in addition to a paid version. Sales were disappointing, and
his investors gave up on the endeavor in the early 2000s. He made a deal
-with investors—if he could raise enough money, he could then make the
+with investors—if he could raise enough money, he could then make the
Blender software available under the GNU General Public License.
</p><p>
This was long before Kickstarter and other online crowdfunding sites
raised the money he needed. The Blender software became freely available for
anyone to use. Simply applying the General Public License to the software,
however, was not enough to create a thriving community around it. Francesco
-told us, <span class="quote">”<span class="quote">Software of this complexity relies on people and their
+told us, <span class="quote">”<span class="quote">Software of this complexity relies on people and their
vision of how people work together. Ton is a fantastic community builder and
manager, and he put a lot of work into fostering a community of developers
-so that the project could live.</span>”</span>
+so that the project could live.</span>”</span>
</p><p>
Like any successful free and open-source software project, Blender developed
quickly because the community could make fixes and
-improvements. <span class="quote">”<span class="quote">Software should be free and open to hack,</span>”</span>
-Francesco said. <span class="quote">”<span class="quote">Otherwise, everyone is doing the same thing in the
-dark for ten years.</span>”</span> Ton set up the Blender Foundation to oversee and
+improvements. <span class="quote">”<span class="quote">Software should be free and open to hack,</span>”</span>
+Francesco said. <span class="quote">”<span class="quote">Otherwise, everyone is doing the same thing in the
+dark for ten years.</span>”</span> Ton set up the Blender Foundation to oversee and
steward the software development and maintenance.
</p><p>
After a few years, Ton began looking for new ways to push development of the
They turned to crowdfunding to subsidize the costs of the project. They had
about twenty people working full-time for six to ten months, so the costs
were significant. Francesco said that when their crowdfunding campaign
-succeeded, people were astounded. <span class="quote">”<span class="quote">The idea that making money was
+succeeded, people were astounded. <span class="quote">”<span class="quote">The idea that making money was
possible by producing CC-licensed material was mind-blowing to
-people,</span>”</span> he said. <span class="quote">”<span class="quote">They were like, <span class="quote">’<span class="quote">I have to see it to
-believe it.</span>’</span></span>”</span>
+people,</span>”</span> he said. <span class="quote">”<span class="quote">They were like, <span class="quote">’<span class="quote">I have to see it to
+believe it.</span>’</span></span>”</span>
</p><p>
The first film, which was released in 2006, was an experiment. It was so
successful that Ton decided to set up the Blender Institute, an entity
-dedicated to hosting open-movie projects. The Blender Institute’s next
+dedicated to hosting open-movie projects. The Blender Institute’s next
project was an even bigger success. The film, Big Buck Bunny, went viral,
and its animated characters were picked up by marketers.
</p><p>
storytelling. Francesco says the process is almost on an industrial scale
because of the number of moving parts. This requires a lot of specialized
assistance, but the Blender Institute has no problem finding the talent it
-needs to help on projects. <span class="quote">”<span class="quote">Blender hardly does any recruiting for
-film projects because the talent emerges naturally,</span>”</span> Francesco
-said. <span class="quote">”<span class="quote">So many people want to work with us, and we can’t always hire
-them because of budget constraints.</span>”</span>
+needs to help on projects. <span class="quote">”<span class="quote">Blender hardly does any recruiting for
+film projects because the talent emerges naturally,</span>”</span> Francesco
+said. <span class="quote">”<span class="quote">So many people want to work with us, and we can’t always hire
+them because of budget constraints.</span>”</span>
</p><p>
Blender has had a lot of success raising money from its community over the
years. In many ways, the pitch has gotten easier to make. Not only is
crowdfunding simply more familiar to the public, but people know and trust
Blender to deliver, and Ton has developed a reputation as an effective
-community leader and visionary for their work. <span class="quote">”<span class="quote">There is a whole
-community who sees and understands the benefit of these projects,</span>”</span>
+community leader and visionary for their work. <span class="quote">”<span class="quote">There is a whole
+community who sees and understands the benefit of these projects,</span>”</span>
Francesco said.
</p><p>
While these benefits of each open-movie project make a compelling pitch for
crowdfunding campaigns, Francesco told us the Blender Institute has found
some limitations in the standard crowdfunding model where you propose a
-specific project and ask for funding. <span class="quote">”<span class="quote">Once a project is over,
-everyone goes home,</span>”</span> he said. <span class="quote">”<span class="quote">It is great fun, but then it
-ends. That is a problem.</span>”</span>
+specific project and ask for funding. <span class="quote">”<span class="quote">Once a project is over,
+everyone goes home,</span>”</span> he said. <span class="quote">”<span class="quote">It is great fun, but then it
+ends. That is a problem.</span>”</span>
</p><p>
To make their work more sustainable, they needed a way to receive ongoing
support rather than on a project-by-project basis. Their solution is Blender
Cloud, a subscription-style crowdfunding model akin to the online
crowdfunding platform, Patreon. For about ten euros each month, subscribers
-get access to download everything the Blender Institute produces—software,
+get access to download everything the Blender Institute produces—software,
art, training, and more. All of the assets are available under an
Attribution license (CC BY) or placed in the public domain (CC0), but they
are initially made available only to subscribers. Blender Cloud enables
-subscribers to follow Blender’s movie projects as they develop, sharing
+subscribers to follow Blender’s movie projects as they develop, sharing
detailed information and content used in the creative process. Blender Cloud
also has extensive training materials and libraries of characters and other
assets used in various projects.
</p><p>
The continuous financial support provided by Blender Cloud subsidizes five
to six full-time employees at the Blender Institute. Francesco says their
-goal is to grow their subscriber base. <span class="quote">”<span class="quote">This is our freedom,</span>”</span>
-he told us, <span class="quote">”<span class="quote">and for artists, freedom is everything.</span>”</span>
+goal is to grow their subscriber base. <span class="quote">”<span class="quote">This is our freedom,</span>”</span>
+he told us, <span class="quote">”<span class="quote">and for artists, freedom is everything.</span>”</span>
</p><p>
Blender Cloud is the primary revenue stream of the Blender Institute. The
Blender Foundation is funded primarily by donations, and that money goes
</p><p>
Since 2006, he has been making films available along with all of their
source material. He says he has hardly ever seen people stepping into
-Blender’s shoes and trying to make money off of their content. Ton believes
+Blender’s shoes and trying to make money off of their content. Ton believes
this is because the true value of what they do is in the creative and
-production process. <span class="quote">”<span class="quote">Even when you share everything, all your original
+production process. <span class="quote">”<span class="quote">Even when you share everything, all your original
sources, it still takes a lot of talent, skills, time, and budget to
-reproduce what you did,</span>”</span> Ton said.
+reproduce what you did,</span>”</span> Ton said.
</p><p>
For Ton and Blender, it all comes back to doing.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Kapitel 7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Kapitel 7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
</p><p>
copies
</p><p><span class="strong"><strong>Interview date</strong></span>: February 3, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Max Temkin, cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
If you ask cofounder Max Temkin, there is nothing particularly interesting
-about the Cards Against Humanity business model. <span class="quote">”<span class="quote">We make a
+about the Cards Against Humanity business model. <span class="quote">”<span class="quote">We make a
product. We sell it for money. Then we spend less money than we
-make,</span>”</span> Max said.
+make,</span>”</span> Max said.
</p><p>
He is right. Cards Against Humanity is a simple party game, modeled after
the game Apples to Apples. To play, one player asks a question or
fill-in-the-blank statement from a black card, and the other players submit
their funniest white card in response. The catch is that all of the cards
are filled with crude, gruesome, and otherwise awful things. For the right
-kind of people (<span class="quote">”<span class="quote">horrible people,</span>”</span> according to Cards Against
+kind of people (<span class="quote">”<span class="quote">horrible people,</span>”</span> according to Cards Against
Humanity advertising), this makes for a hilarious and fun game.
</p><p>
The revenue model is simple. Physical copies of the game are sold for a
same noncommercial terms. The ability to adapt the game is like an entire
new game unto itself.
</p><p>
- All together, these factors—the crass tone of the game and company, the free
-download, the openness to fans remixing the game—give the game a massive
+ All together, these factors—the crass tone of the game and company, the free
+download, the openness to fans remixing the game—give the game a massive
cult following.
</p><p>
Their success is not the result of a grand plan. Instead, Cards Against
Humanity was the last in a long line of games and comedy projects that Max
Temkin and his friends put together for their own amusement. As Max tells
-the story, they made the game so they could play it themselves on New Year’s
+the story, they made the game so they could play it themselves on New Year’s
Eve because they were too nerdy to be invited to other parties. The game was
a hit, so they decided to put it up online as a free PDF. People started
asking if they could pay to have the game printed for them, and eventually
they decided to run a Kickstarter to fund the printing. They set their
-Kickstarter goal at $4,000—and raised $15,000. The game was officially
+Kickstarter goal at $4,000—and raised $15,000. The game was officially
released in May 2011.
</p><p>
The game caught on quickly, and it has only grown more popular over
time. Max says the eight founders never had a meeting where they decided to
-make it an ongoing business. <span class="quote">”<span class="quote">It kind of just happened,</span>”</span> he
+make it an ongoing business. <span class="quote">”<span class="quote">It kind of just happened,</span>”</span> he
said.
</p><p>
- But this tale of a <span class="quote">”<span class="quote">happy accident</span>”</span> belies marketing
+ But this tale of a <span class="quote">”<span class="quote">happy accident</span>”</span> belies marketing
genius. Just like the game, the Cards Against Humanity brand is irreverent
and memorable. It is hard to forget a company that calls the FAQ on their
-website <span class="quote">”<span class="quote">Your dumb questions.</span>”</span>
+website <span class="quote">”<span class="quote">Your dumb questions.</span>”</span>
</p><p>
Like most quality satire, however, there is more to the joke than vulgarity
-and shock value. The company’s marketing efforts around Black Friday
+and shock value. The company’s marketing efforts around Black Friday
illustrate this particularly well. For those outside the United States,
Black Friday is the term for the day after the Thanksgiving holiday, the
biggest shopping day of the year. It is an incredibly important day for
Cards Against Humanity, like it is for all U.S. retailers. Max said they
-struggled with what to do on Black Friday because they didn’t want to
-support what he called the <span class="quote">”<span class="quote">orgy of consumerism</span>”</span> the day has
+struggled with what to do on Black Friday because they didn’t want to
+support what he called the <span class="quote">”<span class="quote">orgy of consumerism</span>”</span> the day has
become, particularly since it follows a day that is about being grateful for
what you have. In 2013, after deliberating, they decided to have an
Everything Costs $5 More sale.
- </p><p><span class="quote">”<span class="quote">We sweated it out the night before Black Friday, wondering if our
-fans were going to hate us for it,</span>”</span> he said. <span class="quote">”<span class="quote">But it made us
-laugh so we went with it. People totally caught the joke.</span>”</span>
+ </p><p><span class="quote">”<span class="quote">We sweated it out the night before Black Friday, wondering if our
+fans were going to hate us for it,</span>”</span> he said. <span class="quote">”<span class="quote">But it made us
+laugh so we went with it. People totally caught the joke.</span>”</span>
</p><p>
This sort of bold transparency delights the media, but more importantly, it
-engages their fans. <span class="quote">”<span class="quote">One of the most surprising things you can do in
-capitalism is just be honest with people,</span>”</span> Max said. <span class="quote">”<span class="quote">It shocks
-people that there is transparency about what you are doing.</span>”</span>
+engages their fans. <span class="quote">”<span class="quote">One of the most surprising things you can do in
+capitalism is just be honest with people,</span>”</span> Max said. <span class="quote">”<span class="quote">It shocks
+people that there is transparency about what you are doing.</span>”</span>
</p><p>
- Max also likened it to a grand improv scene. <span class="quote">”<span class="quote">If we do something a
+ Max also likened it to a grand improv scene. <span class="quote">”<span class="quote">If we do something a
little subversive and unexpected, the public wants to be a part of the
-joke.</span>”</span> One year they did a Give Cards Against Humanity $5 event,
+joke.</span>”</span> One year they did a Give Cards Against Humanity $5 event,
where people literally paid them five dollars for no reason. Their fans
wanted to make the joke funnier by making it successful. They made $70,000
in a single day.
This remarkable trust they have in their customers is what inspired their
decision to apply a Creative Commons license to the game. Trusting your
customers to reuse and remix your work requires a leap of faith. Cards
-Against Humanity obviously isn’t afraid of doing the unexpected, but there
+Against Humanity obviously isn’t afraid of doing the unexpected, but there
are lines even they do not want to cross. Before applying the license, Max
said they worried that some fans would adapt the game to include all of the
jokes they intentionally never made because they crossed that
-line. <span class="quote">”<span class="quote">It happened, and the world didn’t end,</span>”</span> Max
-said. <span class="quote">”<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
-times over because there are so many benefits.</span>”</span>
+line. <span class="quote">”<span class="quote">It happened, and the world didn’t end,</span>”</span> Max
+said. <span class="quote">”<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
+times over because there are so many benefits.</span>”</span>
</p><p>
Any successful product inspires its biggest fans to create remixes of it,
but unsanctioned adaptations are more likely to fly under the radar. The
run with the game and copy, adapt, and promote their creations openly. Today
there are thousands of fan expansions of the game.
</p><p>
- Max said, <span class="quote">”<span class="quote">CC was a no-brainer for us because it gets the most people
+ Max said, <span class="quote">”<span class="quote">CC was a no-brainer for us because it gets the most people
involved. Making the game free and available under a CC license led to the
unbelievable situation where we are one of the best-marketed games in the
-world, and we have never spent a dime on marketing.</span>”</span>
+world, and we have never spent a dime on marketing.</span>”</span>
</p><p>
Of course, there are limits to what the company allows its customers to do
with the game. They chose the Attribution-NonCommercial-ShareAlike license
because it restricts people from using the game to make money. It also
requires that adaptations of the game be made available under the same
licensing terms if they are shared publicly. Cards Against Humanity also
-polices its brand. <span class="quote">”<span class="quote">We feel like we’re the only ones who can use our
-brand and our game and make money off of it,</span>”</span> Max said. About 99.9
+polices its brand. <span class="quote">”<span class="quote">We feel like we’re the only ones who can use our
+brand and our game and make money off of it,</span>”</span> Max said. About 99.9
percent of the time, they just send an email to those making commercial use
of the game, and that is the end of it. There have only been a handful of
instances where they had to get a lawyer involved.
business model, the same can be said of the game itself. To be playable,
every white card has to work syntactically with enough black cards. The
eight creators invest an incredible amount of work into creating new cards
-for the game. <span class="quote">”<span class="quote">We have daylong arguments about commas,</span>”</span> Max
-said. <span class="quote">”<span class="quote">The slacker tone of the cards gives people the impression that
+for the game. <span class="quote">”<span class="quote">We have daylong arguments about commas,</span>”</span> Max
+said. <span class="quote">”<span class="quote">The slacker tone of the cards gives people the impression that
it is easy to write them, but it is actually a lot of work and
-quibbling.</span>”</span>
+quibbling.</span>”</span>
</p><p>
- That means cocreation with their fans really doesn’t work. The company has a
+ That means cocreation with their fans really doesn’t work. The company has a
submission mechanism on their website, and they get thousands of
suggestions, but it is very rare that a submitted card is adopted. Instead,
the eight initial creators remain the primary authors of expansion decks and
</p><p>
For all of their success, the creators of Cards Against Humanity are only
partially motivated by money. Max says they have always been interested in
-the Walt Disney philosophy of financial success. <span class="quote">”<span class="quote">We don’t make jokes
-and games to make money—we make money so we can make more jokes and
-games,</span>”</span> he said.
+the Walt Disney philosophy of financial success. <span class="quote">”<span class="quote">We don’t make jokes
+and games to make money—we make money so we can make more jokes and
+games,</span>”</span> he said.
</p><p>
In fact, the company has given more than $4 million to various charities and
-causes. <span class="quote">”<span class="quote">Cards is not our life plan,</span>”</span> Max said. <span class="quote">”<span class="quote">We all
+causes. <span class="quote">”<span class="quote">Cards is not our life plan,</span>”</span> Max said. <span class="quote">”<span class="quote">We all
have other interests and hobbies. We are passionate about other things going
on in our lives. A lot of the activism we have done comes out of us taking
things from the rest of our lives and channeling some of the excitement from
-the game into it.</span>”</span>
+the game into it.</span>”</span>
</p><p>
Seeing money as fuel rather than the ultimate goal is what has enabled them
to embrace Creative Commons licensing without reservation. CC licensing
ended up being a savvy marketing move for the company, but nonetheless,
giving up exclusive control of your work necessarily means giving up some
opportunities to extract more money from customers.
- </p><p><span class="quote">”<span class="quote">It’s not right for everyone to release everything under CC
-licensing,</span>”</span> Max said. <span class="quote">”<span class="quote">If your only goal is to make a lot of
+ </p><p><span class="quote">”<span class="quote">It’s not right for everyone to release everything under CC
+licensing,</span>”</span> Max said. <span class="quote">”<span class="quote">If your only goal is to make a lot of
money, then CC is not best strategy. This kind of business model, though,
-speaks to your values, and who you are and why you’re making things.</span>”</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Kapitel 8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+speaks to your values, and who you are and why you’re making things.</span>”</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Kapitel 8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
grant funding
</p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Andrew Jaspan, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Australia. He experienced firsthand the decline of newspapers, including the
collapse of revenues, layoffs, and the constant pressure to reduce
costs. After he left the Age in 2005, his concern for the future journalism
-didn’t go away. Andrew made a commitment to come up with an alternative
+didn’t go away. Andrew made a commitment to come up with an alternative
model.
</p><p>
Around the time he left his job as editor of the Melbourne Age, Andrew
journalism with depth and substance but was concerned about the increasing
focus on the sensational and sexy.
</p><p>
- While at the Age, he’d become friends with a vice-chancellor of a university
-in Melbourne who encouraged him to talk to smart people across campus—an
+ While at the Age, he’d become friends with a vice-chancellor of a university
+in Melbourne who encouraged him to talk to smart people across campus—an
astrophysicist, a Nobel laureate, earth scientists, economists . . . These
were the kind of smart people he wished were more involved in informing the
world about what is going on and correcting the errors that appear in
media. However, they were reluctant to engage with mass media. Often,
-journalists didn’t understand what they said, or unilaterally chose what
+journalists didn’t understand what they said, or unilaterally chose what
aspect of a story to tell, putting out a version that these people felt was
wrong or mischaracterized. Newspapers want to attract a mass
audience. Scholars want to communicate serious news, findings, and
-insights. It’s not a perfect match. Universities are massive repositories of
+insights. It’s not a perfect match. Universities are massive repositories of
knowledge, research, wisdom, and expertise. But a lot of that stays behind a
-wall of their own making—there are the walled garden and ivory tower
+wall of their own making—there are the walled garden and ivory tower
metaphors, and in more literal terms, the paywall. Broadly speaking,
universities are part of society but disconnected from it. They are an
enormous public resource but not that good at presenting their expertise to
working one-on-one to refine everything from story structure to headline,
captions, and quotes. The editors could help turn something that is
academic into something understandable and readable. And this would be a key
-difference from traditional journalism—the subject matter expert would get a
+difference from traditional journalism—the subject matter expert would get a
chance to check the article and give final approval before it is
published. Compare this with reporters just picking and choosing the quotes
and writing whatever they want.
</p><p>
The Conversation is founded on the belief that underpinning a functioning
democracy is access to independent, high-quality, informative
-journalism. The Conversation’s aim is for people to have a better
-understanding of current affairs and complex issues—and hopefully a better
+journalism. The Conversation’s aim is for people to have a better
+understanding of current affairs and complex issues—and hopefully a better
quality of public discourse. The Conversation sees itself as a source of
trusted information dedicated to the public good. Their core mission is
simple: to provide readers with a reliable source of evidence-based
important is where the content originates, and even though it comes from the
university and research community, it still needs to be fully disclosed. The
Conversation does not sit behind a paywall. Andrew believes access to
-information is an issue of equality—everyone should have access, like access
+information is an issue of equality—everyone should have access, like access
to clean water. The Conversation is committed to an open and free
Internet. Everyone should have free access to their content, and be able to
share it or republish it.
</p><p>
Creative Commons help with these goals; articles are published with the
-Attribution- NoDerivs license (CC BY-ND). They’re freely available for
+Attribution- NoDerivs license (CC BY-ND). They’re freely available for
others to republish elsewhere as long as attribution is given and the
content is not edited. Over five years, more than twenty-two thousand sites
have republished their content. The Conversation website gets about 2.9
million unique views per month, but through republication they have
-thirty-five million readers. This couldn’t have been done without the
-Creative Commons license, and in Andrew’s view, Creative Commons is central
+thirty-five million readers. This couldn’t have been done without the
+Creative Commons license, and in Andrew’s view, Creative Commons is central
to everything the Conversation does.
</p><p>
When readers come across the Conversation, they seem to like what they find
and recommend it to their friends, peers, and networks. Readership has
-grown primarily through word of mouth. While they don’t have sales and
+grown primarily through word of mouth. While they don’t have sales and
marketing, they do promote their work through social media (including
Twitter and Facebook), and by being an accredited supplier to Google News.
</p><p>
- It’s usual for the founders of any company to ask themselves what kind of
+ It’s usual for the founders of any company to ask themselves what kind of
company it should be. It quickly became clear to the founders of the
Conversation that they wanted to create a public good rather than make money
off of information. Most media companies are working to aggregate as many
-eyeballs as possible and sell ads. The Conversation founders didn’t want
+eyeballs as possible and sell ads. The Conversation founders didn’t want
this model. It takes no advertising and is a not-for-profit venture.
</p><p>
There are now different editions of the Conversation for Africa, the United
Kingdom, France, and the United States, in addition to the one for
Australia. All five editions have their own editorial mastheads, advisory
-boards, and content. The Conversation’s global virtual newsroom has roughly
+boards, and content. The Conversation’s global virtual newsroom has roughly
ninety staff working with thirty-five thousand academics from over sixteen
hundred universities around the world. The Conversation would like to be
working with university scholars from even more parts of the world.
</p><p>
Additionally, each edition has its own set of founding partners, strategic
-partners, and funders. They’ve received funding from foundations,
+partners, and funders. They’ve received funding from foundations,
corporates, institutions, and individual donations, but the Conversation is
shifting toward paid memberships by universities and research institutions
to sustain operations. This would safeguard the current service and help
</p><p>
When professors from member universities write an article, there is some
branding of the university associated with the article. On the Conversation
-website, paying university members are listed as <span class="quote">”<span class="quote">members and
-funders.</span>”</span> Early participants may be designated as <span class="quote">”<span class="quote">founding
-members,</span>”</span> with seats on the editorial advisory board.
+website, paying university members are listed as <span class="quote">”<span class="quote">members and
+funders.</span>”</span> Early participants may be designated as <span class="quote">”<span class="quote">founding
+members,</span>”</span> with seats on the editorial advisory board.
</p><p>
Academics are not paid for their contributions, but they get free editing
from a professional (four to five hours per piece, on average). They also
submit a journal paper, and consult a company on a topic.
</p><p>
These reach and impact metrics show the benefits of membership. With the
-Conversation, universities can engage with the public and show why they’re
+Conversation, universities can engage with the public and show why they’re
of value.
</p><p>
- With its tagline, <span class="quote">”<span class="quote">Academic Rigor, Journalistic Flair,</span>”</span> the
+ With its tagline, <span class="quote">”<span class="quote">Academic Rigor, Journalistic Flair,</span>”</span> the
Conversation represents a new form of journalism that contributes to a more
informed citizenry and improved democracy around the world. Its open
-business model and use of Creative Commons show how it’s possible to
+business model and use of Creative Commons show how it’s possible to
generate both a public good and operational revenue at the same time.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1075" class="footnote"><p><a href="#idm1075" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>Kapitel 9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1075" class="footnote"><p><a href="#idm1075" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>Kapitel 9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Cory Doctorow is a science fiction writer, activist, blogger, and
journalist. Based in the U.S.
</p><p><a class="ulink" href="http://craphound.com" target="_top">http://craphound.com</a> and <a class="ulink" href="http://boingboing.net" target="_top">http://boingboing.net</a>
</p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
copies (book sales), pay-what-you-want, selling translation rights to books
</p><p><span class="strong"><strong>Interview date</strong></span>: January 12, 2016
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- Cory Doctorow hates the term <span class="quote">”<span class="quote">business model,</span>”</span> and he is
-adamant that he is not a brand. <span class="quote">”<span class="quote">To me, branding is the idea that you
+ Cory Doctorow hates the term <span class="quote">”<span class="quote">business model,</span>”</span> and he is
+adamant that he is not a brand. <span class="quote">”<span class="quote">To me, branding is the idea that you
can take a thing that has certain qualities, remove the qualities, and go on
-selling it,</span>”</span> he said. <span class="quote">”<span class="quote">I’m not out there trying to figure out
-how to be a brand. I’m doing this thing that animates me to work crazy
-insane hours because it’s the most important thing I know how to do.</span>”</span>
+selling it,</span>”</span> he said. <span class="quote">”<span class="quote">I’m not out there trying to figure out
+how to be a brand. I’m doing this thing that animates me to work crazy
+insane hours because it’s the most important thing I know how to do.</span>”</span>
</p><p>
Cory calls himself an entrepreneur. He likes to say his success came from
making stuff people happened to like and then getting out of the way of them
his work has been published under a Creative Commons license. Cory is
coeditor of the popular CC-licensed site Boing Boing, where he writes about
technology, politics, and intellectual property. He has also written several
-nonfiction books, including the most recent Information Doesn’t Want to Be
+nonfiction books, including the most recent Information Doesn’t Want to Be
Free, about the ways in which creators can make a living in the Internet
age.
</p><p>
paid speaking gigs and is experimenting with pay-what-you-want models for
his work.
</p><p>
- While Cory’s extensive body of fiction work has a large following, he is
+ While Cory’s extensive body of fiction work has a large following, he is
just as well known for his activism. He is an outspoken opponent of
restrictive copyright and digital-rights-management (DRM) technology used to
lock up content because he thinks both undermine creators and the public
interest. He is currently a special adviser at the Electronic Frontier
Foundation, where he is involved in a lawsuit challenging the U.S. law that
-protects DRM. Cory says his political work doesn’t directly make him money,
+protects DRM. Cory says his political work doesn’t directly make him money,
but if he gave it up, he thinks he would lose credibility and, more
-importantly, lose the drive that propels him to create. <span class="quote">”<span class="quote">My political
-work is a different expression of the same artistic-political urge,</span>”</span>
-he said. <span class="quote">”<span class="quote">I have this suspicion that if I gave up the things that
-didn’t make me money, the genuineness would leach out of what I do, and the
-quality that causes people to like what I do would be gone.</span>”</span>
+importantly, lose the drive that propels him to create. <span class="quote">”<span class="quote">My political
+work is a different expression of the same artistic-political urge,</span>”</span>
+he said. <span class="quote">”<span class="quote">I have this suspicion that if I gave up the things that
+didn’t make me money, the genuineness would leach out of what I do, and the
+quality that causes people to like what I do would be gone.</span>”</span>
</p><p>
Cory has been financially successful, but money is not his primary
-motivation. At the start of his book Information Doesn’t Want to Be Free, he
+motivation. At the start of his book Information Doesn’t Want to Be Free, he
stresses how important it is not to become an artist if your goal is to get
-rich. <span class="quote">”<span class="quote">Entering the arts because you want to get rich is like buying
-lottery tickets because you want to get rich,</span>”</span> he wrote. <span class="quote">”<span class="quote">It
-might work, but it almost certainly won’t. Though, of course, someone always
-wins the lottery.</span>”</span> He acknowledges that he is one of the lucky few to
-<span class="quote">”<span class="quote">make it,</span>”</span> but he says he would be writing no matter
-what. <span class="quote">”<span class="quote">I am compelled to write,</span>”</span> he wrote. <span class="quote">”<span class="quote">Long before
+rich. <span class="quote">”<span class="quote">Entering the arts because you want to get rich is like buying
+lottery tickets because you want to get rich,</span>”</span> he wrote. <span class="quote">”<span class="quote">It
+might work, but it almost certainly won’t. Though, of course, someone always
+wins the lottery.</span>”</span> He acknowledges that he is one of the lucky few to
+<span class="quote">”<span class="quote">make it,</span>”</span> but he says he would be writing no matter
+what. <span class="quote">”<span class="quote">I am compelled to write,</span>”</span> he wrote. <span class="quote">”<span class="quote">Long before
I wrote to keep myself fed and sheltered, I was writing to keep myself
-sane.</span>”</span>
+sane.</span>”</span>
</p><p>
Just as money is not his primary motivation to create, money is not his
primary motivation to share. For Cory, sharing his work with Creative
-Commons is a moral imperative. <span class="quote">”<span class="quote">It felt morally right,</span>”</span> he said
-of his decision to adopt Creative Commons licenses. <span class="quote">”<span class="quote">I felt like I
-wasn’t contributing to the culture of surveillance and censorship that has
-been created to try to stop copying.</span>”</span> In other words, using CC
+Commons is a moral imperative. <span class="quote">”<span class="quote">It felt morally right,</span>”</span> he said
+of his decision to adopt Creative Commons licenses. <span class="quote">”<span class="quote">I felt like I
+wasn’t contributing to the culture of surveillance and censorship that has
+been created to try to stop copying.</span>”</span> In other words, using CC
licenses symbolizes his worldview.
</p><p>
He also feels like there is a solid commercial basis for licensing his work
-with Creative Commons. While he acknowledges he hasn’t been able to do a
+with Creative Commons. While he acknowledges he hasn’t been able to do a
controlled experiment to compare the commercial benefits of licensing with
CC against reserving all rights, he thinks he has sold more books using a CC
license than he would have without it. Cory says his goal is to convince
-people they should pay him for his work. <span class="quote">”<span class="quote">I started by not calling
-them thieves,</span>”</span> he said.
+people they should pay him for his work. <span class="quote">”<span class="quote">I started by not calling
+them thieves,</span>”</span> he said.
</p><p>
Cory started using CC licenses soon after they were first created. At the
time his first novel came out, he says the science fiction genre was overrun
with people scanning and downloading books without permission. When he and
his publisher took a closer look at who was doing that sort of thing online,
-they realized it looked a lot like book promotion. <span class="quote">”<span class="quote">I knew there was a
+they realized it looked a lot like book promotion. <span class="quote">”<span class="quote">I knew there was a
relationship between having enthusiastic readers and having a successful
-career as a writer,</span>”</span> he said. <span class="quote">”<span class="quote">At the time, it took eighty
+career as a writer,</span>”</span> he said. <span class="quote">”<span class="quote">At the time, it took eighty
hours to OCR a book, which is a big effort. I decided to spare them the time
and energy, and give them the book for free in a format destined to
-spread.</span>”</span>
+spread.</span>”</span>
</p><p>
Cory admits the stakes were pretty low for him when he first adopted
Creative Commons licenses. He only had to sell two thousand copies of his
</p><p>
The bottom line, Cory says, is that no one has found a way to prevent people
from copying the stuff they like. Rather than fighting the tide, Cory makes
-his work intrinsically shareable. <span class="quote">”<span class="quote">Getting the hell out of the way
+his work intrinsically shareable. <span class="quote">”<span class="quote">Getting the hell out of the way
for people who want to share their love of you with other people sounds
-obvious, but it’s remarkable how many people don’t do it,</span>”</span> he said.
+obvious, but it’s remarkable how many people don’t do it,</span>”</span> he said.
</p><p>
Making his work available under Creative Commons licenses enables him to
-view his biggest fans as his ambassadors. <span class="quote">”<span class="quote">Being open to fan activity
+view his biggest fans as his ambassadors. <span class="quote">”<span class="quote">Being open to fan activity
makes you part of the conversation about what fans do with your work and how
-they interact with it,</span>”</span> he said. Cory’s own website routinely
+they interact with it,</span>”</span> he said. Cory’s own website routinely
highlights cool things his audience has done with his work. Unlike
corporations like Disney that tend to have a hands-off relationship with
their fan activity, he has a symbiotic relationship with his
-audience. <span class="quote">”<span class="quote">Engaging with your audience can’t guarantee you
-success,</span>”</span> he said. <span class="quote">”<span class="quote">And Disney is an example of being able to
+audience. <span class="quote">”<span class="quote">Engaging with your audience can’t guarantee you
+success,</span>”</span> he said. <span class="quote">”<span class="quote">And Disney is an example of being able to
remain aloof and still being the most successful company in the creative
industry in history. But I figure my likelihood of being Disney is pretty
-slim, so I should take all the help I can get.</span>”</span>
+slim, so I should take all the help I can get.</span>”</span>
</p><p>
His first book was published under the most restrictive Creative Commons
license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND). It allows only
thinks it is more difficult to get people to pay for translations if there
are fan translations already available for free.
</p><p>
- In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
+ In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
to thinking like a dandelion. Dandelions produce thousands of seeds each
spring, and they are blown into the air going in every direction. The
strategy is to maximize the number of blind chances the dandelion has for
continuing its genetic line. Similarly, he says there are lots of people out
there who may want to buy creative work or compensate authors for it in some
-other way. <span class="quote">”<span class="quote">The more places your work can find itself, the greater the
+other way. <span class="quote">”<span class="quote">The more places your work can find itself, the greater the
likelihood that it will find one of those would-be customers in some
-unsuspected crack in the metaphorical pavement,</span>”</span> he wrote. <span class="quote">”<span class="quote">The
+unsuspected crack in the metaphorical pavement,</span>”</span> he wrote. <span class="quote">”<span class="quote">The
copies that others make of my work cost me nothing, and present the
-possibility that I’ll get something.</span>”</span>
+possibility that I’ll get something.</span>”</span>
</p><p>
Applying a CC license to his work increases the chances it will be shared
-more widely around the Web. He avoids DRM—and openly opposes the
-practice—for similar reasons. DRM has the effect of tying a work to a
+more widely around the Web. He avoids DRM—and openly opposes the
+practice—for similar reasons. DRM has the effect of tying a work to a
particular platform. This digital lock, in turn, strips the authors of
control over their own work and hands that control over to the platform. He
-calls it Cory’s First Law: <span class="quote">”<span class="quote">Anytime someone puts a lock on something
-that belongs to you and won’t give you the key, that lock isn’t there for
-your benefit.</span>”</span>
+calls it Cory’s First Law: <span class="quote">”<span class="quote">Anytime someone puts a lock on something
+that belongs to you and won’t give you the key, that lock isn’t there for
+your benefit.</span>”</span>
</p><p>
Cory operates under the premise that artists benefit when there are more,
rather than fewer, places where people can access their work. The Internet
-has opened up those avenues, but DRM is designed to limit them. <span class="quote">”<span class="quote">On
+has opened up those avenues, but DRM is designed to limit them. <span class="quote">”<span class="quote">On
the one hand, we can credibly make our work available to a widely dispersed
-audience,</span>”</span> he said. <span class="quote">”<span class="quote">On the other hand, the intermediaries we
-historically sold to are making it harder to go around them.</span>”</span> Cory
+audience,</span>”</span> he said. <span class="quote">”<span class="quote">On the other hand, the intermediaries we
+historically sold to are making it harder to go around them.</span>”</span> Cory
continually looks for ways to reach his audience without relying upon major
platforms that will try to take control over his work.
</p><p>
even when it is available for free, as long as it is easy to do. He was
extremely successful using Humble Bundle, a platform that allows people to
pay what they want for DRM-free versions of a bundle of a particular
-creator’s work. He is planning to try his own pay-what-you-want experiment
+creator’s work. He is planning to try his own pay-what-you-want experiment
soon.
</p><p>
Fans are particularly willing to pay when they feel personally connected to
the artist. Cory works hard to create that personal connection. One way he
-does this is by personally answering every single email he gets. <span class="quote">”<span class="quote">If
-you look at the history of artists, most die in penury,</span>”</span> he
-said. <span class="quote">”<span class="quote">That reality means that for artists, we have to find ways to
+does this is by personally answering every single email he gets. <span class="quote">”<span class="quote">If
+you look at the history of artists, most die in penury,</span>”</span> he
+said. <span class="quote">”<span class="quote">That reality means that for artists, we have to find ways to
support ourselves when public tastes shift, when copyright stops producing.
Future-proofing your artistic career in many ways means figuring out how to
-stay connected to those people who have been touched by your work.</span>”</span>
+stay connected to those people who have been touched by your work.</span>”</span>
</p><p>
- Cory’s realism about the difficulty of making a living in the arts does not
+ Cory’s realism about the difficulty of making a living in the arts does not
reflect pessimism about the Internet age. Instead, he says the fact that it
is hard to make a living as an artist is nothing new. What is new, he writes
-in his book, <span class="quote">”<span class="quote">is how many ways there are to make things, and to get
-them into other people’s hands and minds.</span>”</span>
+in his book, <span class="quote">”<span class="quote">is how many ways there are to make things, and to get
+them into other people’s hands and minds.</span>”</span>
</p><p>
It has never been easier to think like a dandelion.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Kapitel 10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Kapitel 10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
services to creators
</p><p><span class="strong"><strong>Interview date</strong></span>: January 28, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Hahnel, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- Figshare’s mission is to change the face of academic publishing through
+ Figshare’s mission is to change the face of academic publishing through
improved dissemination, discoverability, and reusability of scholarly
research. Figshare is a repository where users can make all the output of
-their research available—from posters and presentations to data sets and
-code—in a way that’s easy to discover, cite, and share. Users can upload any
+their research available—from posters and presentations to data sets and
+code—in a way that’s easy to discover, cite, and share. Users can upload any
file format, which can then be previewed in a Web browser. Research output
is disseminated in a way that the current scholarly-publishing model does
not allow.
</p><p>
Figshare founder Mark Hahnel often gets asked: How do you make money? How do
-we know you’ll be here in five years? Can you, as a for-profit venture, be
+we know you’ll be here in five years? Can you, as a for-profit venture, be
trusted? Answers have evolved over time.
</p><p>
Mark traces the origins of Figshare back to when he was a graduate student
online and share it with anyone. So he began working on a solution.
</p><p>
There were two key needs: licenses to make the data citable, and persistent
-identifiers— URL links that always point back to the original object
+identifiers— URL links that always point back to the original object
ensuring the research is citable for the long term.
</p><p>
Mark chose Digital Object Identifiers (DOIs) to meet the need for a
-persistent identifier. In the DOI system, an object’s metadata is stored as
+persistent identifier. In the DOI system, an object’s metadata is stored as
a series of numbers in the DOI name. Referring to an object by its DOI is
more stable than referring to it by its URL, because the location of an
object (the web page or URL) can often change. Mark partnered with DataCite
</p><p>
As for licenses, Mark chose Creative Commons. The open-access and
open-science communities were already using and recommending Creative
-Commons. Based on what was happening in those communities and Mark’s
+Commons. Based on what was happening in those communities and Mark’s
dialogue with peers, he went with CC0 (in the public domain) for data sets
and CC BY (Attribution) for figures, videos, and data sets.
</p><p>
fee for gigabytes of private storage space, and for private online space
designed for a set number of research collaborators, which is ideal for
larger teams and geographically dispersed research groups. Figshare sums up
-its value proposition to researchers as <span class="quote">”<span class="quote">You retain ownership. You
-license it. You get credit. We just make sure it persists.</span>”</span>
+its value proposition to researchers as <span class="quote">”<span class="quote">You retain ownership. You
+license it. You get credit. We just make sure it persists.</span>”</span>
</p><p>
In January 2012, Figshare was launched. (The fig in Figshare stands for
figures.) Using investment funds, Mark made significant improvements to
functionality for them.
</p><p>
Figshare diversified its business model to include services for
-journals. Figshare began hosting large amounts of data for the journals’
+journals. Figshare began hosting large amounts of data for the journals’
online articles. This additional data improved the quality of the
articles. Outsourcing this service to Figshare freed publishers from having
to develop this functionality as part of their own
infrastructure. Figshare-hosted data also provides a link back to the
-article, generating additional click-through and readership—a benefit to
+article, generating additional click-through and readership—a benefit to
both journal publishers and researchers. Figshare now provides
research-data infrastructure for a wide variety of publishers including
Wiley, Springer Nature, PLOS, and Taylor and Francis, to name a few, and has
their own minibranded Figshare space (called Figshare for Institutions) that
securely hosts research data of institutions in the cloud. Services include
not just hosting but data metrics, data dissemination, and user-group
-administration. Figshare’s workflow, and the services they offer for
+administration. Figshare’s workflow, and the services they offer for
institutions, take into account the needs of librarians and administrators,
as well as of the researchers.
</p><p>
For Mark this created a conflict. On the one hand, the principles and
benefits of open science are at the heart of Figshare, and Mark believes CC
BY is the best license for this. On the other hand, institutions were saying
-they wouldn’t use Figshare unless it offered a choice in licenses. He
+they wouldn’t use Figshare unless it offered a choice in licenses. He
initially refused to offer anything beyond CC0 and CC BY, but after seeing
an open-source CERN project offer all Creative Commons licenses without any
negative repercussions, he decided to follow suit.
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.<a href="#ftn.idm1183" class="footnote" name="idm1183"><sup class="footnote">[115]</sup></a>
-Figshare’s API enables that data to be pulled into an app developed by a
+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.<a href="#ftn.idm1186" class="footnote" name="idm1186"><sup class="footnote">[116]</sup></a>
of using Creative Commons licenses.
</p><p>
Mark says his success is partly about being in the right place at the right
-time. He also believes that the diversification of Figshare’s model over
+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.<a href="#ftn.idm1191" class="footnote" name="idm1191"><sup class="footnote">[117]</sup></a> If he had relied solely on revenue from premium
-subscriptions, he believes Figshare would have struggled. In Figshare’s
+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
Figshare is now being used by the mainstream.
</p><p>
- Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
-800,000–plus user uploads, 2 million–plus articles, 500,000-plus
-collections, and 5,000–plus projects. Sixty percent of their traffic comes
+ Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
+800,000–plus user uploads, 2 million–plus articles, 500,000-plus
+collections, and 5,000–plus projects. Sixty percent of their traffic comes
from Google. A sister company called Altmetric tracks the use of Figshare by
others, including Wikipedia and news sources.
</p><p>
Figshare uses the revenue it generates from the premium subscribers, journal
publishers, and institutions to fund and expand what it can offer to
-researchers for free. Figshare has publicly stuck to its principles—keeping
+researchers for free. Figshare has publicly stuck to its principles—keeping
the free service free and requiring the use of CC BY and CC0 from the
-start—and from Mark’s perspective, this is why people trust Figshare. Mark
+start—and from Mark’s perspective, this is why people trust Figshare. Mark
sees new competitors coming forward who are just in it for money. If
-Figshare was only in it for the money, they wouldn’t care about offering a
-free version. Figshare’s principles and advocacy for openness are a key
+Figshare was only in it for the money, they wouldn’t care about offering a
+free version. Figshare’s principles and advocacy for openness are a key
differentiator. Going forward, Mark sees Figshare not only as supporting
open access to research but also enabling people to collaborate and make new
discoveries.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1183" class="footnote"><p><a href="#idm1183" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1186" class="footnote"><p><a href="#idm1186" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1191" class="footnote"><p><a href="#idm1191" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>Kapitel 11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1183" class="footnote"><p><a href="#idm1183" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1186" class="footnote"><p><a href="#idm1186" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1191" class="footnote"><p><a href="#idm1191" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>Kapitel 11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
services to creators, donations, sponsorships
</p><p><span class="strong"><strong>Interview date</strong></span>: May 3, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Lillian Grace, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
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,<a href="#ftn.idm1210" class="footnote" name="idm1210"><sup class="footnote">[118]</sup></a> 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, but she’s come to see that she was wrong. Almost everyone
-wants to be informed about issues that matter—not only to them, but also to
+people don’t use them. She used to think this meant people didn’t care about
+being informed, but she’s come to see that she was wrong. Almost everyone
+wants to be informed about issues that matter—not only to them, but also to
their families, their communities, their businesses, and their country. But
-there’s a big difference between availability and accessibility of
+there’s a big difference between availability and accessibility of
information. Data is spread across thousands of sites and is held within
databases and spreadsheets that require both time and skill to engage
with. To use data when making a decision, you have to know what specific
New Zealand Institute, a think tank concerned with improving economic
prosperity, social well-being, environmental quality, and environmental
productivity for New Zealand and New Zealanders. While giving talks to
-community and business groups, Lillian realized <span class="quote">”<span class="quote">every single issue we
+community and business groups, Lillian realized <span class="quote">”<span class="quote">every single issue we
addressed would have been easier to deal with if more people understood the
-basic facts.</span>”</span> But understanding the basic facts sometimes requires
+basic facts.</span>”</span> But understanding the basic facts sometimes requires
data and research that you often have to pay for.
</p><p>
Lillian began to imagine a website that lifted data up to a visual form that
New Zealand, the original idea was that people could contribute their data
and visuals via a wiki. However, few people had graphs that could be used
and shared, and there were no standards or consistency around the data and
-the visuals. Realizing the wiki model wasn’t working, Lillian brought the
+the visuals. Realizing the wiki model wasn’t working, Lillian brought the
process of data aggregation, curation, and visual presentation in-house, and
invested in the technology to help automate some of it. Wiki New Zealand
became Figure.NZ, and efforts were reoriented toward providing services to
those wanting to open their data and present it visually.
</p><p>
- Here’s how it works. Figure.NZ sources data from other organizations,
+ Here’s how it works. Figure.NZ sources data from other organizations,
including corporations, public repositories, government departments, and
academics. Figure.NZ imports and extracts that data, and then validates and
-standardizes it—all with a strong eye on what will be best for users. They
+standardizes it—all with a strong eye on what will be best for users. They
then make the data available in a series of standardized forms, both human-
and machine-readable, with rich metadata about the sources, the licenses,
and data types. Figure.NZ has a chart-designing tool that makes simple bar,
naively fortunate. It was first recommended to her by a colleague. Lillian
spent time looking at what Creative Commons offered and thought it looked
good, was clear, and made common sense. It was easy to use and easy for
-others to understand. Over time, she’s come to realize just how fortunate
-and important that decision turned out to be. New Zealand’s government has
+others to understand. Over time, she’s come to realize just how 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.<a href="#ftn.idm1218" class="footnote" name="idm1218"><sup class="footnote">[119]</sup></a> 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
-with Figure.NZ’s decision.
+with Figure.NZ’s decision.
</p><p>
Lillian thinks current ideas of what a business is are relatively new, only
-a hundred years old or so. She’s convinced that twenty years from now, we
+a hundred years old or so. She’s convinced that twenty years from now, we
will see new and different models for business. Figure.NZ is set up as a
nonprofit charity. It is purpose-driven but also strives to pay people well
and thinks like a business. Lillian sees the charity-nonprofit status as an
essential element for the mission and purpose of Figure.NZ. She believes
-Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
+Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
nonprofit status assures people who have data and people who want to use it
-that they can rely on Figure.NZ’s motives. People see them as a trusted
+that they can rely on Figure.NZ’s motives. People see them as a trusted
wrangler and source.
</p><p>
Although Figure.NZ is a social enterprise that openly licenses their data
Figure.NZ has multiple lines of business. They provide commercial services
to organizations that want their data publicly available and want to use
Figure.NZ as their publishing platform. People who want to publish open data
-appreciate Figure.NZ’s ability to do it faster, more easily, and better than
+appreciate Figure.NZ’s ability to do it faster, more easily, and better than
they can. Customers are encouraged to help their users find, use, and make
-things from the data they make available on Figure.NZ’s website. Customers
+things from the data they make available on Figure.NZ’s website. Customers
control what is released and the license terms (although Figure.NZ
encourages Creative Commons licensing). Figure.NZ also serves customers who
-want a specific collection of charts created—for example, for their website
+want a specific collection of charts created—for example, for their website
or annual report. Charging the organizations that want to make their data
available enables Figure.NZ to provide their site free to all users, to
truly democratize data.
well understood by the people who have it. This sometimes makes it difficult
for customers and Figure.NZ to figure out what it would cost to import,
standardize, and display that data in a useful way. To deal with this,
-Figure.NZ uses <span class="quote">”<span class="quote">high-trust contracts,</span>”</span> where customers allocate
+Figure.NZ uses <span class="quote">”<span class="quote">high-trust contracts,</span>”</span> where customers allocate
a certain budget to the task that Figure.NZ is then free to draw from, as
-long as Figure.NZ frequently reports on what they’ve produced so the
+long as Figure.NZ frequently reports on what they’ve produced so the
customer can determine the value for money. This strategy has helped build
trust and transparency about the level of effort associated with doing work
that has never been done before.
</p><p>
A second line of business is what Figure.NZ calls partners. ASB Bank and
-Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
+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.<a href="#ftn.idm1228" class="footnote" name="idm1228"><sup class="footnote">[120]</sup></a>
and visualizing services all in-house, Figure.NZ has developed a deep
expertise in taking random styles of data, standardizing it, and making it
useful. Lillian realized that Figure.NZ could easily become a warehouse of
-seventy people doing data. But for Lillian, growth isn’t always good. In her
+seventy people doing data. But for Lillian, growth isn’t always good. In her
view, bigger often means less effective. Lillian set artificial constraints
on growth, forcing the organization to think differently and be more
efficient. Rather than in-house growth, they are growing and building
external relationships.
</p><p>
- Figure.NZ’s website displays visuals and data associated with a wide range
+ Figure.NZ’s website displays visuals and data associated with a wide range
of categories including crime, economy, education, employment, energy,
environment, health, information and communications technology, industry,
tourism, and many others. A search function helps users find tables and
Figure.NZ wants to create intuitive experiences, not user manuals.
</p><p>
Figure.NZ believes data and visuals should be useful. They provide their
-customers with a data collection template and teach them why it’s important
-and how to use it. They’ve begun putting more emphasis on tracking what
+customers with a data collection template and teach them why it’s important
+and how to use it. They’ve begun putting more emphasis on tracking what
users of their website want. They also get requests from social media and
-through email for them to share data for a specific topic—for example, can
+through email for them to share data for a specific topic—for example, can
you share data for water quality? If they have the data, they respond
-quickly; if they don’t, they try and identify the organizations that would
+quickly; if they don’t, they try and identify the organizations that would
have that data and forge a relationship so they can be included on
-Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
+Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
people to be curious about, access, and interpret data on topics they are
interested in.
</p><p>
leaders who essentially had access to the information and made decisions on
behalf of others, whether it was on behalf of a country or companies.
</p><p>
- "But now we live in a world where it’s really easy to share information
+ "But now we live in a world where it’s really easy to share information
widely and also to communicate widely. In the world we live in now, the best
future is the one where everyone can make well-informed decisions.
</p><p>
"The use of numbers and data as a way of making well-informed decisions is
-one of the areas where there is the biggest gaps. We don’t really use
+one of the areas where there is the biggest gaps. We don’t really use
numbers as a part of our thinking and part of our understanding yet.
</p><p>
"Part of the reason is the way data is spread across hundreds of sites. In
addition, for the most part, deep thinking based on data is constrained to
-experts because most people don’t have data literacy. There once was a time
-when many citizens in society couldn’t read or write. However, as a society,
-we’ve now come to believe that reading and writing skills should be
-something all citizens have. We haven’t yet adopted a similar belief around
+experts because most people don’t have data literacy. There once was a time
+when many citizens in society couldn’t read or write. However, as a society,
+we’ve now come to believe that reading and writing skills should be
+something all citizens have. We haven’t yet adopted a similar belief around
numbers and data literacy. We largely still believe that only a few
specially trained people can analyze and think with numbers.
</p><p>
"Figure.NZ may be the first organization to assert that everyone can use
-numbers in their thinking, and it’s built a technological platform along
+numbers in their thinking, and it’s built a technological platform along
with trust and a network of relationships to make that possible. What you
can see on Figure.NZ are tens of thousands of graphs, maps, and data.
</p><p>
- <span class="quote">”<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
+ <span class="quote">”<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
analyze what they see around them. A way to be thoughtful and informed about
society. A means of engaging in conversation and shaping decision making
that transcends personal experience. The long-term value and impact is
almost impossible to measure, but the goal is to help citizens gain
understanding and work together in more informed ways to shape the
-future.</span>”</span>
+future.</span>”</span>
</p><p>
- Lillian sees Figure.NZ’s model as having global potential. But for now,
+ Lillian sees Figure.NZ’s model as having global potential. But for now,
their focus is completely on making Figure.NZ work in New Zealand and to get
-the <span class="quote">”<span class="quote">network effect</span>”</span>— users dramatically increasing value for
+the <span class="quote">”<span class="quote">network effect</span>”</span>— users dramatically increasing value for
themselves and for others through use of their service. Creative Commons is
core to making the network effect possible.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1210" class="footnote"><p><a href="#idm1210" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1218" class="footnote"><p><a href="#idm1218" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1228" class="footnote"><p><a href="#idm1228" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1232" class="footnote"><p><a href="#idm1232" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>Kapitel 12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1210" class="footnote"><p><a href="#idm1210" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1218" class="footnote"><p><a href="#idm1218" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1228" class="footnote"><p><a href="#idm1228" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1232" class="footnote"><p><a href="#idm1232" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>Kapitel 12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding (specialized)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 26, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Frances Pinter, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- The serial entrepreneur Dr. Frances Pinter has been at the forefront of
+ The serial entrepreneur Dr. Frances Pinter has been at the forefront of
innovation in the publishing industry for nearly forty years. She founded
the UK-based Knowledge Unlatched with a mission to enable open access to
scholarly books. For Frances, the current scholarly- book-publishing system
including the IFLA/Brill Open Access award in 2014 and a Curtin University
Commercial Innovation Award for Innovation in Education in 2015.
</p><p>
- Dr. Pinter has been in academic publishing most of her career. About ten
+ Dr. Pinter has been in academic publishing most of her career. About ten
years ago, she became acquainted with the Creative Commons founder Lawrence
Lessig and got interested in Creative Commons as a tool for both protecting
content online and distributing it free to users.
print-book sales at all, and the costs associated with getting the book to
print would be lost. Surprisingly, Bloomsbury found that sales of the print
versions of these books were 10 to 20 percent higher than normal. Frances
-found it intriguing that the Creative Commons–licensed free online book acts
+found it intriguing that the Creative Commons–licensed free online book acts
as a marketing vehicle for the print format.
</p><p>
Frances began to look at customer interest in the three forms of the book:
-1) the Creative Commons–licensed free online book in PDF form, 2) the
+1) the Creative Commons–licensed free online book in PDF form, 2) the
printed book, and 3) a digital version of the book on an aggregator platform
-with enhanced features. She thought of this as the <span class="quote">”<span class="quote">ice cream
-model</span>”</span>: the free PDF was vanilla ice cream, the printed book was an
+with enhanced features. She thought of this as the <span class="quote">”<span class="quote">ice cream
+model</span>”</span>: the free PDF was vanilla ice cream, the printed book was an
ice cream cone, and the enhanced e-book was an ice cream sundae.
</p><p>
- After a while, Frances had an epiphany—what if there was a way to get
-libraries to underwrite the costs of making these books up until they’re
+ After a while, Frances had an epiphany—what if there was a way to get
+libraries to underwrite the costs of making these books up until they’re
ready be printed, in other words, cover the fixed costs of getting to the
first digital copy? Then you could either bring down the cost of the printed
book, or do a whole bunch of interesting things with the printed book and
-e-book—the ice cream cone or sundae part of the model.
+e-book—the ice cream cone or sundae part of the model.
</p><p>
This idea is similar to the article-processing charge some open-access
journals charge researchers to cover publishing costs. Frances began to
-imagine a coalition of libraries paying for the prepress costs—a
-<span class="quote">”<span class="quote">book-processing charge</span>”</span>—and providing everyone in the world
+imagine a coalition of libraries paying for the prepress costs—a
+<span class="quote">”<span class="quote">book-processing charge</span>”</span>—and providing everyone in the world
with an open-access version of the books released under a Creative Commons
license.
</p><p>
- This idea really took hold in her mind. She didn’t really have a name for it
+ This idea really took hold in her mind. She didn’t really have a name for it
but began talking about it and making presentations to see if there was
interest. The more she talked about it, the more people agreed it had
appeal. She offered a bottle of champagne to anyone who could come up with a
the eight packages to enable unlatching. The average cost per book was just
under fifty dollars. The unlatching process took roughly ten months. It
started with a call to publishers for titles, followed by having a library
-task force select the titles, getting authors’ permissions, getting the
+task force select the titles, getting authors’ permissions, getting the
libraries to pledge, billing the libraries, and finally, unlatching.
</p><p>
The longest part of the whole process is getting libraries to pledge and
</p><p>
The cost for the publisher to get to a first digital copy of a monograph is
$5,000 to $50,000. A good one costs in the $10,000 to $15,000
-range. Monographs typically don’t sell a lot of copies. A publisher who in
+range. Monographs typically don’t sell a lot of copies. A publisher who in
the past sold three thousand copies now typically sells only three
hundred. That makes unlatching monographs a low risk for publishers. For the
first round, it took five months to get thirteen publishers. For the second
round, it took one month to get twenty-six.
</p><p>
- Authors don’t generally make a lot of royalties from monographs. Royalties
+ Authors don’t generally make a lot of royalties from monographs. Royalties
range from zero dollars to 5 to 10 percent of receipts. The value to the
author is the awareness it brings to them; when their book is being read, it
increases their reputation. Open access through unlatching generates many
libraries. While this means nonparticipating libraries could be seen as free
riders, in the library world, wealthy libraries are used to paying more than
poor libraries and accept that part of their money should be spent to
-support open access. <span class="quote">”<span class="quote">Free ride</span>”</span> is more like community
+support open access. <span class="quote">”<span class="quote">Free ride</span>”</span> is more like community
responsibility. By the end of March 2016, the round-one books had been
downloaded nearly eighty thousand times in 175 countries.
</p><p>
For publishers, authors, and librarians, the Knowledge Unlatched model for
monographs is a win-win-win.
</p><p>
- In the first round, Knowledge Unlatched’s overheads were covered by
+ In the first round, Knowledge Unlatched’s overheads were covered by
grants. In the second round, they aim to demonstrate the model is
sustainable. Libraries and publishers will each pay a 7.5 percent service
-charge that will go toward Knowledge Unlatched’s running costs. With plans
+charge that will go toward Knowledge Unlatched’s running costs. With plans
to scale up in future rounds, Frances figures they can fully recover costs
when they are unlatching two hundred books at a time. Moving forward,
Knowledge Unlatched is making investments in technology and
processes. Future plans include unlatching journals and older books.
</p><p>
Frances believes that Knowledge Unlatched is tapping into new ways of
-valuing academic content. It’s about considering how many people can find,
+valuing academic content. It’s about considering how many people can find,
access, and use your content without pay barriers. Knowledge Unlatched taps
into the new possibilities and behaviors of the digital world. In the
Knowledge Unlatched model, the content-creation process is exactly the same
as it always has been, but the economics are different. For Frances,
Knowledge Unlatched is connected to the past but moving into the future, an
evolution rather than a revolution.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1285" class="footnote"><p><a href="#idm1285" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1290" class="footnote"><p><a href="#idm1290" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1301" class="footnote"><p><a href="#idm1301" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>Kapitel 13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1285" class="footnote"><p><a href="#idm1285" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1290" class="footnote"><p><a href="#idm1290" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1301" class="footnote"><p><a href="#idm1301" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>Kapitel 13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Lumen Learning is a for-profit company helping educational institutions use
open educational resources (OER). Founded in 2013 in the U.S.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 21, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: David Wiley and Kim Thanos,
cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- Cofounded by open education visionary Dr. David Wiley and
+ 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
</p><p>
David and Kim went back and forth on whether it should be a nonprofit or
for- profit. A nonprofit would make it a more comfortable fit with the
-education sector but meant they’d be constantly fund-raising and seeking
+education sector but meant they’d be constantly fund-raising and seeking
grants from philanthropies. Also, grants usually require money to be used
in certain ways for specific deliverables. If you learn things along the way
-that change how you think the grant money should be used, there often isn’t
+that change how you think the grant money should be used, there often isn’t
a lot of flexibility to do so.
</p><p>
- But as a for-profit, they’d have to convince educational institutions to pay
-for what Lumen had to offer. On the positive side, they’d have more control
+ But as a for-profit, they’d have to convince educational institutions to pay
+for what Lumen had to offer. On the positive side, they’d have more control
over what to do with the revenue and investment money; they could make
decisions to invest the funds or use them differently based on the situation
and shifting opportunities. In the end, they chose the for-profit status,
Originally, Lumen did custom contracts for each institution. This was
complicated and challenging to manage. However, through that process
patterns emerged which allowed them to generalize a set of approaches and
-offerings. Today they don’t customize as much as they used to, and instead
+offerings. Today they don’t customize as much as they used to, and instead
they tend to work with customers who can use their off-the-shelf
options. Lumen finds that institutions and faculty are generally very good
at seeing the value Lumen brings and are willing to pay for it. Serving
disadvantaged learner populations has led Lumen to be very pragmatic; they
-describe what they offer in quantitative terms—with facts and figures—and in
+describe what they offer in quantitative terms—with facts and figures—and in
a way that is very student-focused. Lumen Learning helps colleges and
-universities—
+universities—
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
replace expensive textbooks in high-enrollment courses with OER;
</p></li><li class="listitem"><p>
- provide enrolled students day one access to Lumen’s fully customizable OER
-course materials through the institution’s learning-management system;
+ provide enrolled students day one access to Lumen’s fully customizable OER
+course materials through the institution’s learning-management system;
</p></li><li class="listitem"><p>
measure improvements in student success with metrics like passing rates,
persistence, and course completion; and
collaborate with faculty to make ongoing improvements to OER based on
student success research.
</p></li></ul></div><p>
- Lumen has developed a suite of open, Creative Commons–licensed courseware in
+ Lumen has developed a suite of open, Creative Commons–licensed courseware in
more than sixty-five subjects. All courses are freely and publicly available
right off their website. They can be copied and used by others as long as
they provide attribution to Lumen Learning following the terms of the
</p><p>
Then there are three types of bundled services that cost money. One option,
which Lumen calls Candela courseware, offers integration with the
-institution’s learning-management system, technical and pedagogical support,
+institution’s learning-management system, technical and pedagogical support,
and tracking of effectiveness. Candela courseware costs institutions ten
dollars per enrolled student.
</p><p>
</p><p>
Lumen generates revenue by charging for their value-added tools and services
on top of their free courses, just as solar-power companies provide the
-tools and services that help people use a free resource—sunlight. And
-Lumen’s business model focuses on getting the institutions to pay, not the
+tools and services that help people use a free resource—sunlight. And
+Lumen’s business model focuses on getting the institutions to pay, not the
students. With projects they did prior to Lumen, David and Kim learned that
students who have access to all course materials from day one have greater
success. If students had to pay, Lumen would have to restrict access to
those who paid. Right from the start, their stance was that they would not
put their content behind a paywall. Lumen invests zero dollars in
-technologies and processes for restricting access—no digital rights
+technologies and processes for restricting access—no digital rights
management, no time bombs. While this has been a challenge from a
business-model perspective, from an open-access perspective, it has
generated immense goodwill in the community.
</p><p>
In most cases, development of their courses is funded by the institution
Lumen has a contract with. When creating new courses, Lumen typically works
-with the faculty who are teaching the new course. They’re often part of the
+with the faculty who are teaching the new course. They’re often part of the
institution paying Lumen, but sometimes Lumen has to expand the team and
contract faculty from other institutions. First, the faculty identifies all
-of the course’s learning outcomes. Lumen then searches for, aggregates, and
+of the course’s learning outcomes. Lumen then searches for, aggregates, and
curates the best OER they can find that addresses those learning needs,
which the faculty reviews.
</p><p>
for students on their progress are areas where new content is frequently
needed. Once a course is created, Lumen puts it on their platform with all
the attributions and links to the original sources intact, and any of
-Lumen’s new content is given an Attribution (CC BY) license.
+Lumen’s new content is given an Attribution (CC BY) license.
</p><p>
Using only OER made them experience firsthand how complex it could be to mix
differently licensed work together. A common strategy with OER is to place
-the Creative Commons license and attribution information in the website’s
-footer, which stays the same for all pages. This doesn’t quite work,
+the Creative Commons license and attribution information in the website’s
+footer, which stays the same for all pages. This doesn’t quite work,
however, when mixing different OER together.
</p><p>
Remixing OER often results in multiple attributions on every page of every
-course—text from one place, images from another, and videos from yet
+course—text from one place, images from another, and videos from yet
another. Some are licensed as Attribution (CC BY), others as
Attribution-ShareAlike (CC BY-SA). If this information is put within the
text of the course, faculty members sometimes try to edit it and students
license and attribution information as metadata, and getting it to show up
at the end of each page.
</p><p>
- Lumen’s commitment to open licensing and helping low-income students has led
+ Lumen’s commitment to open licensing and helping low-income students has led
to strong relationships with institutions, open-education enthusiasts, and
grant funders. People in their network generously increase the visibility of
Lumen through presentations, word of mouth, and referrals. Sometimes the
-number of general inquiries exceed Lumen’s sales capacity.
+number of general inquiries exceed Lumen’s sales capacity.
</p><p>
To manage demand and ensure the success of projects, their strategy is to be
-proactive and focus on what’s going on in higher education in different
+proactive and focus on what’s going on in higher education in different
regions of the United States, watching out for things happening at the
system level in a way that fits with what Lumen offers. A great example is
the Virginia community college system, which is building out
Z-Degrees. David and Kim say there are nine other U.S. states with similar
system-level activity where Lumen is strategically focusing its
efforts. Where there are projects that would require a lot of resources on
-Lumen’s part, they prioritize the ones that would impact the largest number
+Lumen’s part, they prioritize the ones that would impact the largest number
of students.
</p><p>
As a business, Lumen is committed to openness. There are two core
-nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
+nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
Commons licenses, for all the materials it creates; and day-one access for
students. Having clear nonnegotiables allows them to then engage with the
education community to solve for other challenges and work with institutions
to identify new business models that achieve institution goals, while
keeping Lumen healthy.
</p><p>
- Openness also means that Lumen’s OER must necessarily be nonexclusive and
+ Openness also means that Lumen’s OER must necessarily be nonexclusive and
nonrivalrous. This represents several big challenges for the business model:
Why should you invest in creating something that people will be reluctant to
pay for? How do you ensure that the investment the diverse education
proactively contact those institutions, with an estimate of how much their
students are saving and encouraging them to switch to a paid model. Lumen
explains the advantages of the paid model: a more interactive relationship
-with Lumen; integration with the institution’s learning-management system; a
+with Lumen; integration with the institution’s learning-management system; a
guarantee of support for faculty and students; and future sustainability
with funding supporting the evolution and improvement of the OER they are
using.
for a correct balance of all these factors.
</p><p>
Licensing all the content they produce with CC BY is a key part of giving
-more value than they take. They’ve also worked hard at finding the right
+more value than they take. They’ve also worked hard at finding the right
structure for their value-add and how to package it in a way that is
understandable and repeatable.
</p><p>
angel capital. Going forward, their strategy is to replace grant funding
with revenue.
</p><p>
- In creating Lumen Learning, David and Kim say they’ve landed on solutions
+ In creating Lumen Learning, David and Kim say they’ve landed on solutions
they never imagined, and there is still a lot of learning taking place. For
them, open business models are an emerging field where we are all learning
through sharing. Their biggest recommendations for others wanting to pursue
the open model are to make your commitment to open resources public, let
-people know where you stand, and don’t back away from it. It really is about
+people know where you stand, and don’t back away from it. It really is about
trust.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1325" class="footnote"><p><a href="#idm1325" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>Kapitel 14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1325" class="footnote"><p><a href="#idm1325" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>Kapitel 14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Jonathan Mann is a singer and songwriter who is most well known as the
-<span class="quote">”<span class="quote">Song A Day</span>”</span> guy. Based in the U.S.
+<span class="quote">”<span class="quote">Song A Day</span>”</span> guy. Based in the U.S.
</p><p><a class="ulink" href="http://jonathanmann.net" target="_top">http://jonathanmann.net</a> and <a class="ulink" href="http://jonathanmann.bandcamp.com" target="_top">http://jonathanmann.bandcamp.com</a>
</p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
services, pay-what-you-want, crowdfunding (subscription-based), charging for
in-person version (speaking engagements and musical performances)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 22, 2016
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
Jonathan Mann thinks of his business model as
-<span class="quote">”<span class="quote">hustling</span>”</span>—seizing nearly every opportunity he sees to make
+<span class="quote">”<span class="quote">hustling</span>”</span>—seizing nearly every opportunity he sees to make
money. The bulk of his income comes from writing songs under commission for
people and companies, but he has a wide variety of income sources. He has
supporters on the crowdfunding site Patreon. He gets advertising revenue
conference. The song then went viral, and the experience landed him in Time
magazine.
</p><p>
- Jonathan’s successful <span class="quote">”<span class="quote">hustling</span>”</span> is also about old-fashioned
+ Jonathan’s successful <span class="quote">”<span class="quote">hustling</span>”</span> is also about old-fashioned
persistence. He is currently in his eighth straight year of writing one song
each day. He holds the Guinness World Record for consecutive daily
-songwriting, and he is widely known as the <span class="quote">”<span class="quote">song-a-day guy.</span>”</span>
+songwriting, and he is widely known as the <span class="quote">”<span class="quote">song-a-day guy.</span>”</span>
</p><p>
He fell into this role by, naturally, seizing a random opportunity a friend
-alerted him to seven years ago—an event called Fun-A-Day, where people are
+alerted him to seven years ago—an event called Fun-A-Day, where people are
supposed to create a piece of art every day for thirty-one days straight. He
was in need of a new project, so he decided to give it a try by writing and
posting a song each day. He added a video component to the songs because he
He had a really good time doing the thirty-one-day challenge, so he decided
to see if he could continue it for one year. He never stopped. He has
written and posted a new song literally every day, seven days a week, since
-he began the project in 2009. When he isn’t writing songs that he is hired
+he began the project in 2009. When he isn’t writing songs that he is hired
to write by clients, he writes songs about whatever is on his mind that
day. His songs are catchy and mostly lighthearted, but they often contain at
least an undercurrent of a deeper theme or meaning. Occasionally, they are
more eyeballs and mean that there were more people wanting him to write
songs for them. Today he earns most of his money this way.
</p><p>
- His website explains his gig as <span class="quote">”<span class="quote">taking any message, from the super
+ His website explains his gig as <span class="quote">”<span class="quote">taking any message, from the super
simple to the totally complicated, and conveying that message through a
-heartfelt, fun and quirky song.</span>”</span> He charges $500 to create a produced
+heartfelt, fun and quirky song.</span>”</span> He charges $500 to create a produced
song and $300 for an acoustic song. He has been hired for product launches,
weddings, conferences, and even Kickstarter campaigns like the one that
funded the production of this book.
</p><p>
- Jonathan can’t recall when exactly he first learned about Creative Commons,
+ Jonathan can’t recall when exactly he first learned about Creative Commons,
but he began applying CC licenses to his songs and videos as soon as he
-discovered the option. <span class="quote">”<span class="quote">CC seems like such a no-brainer,</span>”</span>
-Jonathan said. <span class="quote">”<span class="quote">I don’t understand how anything else would make
+discovered the option. <span class="quote">”<span class="quote">CC seems like such a no-brainer,</span>”</span>
+Jonathan said. <span class="quote">”<span class="quote">I don’t understand how anything else would make
sense. It seems like such an obvious thing that you would want your work to
-be able to be shared.</span>”</span>
+be able to be shared.</span>”</span>
</p><p>
His songs are essentially marketing for his services, so obviously the
further his songs spread, the better. Using CC licenses helps grease the
wheels, letting people know that Jonathan allows and encourages them to
-copy, interact with, and remix his music. <span class="quote">”<span class="quote">If you let someone cover
-your song or remix it or use parts of it, that’s how music is supposed to
-work,</span>”</span> Jonathan said. <span class="quote">”<span class="quote">That is how music has worked since the
-beginning of time. Our me-me, mine-mine culture has undermined that.</span>”</span>
+copy, interact with, and remix his music. <span class="quote">”<span class="quote">If you let someone cover
+your song or remix it or use parts of it, that’s how music is supposed to
+work,</span>”</span> Jonathan said. <span class="quote">”<span class="quote">That is how music has worked since the
+beginning of time. Our me-me, mine-mine culture has undermined that.</span>”</span>
</p><p>
There are some people who cover his songs fairly regularly, and he would
never shut that down. But he acknowledges there is a lot more he could do to
-build community. <span class="quote">”<span class="quote">There is all of this conventional wisdom about how
-to build an audience online, and I generally think I don’t do any of
-that,</span>”</span> Jonathan said.
- </p><p>
- He does have a fan community he cultivates on Bandcamp, but it isn’t his
-major focus. <span class="quote">”<span class="quote">I do have a core audience that has stuck around for a
-really long time, some even longer than I’ve been doing song-a-day,</span>”</span>
-he said. <span class="quote">”<span class="quote">There is also a transitional aspect that drop in and get
-what they need and then move on.</span>”</span> Focusing less on community building
-than other artists makes sense given Jonathan’s primary income source of
+build community. <span class="quote">”<span class="quote">There is all of this conventional wisdom about how
+to build an audience online, and I generally think I don’t do any of
+that,</span>”</span> Jonathan said.
+ </p><p>
+ He does have a fan community he cultivates on Bandcamp, but it isn’t his
+major focus. <span class="quote">”<span class="quote">I do have a core audience that has stuck around for a
+really long time, some even longer than I’ve been doing song-a-day,</span>”</span>
+he said. <span class="quote">”<span class="quote">There is also a transitional aspect that drop in and get
+what they need and then move on.</span>”</span> Focusing less on community building
+than other artists makes sense given Jonathan’s primary income source of
writing custom songs for clients.
</p><p>
Jonathan recognizes what comes naturally to him and leverages those
skills. Through the practice of daily songwriting, he realized he has a gift
for distilling complicated subjects into simple concepts and putting them to
-music. In his song <span class="quote">”<span class="quote">How to Choose a Master Password,</span>”</span> Jonathan
+music. In his song <span class="quote">”<span class="quote">How to Choose a Master Password,</span>”</span> Jonathan
explained the process of creating a secure password in a silly, simple
song. He was hired to write the song by a client who handed him a long
technical blog post from which to draw the information. Like a good (and
thing he tries to do is grok the core message and develop the chorus. Then
he looks for connections or parts he can make rhyme. The entire process
really does resemble good journalism, but of course the final product of his
-work is a song rather than news. <span class="quote">”<span class="quote">There is something about being
-challenged and forced to take information that doesn’t seem like it should
-be sung about or doesn’t seem like it lends itself to a song,</span>”</span> he
-said. <span class="quote">”<span class="quote">I find that creative challenge really satisfying. I enjoy
-getting lost in that process.</span>”</span>
+work is a song rather than news. <span class="quote">”<span class="quote">There is something about being
+challenged and forced to take information that doesn’t seem like it should
+be sung about or doesn’t seem like it lends itself to a song,</span>”</span> he
+said. <span class="quote">”<span class="quote">I find that creative challenge really satisfying. I enjoy
+getting lost in that process.</span>”</span>
</p><p>
Jonathan admits that in an ideal world, he would exclusively write the music
he wanted to write, rather than what clients hire him to write. But his
he has found a way to keep it interesting for himself.
</p><p>
Jonathan uses nearly every tool possible to make money from his art, but he
-does have lines he won’t cross. He won’t write songs about things he
+does have lines he won’t cross. He won’t write songs about things he
fundamentally does not believe in, and there are times he has turned down
-jobs on principle. He also won’t stray too much from his natural
-style. <span class="quote">”<span class="quote">My style is silly, so I can’t really accommodate people who
-want something super serious,</span>”</span> Jonathan said. <span class="quote">”<span class="quote">I do what I do
-very easily, and it’s part of who I am.</span>”</span> Jonathan hasn’t gotten into
+jobs on principle. He also won’t stray too much from his natural
+style. <span class="quote">”<span class="quote">My style is silly, so I can’t really accommodate people who
+want something super serious,</span>”</span> Jonathan said. <span class="quote">”<span class="quote">I do what I do
+very easily, and it’s part of who I am.</span>”</span> Jonathan hasn’t gotten into
writing commercials for the same reasons; he is best at using his own unique
style rather than mimicking others.
</p><p>
- Jonathan’s song-a-day commitment exemplifies the power of habit and
+ Jonathan’s song-a-day commitment exemplifies the power of habit and
grit. Conventional wisdom about creative productivity, including advice in
books like the best-seller The Creative Habit by Twyla Tharp, routinely
emphasizes the importance of ritual and action. No amount of planning can
-replace the value of simple practice and just doing. Jonathan Mann’s work is
+replace the value of simple practice and just doing. Jonathan Mann’s work is
a living embodiment of these principles.
</p><p>
When he speaks about his work, he talks about how much the song-a-day
process has changed him. Rather than seeing any given piece of work as
precious and getting stuck on trying to make it perfect, he has become
-comfortable with just doing. If today’s song is a bust, tomorrow’s song
+comfortable with just doing. If today’s song is a bust, tomorrow’s song
might be better.
</p><p>
Jonathan seems to have this mentality about his career more generally. He is
as widely as possible, seeing what sticks. While he has major
accomplishments he is proud of, like being in the Guinness World Records or
having his song used by Steve Jobs, he says he never truly feels successful.
- </p><p><span class="quote">”<span class="quote">Success feels like it’s over,</span>”</span> he said. <span class="quote">”<span class="quote">To a certain
+ </p><p><span class="quote">”<span class="quote">Success feels like it’s over,</span>”</span> he said. <span class="quote">”<span class="quote">To a certain
extent, a creative person is not ever going to feel completely satisfied
-because then so much of what drives you would be gone.</span>”</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Kapitel 15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+because then so much of what drives you would be gone.</span>”</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Kapitel 15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
fee, charging for custom services
</p><p><span class="strong"><strong>Interview date</strong></span>: October 6, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Edward Boatman, cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
languages, and cultures.
</p><p>
The original idea for the Noun Project came to cofounder Edward Boatman
-while he was a student in architecture design school. He’d always done a lot
+while he was a student in architecture design school. He’d always done a lot
of sketches and started to draw what used to fascinate him as a child, like
trains, sequoias, and bulldozers. He began thinking how great it would be
if he had a simple image or small icon of every single object or concept on
</p><p>
When Edward went on to work at an architecture firm, he had to make a lot of
presentation boards for clients. But finding high-quality sources for
-symbols and icons was difficult. He couldn’t find any website that could
+symbols and icons was difficult. He couldn’t find any website that could
provide them. Perhaps his idea for creating a library of icons could
actually help people in similar situations.
</p><p>
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.<a href="#ftn.idm1428" class="footnote" name="idm1428"><sup class="footnote">[126]</sup></a> They thought it’d
+was in its infancy.<a href="#ftn.idm1428" class="footnote" name="idm1428"><sup class="footnote">[126]</sup></a> They thought it’d
be a good way to introduce the 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.
They created a platform where symbols and icons could be uploaded, and
Edward began recruiting talented designers to contribute their designs, a
process he describes as a relatively easy sell. Lots of designers have old
-drawings just gathering <span class="quote">”<span class="quote">digital dust</span>”</span> on their hard
-drives. It’s easy to convince them to finally share them with the world.
+drawings just gathering <span class="quote">”<span class="quote">digital dust</span>”</span> on their hard
+drives. It’s easy to convince them to finally share them with the world.
</p><p>
The Noun Project currently has about seven thousand designers from around
-the world. But not all submissions are accepted. The Noun Project’s
+the world. But not all submissions are accepted. The Noun Project’s
quality-review process means that only the best works become part of its
collection. They make sure to provide encouraging, constructive feedback
whenever they reject a piece of work, which maintains and builds the
relationship they have with their global community of designers.
</p><p>
- Creative Commons is an integral part of the Noun Project’s business model;
-this decision was inspired by Chris Anderson’s book Free: The Future of
+ Creative Commons is an integral part of the Noun Project’s business model;
+this decision was inspired by Chris Anderson’s book Free: The Future of
Radical Price, which introduced Edward to the idea that you could build a
business model around free content.
</p><p>
want to offer an icon that people can use without having to give credit,
they can use CC0 to put the work into the public domain.
</p><p>
- Noun Project’s business model and means of generating revenue have evolved
+ Noun Project’s business model and means of generating revenue have evolved
significantly over time. Their initial plan was to sell T-shirts with the
icons on it, which in retrospect Edward says was a horrible idea. They did
get a lot of email from people saying they loved the icons but asking if
they could pay a fee instead of giving attribution. Ad agencies (among
others) wanted to keep marketing and presentation materials clean and free
-of attribution statements. For Edward, <span class="quote">”<span class="quote">That’s when our lightbulb went
-off.</span>”</span>
+of attribution statements. For Edward, <span class="quote">”<span class="quote">That’s when our lightbulb went
+off.</span>”</span>
</p><p>
- They asked their global network of designers whether they’d be open to
+ They asked their global network of designers whether they’d be open to
receiving modest remuneration instead of attribution. Designers saw it as a
win-win. The idea that you could offer your designs for free and have a
global audience and maybe even make some money was pretty exciting for most
designers.
</p><p>
The Noun Project first adopted a model whereby using an icon without giving
-attribution would cost $1.99 per icon. The model’s second iteration added a
+attribution would cost $1.99 per icon. The model’s second iteration added a
subscription component, where there would be a monthly fee to access a
-certain number of icons—ten, fifty, a hundred, or five hundred. However,
-users didn’t like these hard-count options. They preferred to try out many
+certain number of icons—ten, fifty, a hundred, or five hundred. However,
+users didn’t like these hard-count options. They preferred to try out many
similar icons to see which worked best before eventually choosing the one
they wanted to use. So the Noun Project moved to an unlimited model, whereby
users have unlimited access to the whole library for a flat monthly
fee. This service is called NounPro and costs $9.99 per month. Edward says
-this model is working well—good for customers, good for creators, and good
+this model is working well—good for customers, good for creators, and good
for the platform.
</p><p>
Customers then began asking for an application-programming interface (API),
which would allow Noun Project icons and symbols to be directly accessed
from within other applications. Edward knew that the icons and symbols would
-be valuable in a lot of different contexts and that they couldn’t possibly
+be valuable in a lot of different contexts and that they couldn’t possibly
know all of them in advance, so they built an API with a lot of
flexibility. Knowing that most API applications would want to use the icons
without giving attribution, the API was built with the aim of charging for
-its use. You can use what’s called the <span class="quote">”<span class="quote">Playground API</span>”</span> for
+its use. You can use what’s called the <span class="quote">”<span class="quote">Playground API</span>”</span> for
free to test how it integrates with your application, but full
implementation will require you to purchase the API Pro version.
</p><p>
</p><p>
The revenue from premium purchases (the subscription and API options) is
split a little differently. At the end of each month, the total revenue from
-subscriptions is divided by Noun Project’s total number of downloads,
-resulting in a rate per download—for example, it could be $0.13 per download
+subscriptions is divided by Noun Project’s total number of downloads,
+resulting in a rate per download—for example, it could be $0.13 per download
for that month. For each download, the revenue is split 40 percent to the
-designer and 60 percent to the Noun Project. (For API usage, it’s per use
-instead of per download.) Noun Project’s share is higher this time as it’s
+designer and 60 percent to the Noun Project. (For API usage, it’s per use
+instead of per download.) Noun Project’s share is higher this time as it’s
providing more service to the user.
</p><p>
The Noun Project tries to be completely transparent about their royalty
collections. Lingo is free for personal use. A pro version for $9.99 per
month lets you add guests. A team version for $49.95 per month allows up to
twenty-five team members to collaborate, and to view, use, edit, and add new
-assets to each other’s collections. And if you subscribe to NounPro, you
+assets to each other’s collections. And if you subscribe to NounPro, you
can access Noun Project from within Lingo.
</p><p>
The Noun Project gives a ton of value away for free. A very large percentage
design agencies, educators, and others who need to communicate ideas
visually.
</p><p>
- For Edward, <span class="quote">”<span class="quote">creating, sharing, and celebrating the world’s visual
-language</span>”</span> is the most important aspect of what they do; it’s their
+ For Edward, <span class="quote">”<span class="quote">creating, sharing, and celebrating the world’s visual
+language</span>”</span> is the most important aspect of what they do; it’s their
stated mission. It differentiates them from others who offer graphics,
icons, or clip art.
</p><p>
Noun Project creators agree. When surveyed on why they participate in the
Noun Project, this is how designers rank their reasons: 1) to support the
Noun Project mission, 2) to promote their own personal brand, and 3) to
-generate money. It’s striking to see that money comes third, and mission,
-first. If you want to engage a global network of contributors, it’s
+generate money. It’s striking to see that money comes third, and mission,
+first. If you want to engage a global network of contributors, it’s
important to have a mission beyond making money.
</p><p>
- In Edward’s view, Creative Commons is central to their mission of sharing
-and social good. Using Creative Commons makes the Noun Project’s mission
+ In Edward’s view, Creative Commons is central to their mission of sharing
+and social good. Using Creative Commons makes the Noun Project’s mission
genuine and has generated a lot of their initial traction and
credibility. CC comes with a built-in community of users and fans.
</p><p>
- Edward told us, <span class="quote">”<span class="quote">Don’t underestimate the power of a passionate
+ Edward told us, <span class="quote">”<span class="quote">Don’t underestimate the power of a passionate
community around your product or your business. They are going to go to bat
-for you when you’re getting ripped in the media. If you go down the road of
-choosing to work with Creative Commons, you’re taking the first step to
+for you when you’re getting ripped in the media. If you go down the road of
+choosing to work with Creative Commons, you’re taking the first step to
building a great community and tapping into a really awesome community that
comes with it. But you need to continue to foster that community through
-other initiatives and continue to nurture it.</span>”</span>
+other initiatives and continue to nurture it.</span>”</span>
</p><p>
- The Noun Project nurtures their creators’ second motivation—promoting a
-personal brand—by connecting every icon and symbol to the creator’s name and
+ The Noun Project nurtures their creators’ second motivation—promoting a
+personal brand—by connecting every icon and symbol to the creator’s name and
profile page; each profile features their full collection. Users can also
-search the icons by the creator’s name.
+search the icons by the creator’s name.
</p><p>
- The Noun Project also builds community through Iconathons—hackathons for
+ The Noun Project also builds community through Iconathons—hackathons for
icons.<a href="#ftn.idm1459" class="footnote" name="idm1459"><sup class="footnote">[128]</sup></a> In partnership with a sponsoring
organization, the Noun Project comes up with a theme (e.g., sustainable
energy, food bank, guerrilla gardening, human rights) and a list of icons
be used by anyone for free.
</p><p>
Providing a free version of their product that satisfies a lot of their
-customers’ needs has actually enabled the Noun Project to build the paid
-version, using a service-oriented model. The Noun Project’s success lies in
+customers’ needs has actually enabled the Noun Project to build the paid
+version, using a service-oriented model. The Noun Project’s success lies in
creating services and content that are a strategic mix of free and paid
-while staying true to their mission—creating, sharing, and celebrating the
-world’s visual language. Integrating Creative Commons into their model has
+while staying true to their mission—creating, sharing, and celebrating the
+world’s visual language. Integrating Creative Commons into their model has
been key to that goal.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1428" class="footnote"><p><a href="#idm1428" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1445" class="footnote"><p><a href="#idm1445" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1459" class="footnote"><p><a href="#idm1459" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>Kapitel 16. Open Data Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1428" class="footnote"><p><a href="#idm1428" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1445" class="footnote"><p><a href="#idm1445" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1459" class="footnote"><p><a href="#idm1459" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>Kapitel 16. Open Data Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: November 11, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Jeni Tennison, technical
director
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
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, events,
consulting services, and research. For ODI, Creative Commons licenses are
-central to making their own business model and their customers’ open. CC BY
+central to making their own business model and their customers’ open. CC BY
(Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the
-public domain) all play a critical role in ODI’s mission to help people
+public domain) all play a critical role in ODI’s mission to help people
around the world innovate with data.
</p><p>
Data underpins planning and decision making across all aspects of
investments. It can help citizens improve their lives by better
understanding what is happening around them.
</p><p>
- The Open Data Institute’s 2012–17 business plan starts out by describing its
+ The Open Data Institute’s 2012–17 business plan starts out by describing its
vision to establish itself as a world-leading center and to research and be
-innovative with the opportunities created by the UK government’s open data
+innovative with the opportunities created by the UK government’s open data
policy. (The government was an early pioneer in open policy and open-data
-initiatives.) It goes on to say that the ODI wants to—
+initiatives.) It goes on to say that the ODI wants to—
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
demonstrate the commercial value of open government data and how open-data
policies affect this;
show how open data can improve public services.<a href="#ftn.idm1488" class="footnote" name="idm1488"><sup class="footnote">[129]</sup></a>
</p></li></ul></div><p>
ODI is very explicit about how it wants to make open business models, and
-defining what this means. Jeni Tennison, ODI’s technical director, puts it
-this way: <span class="quote">”<span class="quote">There is a whole ecosystem of open—open-source software,
-open government, open-access research—and a whole ecosystem of data. ODI’s
-work cuts across both, with an emphasis on where they overlap—with open
-data.</span>”</span> ODI’s particular focus is to show open data’s potential for
+defining what this means. Jeni Tennison, ODI’s technical director, puts it
+this way: <span class="quote">”<span class="quote">There is a whole ecosystem of open—open-source software,
+open government, open-access research—and a whole ecosystem of data. ODI’s
+work cuts across both, with an emphasis on where they overlap—with open
+data.</span>”</span> ODI’s particular focus is to show open data’s potential for
revenue.
</p><p>
- As an independent nonprofit, ODI secured £10 million over five years from
+ As an independent nonprofit, ODI secured £10 million over five years from
the UK government via Innovate UK, an agency that promotes innovation in
science and technology. For this funding, ODI has to secure matching funds
from other sources, some of which were met through a $4.75-million
investment from the Omidyar Network.
</p><p>
Jeni started out as a developer and technical architect for data.gov.uk, the
-UK government’s pioneering open-data initiative. She helped make data sets
+UK government’s pioneering open-data initiative. She helped make data sets
from government departments available as open data. She joined ODI in 2012
when it was just starting up, as one of six people. It now has a staff of
about sixty.
</p><p>
ODI strives to have half its annual budget come from the core UK government
and Omidyar grants, and the other half from project-based research and
-commercial work. In Jeni’s view, having this balance of revenue sources
+commercial work. In Jeni’s view, having this balance of revenue sources
establishes some stability, but also keeps them motivated to go out and
generate these matching funds in response to market needs.
</p><p>
and advisory services.
</p><p>
You can join the ODI as an individual or commercial member. Individual
-membership is pay-what-you-can, with options ranging from £1 to
-£100. Members receive a newsletter and related communications and a discount
+membership is pay-what-you-can, with options ranging from £1 to
+£100. Members receive a newsletter and related communications and a discount
on ODI training courses and the annual summit, and they can display an
ODI-supporter badge on their website. Commercial membership is divided into
-two tiers: small to medium size enterprises and nonprofits at £720 a year,
-and corporations and government organizations at £2,200 a year. Commercial
+two tiers: small to medium size enterprises and nonprofits at £720 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.)<a href="#ftn.idm1498" class="footnote" name="idm1498"><sup class="footnote">[130]</sup></a>
that. Instead, they offered a five-day-long public training course, which
has subsequently been reduced to three days; now the most popular course is
one day long. The fee, in addition to the time commitment, can be a barrier
-for participation. Jeni says, <span class="quote">”<span class="quote">Most of the people who would be able to
-pay don’t know they need it. Most who know they need it can’t pay.</span>”</span>
+for participation. Jeni says, <span class="quote">”<span class="quote">Most of the people who would be able to
+pay don’t know they need it. Most who know they need it can’t pay.</span>”</span>
Public-sector organizations sometimes give vouchers to their employees so
they can attend as a form of professional development.
</p><p>
needed by their high-level executives, management, and technical staff. The
training tends to generate high interest and commitment.
</p><p>
- Education about open data is also a part of ODI’s annual summit event, where
+ Education about open data is also a part of ODI’s annual summit event, where
curated presentations and speakers showcase the work of ODI and its members
across the entire ecosystem. Tickets to the summit are available to the
public, and hundreds of people and organizations attend and participate. In
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.
</p></li><li class="listitem"><p>
- Open innovation. Many large-scale enterprises are aware they don’t innovate
+ 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
</p></li></ul></div><p>
During their early years, ODI wanted to focus solely on the United
Kingdom. But in their first year, large delegations of government visitors
-from over fifty countries wanted to learn more about the UK government’s
+from over fifty countries wanted to learn more about the UK government’s
open-data practices and how ODI saw that translating into economic
value. They were contracted as a service provider to international
governments, which prompted a need to set up international ODI
-<span class="quote">”<span class="quote">nodes.</span>”</span>
+<span class="quote">”<span class="quote">nodes.</span>”</span>
</p><p>
Nodes are franchises of the ODI at a regional or city level. Hosted by
existing (for-profit or not-for-profit) organizations, they operate locally
a sustainable business around open data, offering mentoring, advice,
training, and even office space.<a href="#ftn.idm1518" class="footnote" name="idm1518"><sup class="footnote">[131]</sup></a>
</p><p>
- A big part of ODI’s business model revolves around community
+ A big part of ODI’s business model revolves around community
building. Memberships, training, summits, consulting services, nodes, and
start-up programs create an ever-growing network of open-data users and
leaders. (In fact, ODI even operates something called an Open Data Leaders
</p><p>
ODI has created an online tool that organizations can use to assess the
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
+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.<a href="#ftn.idm1524" class="footnote" name="idm1524"><sup class="footnote">[132]</sup></a>
</p><p>
</p><p>
Creative Commons 4.0 licenses cover database rights and ODI recommends CC
BY, CC BY-SA, and CC0 for data releases. ODI encourages publishers of data
-to use Creative Commons licenses rather than creating new <span class="quote">”<span class="quote">open
-licenses</span>”</span> of their own.
+to use Creative Commons licenses rather than creating new <span class="quote">”<span class="quote">open
+licenses</span>”</span> of their own.
</p><p>
For ODI, open is at the heart of what they do. They also release any
software code they produce under open-source-software licenses, and
-publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
+publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
to connect and equip people around the world so they can innovate with
data. Disseminating stories, research, guidance, and code under an open
license is essential for achieving that mission. It also demonstrates that
people pay for the advice ODI gives them, not for the methodologies they
use. Producing open content, data, and source code helps establish
credibility and creates leads for the paid services that they
-offer. According to Jeni, <span class="quote">”<span class="quote">The biggest lesson we have learned is that
-it is completely possible to be open, get customers, and make money.</span>”</span>
+offer. According to Jeni, <span class="quote">”<span class="quote">The biggest lesson we have learned is that
+it is completely possible to be open, get customers, and make money.</span>”</span>
</p><p>
To serve as evidence of a successful open business model and return on
investment, ODI has a public dashboard of key performance indicators. Here
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
Total amount of cash investments unlocked in direct investments in ODI,
competition funding, direct contracts, and partnerships, and income that ODI
-nodes and ODI start-ups have generated since joining the ODI program: £44.5
+nodes and ODI start-ups have generated since joining the ODI program: £44.5
million
</p></li><li class="listitem"><p>
Total number of active members and nodes across the globe: 1,350
</p></li><li class="listitem"><p>
- Total sales since ODI began: £7.44 million
+ Total sales since ODI began: £7.44 million
</p></li><li class="listitem"><p>
Total number of unique people reached since ODI began, in person and online:
2.2 million
</p></li><li class="listitem"><p>
Total number of people trained by ODI and its nodes since ODI began:
5,080<a href="#ftn.idm1546" class="footnote" name="idm1546"><sup class="footnote">[133]</sup></a>
- </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1488" class="footnote"><p><a href="#idm1488" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1498" class="footnote"><p><a href="#idm1498" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1518" class="footnote"><p><a href="#idm1518" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1524" class="footnote"><p><a href="#idm1524" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1546" class="footnote"><p><a href="#idm1546" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Kapitel 17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1488" class="footnote"><p><a href="#idm1488" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1498" class="footnote"><p><a href="#idm1498" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1518" class="footnote"><p><a href="#idm1518" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1524" class="footnote"><p><a href="#idm1524" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1546" class="footnote"><p><a href="#idm1546" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Kapitel 17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: November 4, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: Nick Ierodiaconou and Joni
Steiner, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as
architects together. They also made goods. Their first client was Mint
Digital, who had an interest in open licensing. Nick and Joni were exploring
-digital fabrication, and Mint’s interest in open licensing got them to
+digital fabrication, and Mint’s interest in open licensing got them to
thinking how the open-source world may interact and apply to physical
goods. They sought to design something for their client that was also
-reproducible. As they put it, they decided to <span class="quote">”<span class="quote">ship the recipe, but
-not the goods.</span>”</span> They created the design using software, put it under
+reproducible. As they put it, they decided to <span class="quote">”<span class="quote">ship the recipe, but
+not the goods.</span>”</span> They created the design using software, put it under
an open license, and had it manufactured locally near the client. This was
-the start of the idea for Opendesk. The idea for Wikihouse—another open
-project dedicated to accessible housing for all—started as discussions
+the start of the idea for Opendesk. The idea for Wikihouse—another open
+project dedicated to accessible housing for all—started as discussions
around the same table. The two projects ultimately went on separate paths,
with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit
company.
model, they began investigating intellectual property and licensing
options. It was a thorny space, especially for designs. Just what aspect of
a design is copyrightable? What is patentable? How can allowing for digital
-sharing and distribution be balanced against the designer’s desire to still
+sharing and distribution be balanced against the designer’s desire to still
hold ownership? In the end, they decided there was no need to reinvent the
wheel and settled on using Creative Commons.
</p><p>
their designs were sold. Coming up with a business model was going to be
complex.
</p><p>
- They gave a lot of thought to three angles—the potential for social sharing,
+ They gave a lot of thought to three angles—the potential for social sharing,
allowing designers to choose their license, and the impact these choices
would have on the business model.
</p><p>
- In support of social sharing, Opendesk actively advocates for (but doesn’t
+ In support of social sharing, Opendesk actively advocates for (but doesn’t
demand) open licensing. And Nick and Joni are agnostic about which Creative
-Commons license is used; it’s up to the designer. They can be proprietary or
+Commons license is used; it’s up to the designer. They can be proprietary or
choose from the full suite of Creative Commons licenses, deciding for
themselves how open or closed they want to be.
</p><p>
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 <span class="quote">”<span class="quote">reputational glow.</span>”</span> And Opendesk does an
+understand that you get positive feedback when you’re attributed, what Nick
+and Joni called <span class="quote">”<span class="quote">reputational glow.</span>”</span> And Opendesk does an
awesome job profiling the designers.<a href="#ftn.idm1572" class="footnote" name="idm1572"><sup class="footnote">[134]</sup></a>
</p><p>
While designers are largely OK with personal sharing, there is a concern
with the designer not getting any benefits. So most Opendesk designers
choose the Attribution-NonCommercial license (CC BY-NC).
</p><p>
- Anyone can download a design and make it themselves, provided it’s for
-noncommercial use — and there have been many, many downloads. Or users can
-buy the product from Opendesk, or from a registered maker in Opendesk’s
+ Anyone can download a design and make it themselves, provided it’s for
+noncommercial use — and there have been many, many downloads. Or users can
+buy the product from Opendesk, or from a registered maker in Opendesk’s
network, for on-demand personal fabrication. The network of Opendesk makers
currently is made up of those who do digital fabrication using a
computer-controlled CNC (Computer Numeric Control) machining device that
cuts shapes out of wooden sheets according to the specifications in the
design file.
</p><p>
- Makers benefit from being part of Opendesk’s network. Making furniture for
+ Makers benefit from being part of Opendesk’s network. Making furniture for
local customers is paid work, and Opendesk generates business for them. Joni
-said, <span class="quote">”<span class="quote">Finding a whole network and community of makers was pretty easy
+said, <span class="quote">”<span class="quote">Finding a whole network and community of makers was 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.</span>”</span> Opendesk now has relationships with
+how we have moved forward.</span>”</span> Opendesk now has relationships with
hundreds of makers in countries all around the world.<a href="#ftn.idm1579" class="footnote" name="idm1579"><sup class="footnote">[135]</sup></a>
</p><p>
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 Opendesk’s
+builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
website:
</p><p>
When customers buy an Opendesk product directly from a registered maker,
a percentage fee to the channel through which the sale is made (at the
moment this is Opendesk, but in the future we aim to open this up to
third-party sellers who can sell Opendesk products through their own
-channels—this covers sales and marketing fees for the relevant channel)
+channels—this covers sales and marketing fees for the relevant channel)
</p></li><li class="listitem"><p>
a local delivery service charge (the delivery is typically charged by the
maker, but in some cases may be paid to a third-party delivery partner)
</p></li><li class="listitem"><p>
charges for any additional services the customer chooses, such as on-site
-assembly (additional services are discretionary—in many cases makers will be
+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)
</p></li><li class="listitem"><p>
local sales taxes (variable by customer and maker location)<a href="#ftn.idm1599" class="footnote" name="idm1599"><sup class="footnote">[136]</sup></a>
</p></li></ul></div><p>
- They then go into detail how makers’ quotes are created:
+ They then go into detail how makers’ quotes are created:
</p><p>
When a customer wants to buy an Opendesk . . . they are provided with a
transparent breakdown of fees including the manufacturing cost, design fee,
sales tax: as applicable (depends on product and location)
</p></li></ul></div><p>
Opendesk shares revenue with their community of designers. According to
-Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
+Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
percent is more generous, and providing a higher value to the designer.
</p><p>
The Opendesk website features stories of designers and makers. Denis Fuzii
-published the design for the Valovi Chair from his studio in São Paulo. His
+published the design for the Valovi Chair from his studio in São Paulo. His
designs have been downloaded over five thousand times in ninety-five
countries. I.J. CNC Services is Ian Jinks, a professional maker based in the
United Kingdom. Opendesk now makes up a large proportion of his business.
</p><p>
To manage resources and remain effective, Opendesk has so far focused on a
-very narrow niche—primarily office furniture of a certain simple aesthetic,
+very narrow niche—primarily office furniture of a certain simple aesthetic,
which uses only one type of material and one manufacturing technique. This
allows them to be more strategic and more disruptive in the market, by
getting things to market quickly with competitive prices. It also reflects
their vision of creating reproducible and functional pieces.
</p><p>
- On their website, Opendesk describes what they do as <span class="quote">”<span class="quote">open
-making</span>”</span>: <span class="quote">”<span class="quote">Designers get a global distribution channel. Makers
+ On their website, Opendesk describes what they do as <span class="quote">”<span class="quote">open
+making</span>”</span>: <span class="quote">”<span class="quote">Designers get a global distribution channel. Makers
get profitable jobs and new customers. You get designer products without the
designer price tag, a more social, eco-friendly alternative to
-mass-production and an affordable way to buy custom-made products.</span>”</span>
+mass-production and an affordable way to buy custom-made products.</span>”</span>
</p><p>
Nick and Joni say that customers like the fact that the furniture has a
known provenance. People really like that their furniture was designed by a
certain international designer but was made by a maker in their local
-community; it’s a great story to tell. It certainly sets apart Opendesk
+community; it’s a great story to tell. It certainly sets apart Opendesk
furniture from the usual mass-produced items from a store.
</p><p>
Nick and Joni are taking a community-based approach to define and evolve
-Opendesk and the <span class="quote">”<span class="quote">open making</span>”</span> business model. They’re
+Opendesk and the <span class="quote">”<span class="quote">open making</span>”</span> 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.<a href="#ftn.idm1624" class="footnote" name="idm1624"><sup class="footnote">[137]</sup></a> People can submit ideas and discuss the principles
-and business practices they’d like to see used.
+and business practices they’d like to see used.
</p><p>
Nick and Joni talked a lot with us about intellectual property (IP) and
commercialization. Many of their designers fear the idea that someone could
out of a sense of fairness. They have found that behavioral economics can
replace some of the thorny legal issues. In their business model, Nick and
Joni are trying to suspend the focus on IP and build an open business model
-that works for all stakeholders—designers, channels, manufacturers, and
+that works for all stakeholders—designers, channels, manufacturers, and
customers. For them, the value Opendesk generates hangs off
-<span class="quote">”<span class="quote">open,</span>”</span> not IP.
+<span class="quote">”<span class="quote">open,</span>”</span> not IP.
</p><p>
The mission of Opendesk is about relocalizing manufacturing, which changes
the way we think about how goods are made. Commercialization is integral to
-their mission, and they’ve begun to focus on success metrics that track how
+their mission, and they’ve begun to focus on success metrics that track how
many makers and designers are engaged through Opendesk in revenue-making
work.
</p><p>
- As a global platform for local making, Opendesk’s business model has been
+ As a global platform for local making, Opendesk’s business model has been
built on honesty, transparency, and inclusivity. As Nick and Joni describe
it, they put ideas out there that get traction and then have faith in
people.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1572" class="footnote"><p><a href="#idm1572" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1579" class="footnote"><p><a href="#idm1579" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1599" class="footnote"><p><a href="#idm1599" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1624" class="footnote"><p><a href="#idm1624" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>Kapitel 18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1572" class="footnote"><p><a href="#idm1572" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1579" class="footnote"><p><a href="#idm1579" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1599" class="footnote"><p><a href="#idm1599" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1624" class="footnote"><p><a href="#idm1624" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>Kapitel 18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: December 16, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: David Harris,
editor-in-chief
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
OpenStax is an extension of a program called Connexions, which was started
-in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of
+in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of
Electrical and Computer Engineering at Rice University in Houston,
Texas. Frustrated by the limitations of traditional textbooks and courses,
-Dr. Baraniuk wanted to provide authors and learners a way to share and
+Dr. Baraniuk wanted to provide authors and learners a way to share and
freely adapt educational materials such as courses, books, and
-reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
+reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
best libraries of customizable educational materials, all licensed with
-Creative Commons and available to anyone, anywhere, anytime—for free.
+Creative Commons and available to anyone, anywhere, anytime—for free.
</p><p>
In 2008, while in a senior leadership role at WebAssign and looking at ways
to reduce the risk that came with relying on publishers, David Harris began
investigating open educational resources (OER) and discovered Connexions. A
year and a half later, Connexions received a grant to help grow the use of
-OER so that it could meet the needs of students who couldn’t afford
+OER so that it could meet the needs of students who couldn’t afford
textbooks. David came on board to spearhead this effort. Connexions became
OpenStax CNX; the program to create open textbooks became OpenStax College,
now simply called OpenStax.
</p><p>
David brought with him a deep understanding of the best practices of
-publishing along with where publishers have inefficiencies. In David’s view,
+publishing along with where publishers have inefficiencies. In David’s view,
peer review and high standards for quality are critically important if you
want to scale easily. Books have to have logical scope and sequence, they
have to exist as a whole and not in pieces, and they have to be easy to
librarians about these textbooks and to advocate for their use.
</p><p>
Teachers are invited to try out a single chapter from one of the textbooks
-with students. If that goes well, they’re encouraged to adopt the entire
+with students. If that goes well, they’re encouraged to adopt the entire
book. They can simply paste a URL into their course syllabus, for free and
unlimited access. And with the CC BY license, teachers are free to delete
chapters, make changes, and customize any book to fit their needs.
presentations, test banks, answer keys, and so on.
</p><p>
Institutions can stand out by offering students a lower-cost education
-through the use of OpenStax textbooks; there’s even a textbook-savings
+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.<a href="#ftn.idm1671" class="footnote" name="idm1671"><sup class="footnote">[139]</sup></a>
</p><p>
- Unlike traditional publishers’ monolithic approach of controlling
+ Unlike traditional publishers’ monolithic approach of controlling
intellectual property, distribution, and so many other aspects, OpenStax has
adopted a model that embraces open licensing and relies on an extensive
network of partners.
already published revisions of their titles, such as Introduction to
Sociology 2e, using these funds.
</p><p>
- In David’s view, this approach lets the market operate at peak
-efficiency. OpenStax’s partners don’t have to worry about developing
+ In David’s view, this approach lets the market operate at peak
+efficiency. OpenStax’s partners don’t have to worry about developing
textbook content, freeing them up from those development costs and letting
them focus on what they do best. With OpenStax textbooks available at no
-cost, they can provide their services at a lower cost—not free, but still
+cost, they can provide their services at a lower cost—not free, but still
saving students money. OpenStax benefits not only by receiving
mission-support fees but through free publicity and marketing. OpenStax
-doesn’t have a sales force; partners are out there showcasing their
+doesn’t have a sales force; partners are out there showcasing their
materials.
</p><p>
- OpenStax’s cost of sales to acquire a single student is very, very low and
+ OpenStax’s cost of sales to acquire a single student is very, very low and
is a fraction of what traditional players in the market face. This year,
Tyton Partners is actually evaluating the costs of sales for an OER effort
like OpenStax in comparison with incumbents. David looks forward to sharing
is working well, since the sell-through of their print titles is virtually a
hundred percent.
</p><p>
- David thinks of the OpenStax model as <span class="quote">”<span class="quote">OER 2.0.</span>”</span> So what is OER
+ David thinks of the OpenStax model as <span class="quote">”<span class="quote">OER 2.0.</span>”</span> So what is OER
1.0? Historically in the OER field, many OER initiatives have been locally
-funded by institutions or government ministries. In David’s view, this
+funded by institutions or government ministries. In David’s view, this
results in content that has high local value but is infrequently adopted
-nationally. It’s therefore difficult to show payback over a time scale that
+nationally. It’s therefore difficult to show payback over a time scale that
is reasonable.
</p><p>
OER 2.0 is about OER intended to be used and adopted on a national level
The process is similar for both models. First they look at the scope and
sequence of existing textbooks. They ask questions like what does the
customer need? Where are students having challenges? Then they identify
-potential authors and put them through a rigorous evaluation—only one in ten
+potential authors and put them through a rigorous evaluation—only one in ten
authors make it through. OpenStax selects a team of authors who come
together to develop a template for a chapter and collectively write the
-first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
+first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
books with just a single author as David says it risks the project going
longer than scheduled.) The draft is peer-reviewed with no less than three
reviewers per chapter. A second draft is generated, with artists producing
</p><p>
All the people involved in this process are paid. OpenStax does not rely on
volunteers. Writers, reviewers, illustrators, and editors are all paid an
-up-front fee—OpenStax does not use a royalty model. A best-selling author
+up-front fee—OpenStax does not use a royalty model. A best-selling author
might make more money under the traditional publishing model, but that is
-only maybe 5 percent of all authors. From David’s perspective, 95 percent of
+only maybe 5 percent of all authors. From David’s perspective, 95 percent of
all authors do better under the OER 2.0 model, as there is no risk to them
and they earn all the money up front.
</p><p>
- David thinks of the Attribution license (CC BY) as the <span class="quote">”<span class="quote">innovation
-license.</span>”</span> It’s core to the mission of OpenStax, letting people use
+ David thinks of the Attribution license (CC BY) as the <span class="quote">”<span class="quote">innovation
+license.</span>”</span> It’s core to the mission of OpenStax, letting people use
their textbooks in innovative ways without having to ask for permission. It
frees up the whole market and has been central to OpenStax being able to
bring on partners. OpenStax sees a lot of customization of their
and academic freedom.
</p><p>
Using CC BY is also a good example of using strategies that traditional
-publishers can’t. Traditional publishers rely on copyright to prevent others
+publishers can’t. Traditional publishers rely on copyright to prevent others
from making copies and heavily invest in digital rights management to ensure
-their books aren’t shared. By using CC BY, OpenStax avoids having to deal
+their books aren’t shared. By using CC BY, OpenStax avoids having to deal
with digital rights management and its costs. OpenStax books can be copied
and shared over and over again. CC BY changes the rules of engagement and
takes advantage of traditional market inefficiencies.
necessary precursor to international interest.
</p><p>
OpenStax has primarily focused on introductory-level college courses where
-there is high enrollment, but they are starting to think about verticals—a
+there is high enrollment, but they are starting to think about verticals—a
broad offering for a specific group or need. David thinks it would be
terrific if OpenStax could provide access to free textbooks through the
entire curriculum of a nursing degree, for example.
books have on learning efficiency, persistence, and completion. By building
an open business model based on Creative Commons, OpenStax is making it
possible for every student who wants access to education to get it.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1664" class="footnote"><p><a href="#idm1664" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1671" class="footnote"><p><a href="#idm1671" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>Kapitel 19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1664" class="footnote"><p><a href="#idm1664" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1671" class="footnote"><p><a href="#idm1671" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>Kapitel 19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Amanda Palmer is a musician, artist, and writer. Based in the U.S.
</p><p>
<a class="ulink" href="http://amandapalmer.net" target="_top">http://amandapalmer.net</a>
and album sales), charg-ing for in-person version (performances), selling
merchandise
</p><p><span class="strong"><strong>Interview date</strong></span>: December 15, 2015
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
Since the beginning of her career, Amanda Palmer has been on what she calls
-a <span class="quote">”<span class="quote">journey with no roadmap,</span>”</span> continually experimenting to find
+a <span class="quote">”<span class="quote">journey with no roadmap,</span>”</span> continually experimenting to find
new ways to sustain her creative work.<a href="#ftn.idm1718" class="footnote" name="idm1718"><sup class="footnote">[140]</sup></a>
</p><p>
In her best-selling book, The Art of Asking, Amanda articulates exactly what
-she has been and continues to strive for—<span class="quote">”<span class="quote">the ideal sweet spot
+she has been and continues to strive for—<span class="quote">”<span class="quote">the ideal sweet spot
. . . in which the artist can share freely and directly feel the
reverberations of their artistic gifts to the community, and make a living
-doing that.</span>”</span>
+doing that.</span>”</span>
</p><p>
While she seems to have successfully found that sweet spot for herself,
Amanda is the first to acknowledge there is no silver bullet. She thinks the
-digital age is both an exciting and frustrating time for creators. <span class="quote">”<span class="quote">On
-the one hand, we have this beautiful shareability,</span>”</span> Amanda
-said. <span class="quote">”<span class="quote">On the other, you’ve got a bunch of confused artists wondering
-how to make money to buy food so we can make more art.</span>”</span>
+digital age is both an exciting and frustrating time for creators. <span class="quote">”<span class="quote">On
+the one hand, we have this beautiful shareability,</span>”</span> Amanda
+said. <span class="quote">”<span class="quote">On the other, you’ve got a bunch of confused artists wondering
+how to make money to buy food so we can make more art.</span>”</span>
</p><p>
Amanda began her artistic career as a street performer. She would dress up
in an antique wedding gown, paint her face white, stand on a stack of milk
performance. She collected money in a hat. Most people walked by her without
stopping, but an essential few stopped to watch and drop some money into her
hat to show their appreciation. Rather than dwelling on the majority of
-people who ignored her, she felt thankful for those who stopped. <span class="quote">”<span class="quote">All
-I needed was . . . some people,</span>”</span> she wrote in her book. <span class="quote">”<span class="quote">Enough
+people who ignored her, she felt thankful for those who stopped. <span class="quote">”<span class="quote">All
+I needed was . . . some people,</span>”</span> she wrote in her book. <span class="quote">”<span class="quote">Enough
people. Enough to make it worth coming back the next day, enough people to
help me make rent and put food on the table. Enough so I could keep making
-art.</span>”</span>
+art.</span>”</span>
</p><p>
Amanda has come a long way from her street-performing days, but her career
-remains dominated by that same sentiment—finding ways to reach <span class="quote">”<span class="quote">her
-crowd</span>”</span> and feeling gratitude when she does. With her band the Dresden
+remains dominated by that same sentiment—finding ways to reach <span class="quote">”<span class="quote">her
+crowd</span>”</span> and feeling gratitude when she does. With her band the Dresden
Dolls, Amanda tried the traditional path of signing with a record label. It
-didn’t take for a variety of reasons, but one of them was that the label had
-absolutely no interest in Amanda’s view of success. They wanted hits, but
+didn’t take for a variety of reasons, but one of them was that the label had
+absolutely no interest in Amanda’s view of success. They wanted hits, but
making music for the masses was never what Amanda and the Dresden Dolls set
out to do.
</p><p>
After leaving the record label in 2008, she began experimenting with
different ways to make a living. She released music directly to the public
-without involving a middle man, releasing digital files on a <span class="quote">”<span class="quote">pay what
-you want</span>”</span> basis and selling CDs and vinyl. She also made money from
+without involving a middle man, releasing digital files on a <span class="quote">”<span class="quote">pay what
+you want</span>”</span> basis and selling CDs and vinyl. She also made money from
live performances and merchandise sales. Eventually, in 2012 she decided to
try her hand at the sort of crowdfunding we know so well today. Her
Kickstarter project started with a goal of $100,000, and she made $1.2
on Patreon, a crowdfunding site that allows artists to get recurring
donations from fans. More than eight thousand people have signed up to
support her so she can create music, art, and any other creative
-<span class="quote">”<span class="quote">thing</span>”</span> that she is inspired to make. The recurring pledges are
-made on a <span class="quote">”<span class="quote">per thing</span>”</span> basis. All of the content she makes is
+<span class="quote">”<span class="quote">thing</span>”</span> that she is inspired to make. The recurring pledges are
+made on a <span class="quote">”<span class="quote">per thing</span>”</span> basis. All of the content she makes is
made freely available under an Attribution-NonCommercial-ShareAlike license
(CC BY-NC-SA).
</p><p>
before she discovered Creative Commons. Amanda says the Dresden Dolls used
to get ten emails per week from fans asking if they could use their music
for different projects. They said yes to all of the requests, as long as it
-wasn’t for a completely for-profit venture. At the time, they used a
-short-form agreement written by Amanda herself. <span class="quote">”<span class="quote">I made everyone sign
-that contract so at least I wouldn’t be leaving the band vulnerable to
+wasn’t for a completely for-profit venture. At the time, they used a
+short-form agreement written by Amanda herself. <span class="quote">”<span class="quote">I made everyone sign
+that contract so at least I wouldn’t be leaving the band vulnerable to
someone later going on and putting our music in a Camel cigarette
-ad,</span>”</span> Amanda said. Once she discovered Creative Commons, adopting the
+ad,</span>”</span> Amanda said. Once she discovered Creative Commons, adopting the
licenses was an easy decision because it gave them a more formal,
standardized way of doing what they had been doing all along. The
NonCommercial licenses were a natural fit.
</p><p>
Amanda embraces the way her fans share and build upon her music. In The Art
-of Asking, she wrote that some of her fans’ unofficial videos using her
+of Asking, she wrote that some of her fans’ unofficial videos using her
music surpass the official videos in number of views on YouTube. Rather than
-seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">”<span class="quote">We
-got into this because we wanted to share the joy of music,</span>”</span> she said.
+seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">”<span class="quote">We
+got into this because we wanted to share the joy of music,</span>”</span> she said.
</p><p>
This is symbolic of how nearly everything she does in her career is
motivated by a desire to connect with her fans. At the start of her career,
she and the band would throw concerts at house parties. As the gatherings
-grew, the line between fans and friends was completely blurred. <span class="quote">”<span class="quote">Not
+grew, the line between fans and friends was completely blurred. <span class="quote">”<span class="quote">Not
only did most our early fans know where I lived and where we practiced, but
-most of them had also been in my kitchen,</span>”</span> Amanda wrote in The Art of
+most of them had also been in my kitchen,</span>”</span> Amanda wrote in The Art of
Asking.
</p><p>
Even though her fan base is now huge and global, she continues to seek this
the signing line after shows. It helps that Amanda has the kind of dynamic,
engaging personality that instantly draws people to her, but a big component
of her ability to connect with people is her willingness to
-listen. <span class="quote">”<span class="quote">Listening fast and caring immediately is a skill unto
-itself,</span>”</span> Amanda wrote.
+listen. <span class="quote">”<span class="quote">Listening fast and caring immediately is a skill unto
+itself,</span>”</span> Amanda wrote.
</p><p>
Another part of the connection fans feel with Amanda is how much they know
about her life. Rather than trying to craft a public persona or image, she
essentially lives her life as an open book. She has written openly about
-incredibly personal events in her life, and she isn’t afraid to be
-vulnerable. Having that kind of trust in her fans—the trust it takes to be
-truly honest—begets trust from her fans in return. When she meets fans for
+incredibly personal events in her life, and she isn’t afraid to be
+vulnerable. Having that kind of trust in her fans—the trust it takes to be
+truly honest—begets trust from her fans in return. When she meets fans for
the first time after a show, they can legitimately feel like they know her.
- </p><p><span class="quote">”<span class="quote">With social media, we’re so concerned with the picture looking
+ </p><p><span class="quote">”<span class="quote">With social media, we’re so concerned with the picture looking
palatable and consumable that we forget that being human and showing the
flaws and exposing the vulnerability actually create a deeper connection
-than just looking fantastic,</span>”</span> Amanda said. <span class="quote">”<span class="quote">Everything in our
+than just looking fantastic,</span>”</span> Amanda said. <span class="quote">”<span class="quote">Everything in our
culture is telling us otherwise. But my experience has shown me that the
-risk of making yourself vulnerable is almost always worth it.</span>”</span>
+risk of making yourself vulnerable is almost always worth it.</span>”</span>
</p><p>
Not only does she disclose intimate details of her life to them, she sleeps
on their couches, listens to their stories, cries with them. In short, she
treats her fans like friends in nearly every possible way, even when they
-are complete strangers. This mentality—that fans are friends—is completely
-intertwined with Amanda’s success as an artist. It is also intertwined with
+are complete strangers. This mentality—that fans are friends—is completely
+intertwined with Amanda’s success as an artist. It is also intertwined with
her use of Creative Commons licenses. Because that is what you do with your
-friends—you share.
+friends—you share.
</p><p>
After years of investing time and energy into building trust with her fans,
-she has a strong enough relationship with them to ask for support—through
+she has a strong enough relationship with them to ask for support—through
pay-what-you-want donations, Kickstarter, Patreon, or even asking them to
lend a hand at a concert. As Amanda explains it, crowdfunding (which is
really what all of these different things are) is about asking for support
from people who know and trust you. People who feel personally invested in
your success.
- </p><p><span class="quote">”<span class="quote">When you openly, radically trust people, they not only take care of
-you, they become your allies, your family,</span>”</span> she wrote. There really
+ </p><p><span class="quote">”<span class="quote">When you openly, radically trust people, they not only take care of
+you, they become your allies, your family,</span>”</span> she wrote. There really
is a feeling of solidarity within her core fan base. From the beginning,
Amanda and her band encouraged people to dress up for their shows. They
-consciously cultivated a feeling of belonging to their <span class="quote">”<span class="quote">weird little
-family.</span>”</span>
+consciously cultivated a feeling of belonging to their <span class="quote">”<span class="quote">weird little
+family.</span>”</span>
</p><p>
This sort of intimacy with fans is not possible or even desirable for every
-creator. <span class="quote">”<span class="quote">I don’t take for granted that I happen to be the type of
-person who loves cavorting with strangers,</span>”</span> Amanda said. <span class="quote">”<span class="quote">I
-recognize that it’s not necessarily everyone’s idea of a good time. Everyone
-does it differently. Replicating what I have done won’t work for others if
-it isn’t joyful to them. It’s about finding a way to channel energy in a way
-that is joyful to you.</span>”</span>
+creator. <span class="quote">”<span class="quote">I don’t take for granted that I happen to be the type of
+person who loves cavorting with strangers,</span>”</span> Amanda said. <span class="quote">”<span class="quote">I
+recognize that it’s not necessarily everyone’s idea of a good time. Everyone
+does it differently. Replicating what I have done won’t work for others if
+it isn’t joyful to them. It’s about finding a way to channel energy in a way
+that is joyful to you.</span>”</span>
</p><p>
Yet while Amanda joyfully interacts with her fans and involves them in her
-work as much as possible, she does keep one job primarily to herself—writing
+work as much as possible, she does keep one job primarily to herself—writing
the music. She loves the creativity with which her fans use and adapt her
work, but she intentionally does not involve them at the first stage of
creating her artistic work. And, of course, the songs and music are what
strengthens with human connection.
</p><p>
For Amanda, the entire point of being an artist is to establish and maintain
-this connection. <span class="quote">”<span class="quote">It sounds so corny,</span>”</span> she said, <span class="quote">”<span class="quote">but my
+this connection. <span class="quote">”<span class="quote">It sounds so corny,</span>”</span> she said, <span class="quote">”<span class="quote">but my
experience in forty years on this planet has pointed me to an obvious
-truth—that connection with human beings feels so much better and more
+truth—that connection with human beings feels so much better and more
fulfilling than approaching art through a capitalist lens. There is no more
satisfying end goal than having someone tell you that what you do is
-genuinely of value to them.</span>”</span>
+genuinely of value to them.</span>”</span>
</p><p>
As she explains it, when a fan gives her a ten-dollar bill, usually what
they are saying is that the money symbolizes some deeper value the music
-provided them. For Amanda, art is not just a product; it’s a
+provided them. For Amanda, art is not just a product; it’s a
relationship. Viewed from this lens, what Amanda does today is not that
different from what she did as a young street performer. She shares her
music and other artistic gifts. She shares herself. And then rather than
forcing people to help her, she lets them.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1718" class="footnote"><p><a href="#idm1718" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>Kapitel 20. PLOS (Public Library of Science)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1718" class="footnote"><p><a href="#idm1718" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>Kapitel 20. PLOS (Public Library of Science)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
an author processing charge to be featured in the journal
</p><p><span class="strong"><strong>Interview date</strong></span>: March 7, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Louise Page, publisher
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
The Public Library of Science (PLOS) began in 2000 when three leading
-scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
+scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
online petition. They were calling for scientists to stop submitting papers
-to journals that didn’t make the full text of their papers freely available
+to journals that didn’t make the full text of their papers freely available
immediately or within six months. Although tens of thousands signed the
petition, most did not follow through. In August 2001, Patrick and Michael
announced that they would start their own nonprofit publishing operation to
For Louise Page, the current publisher of PLOS, this traditional model
results in inequity. Access is restricted to those who can pay. Most
research is funded through government-appointed agencies, that is, with
-public funds. It’s unjust that the public who funded the research would be
+public funds. It’s unjust that the public who funded the research would be
required to pay again to access the results. Not everyone can afford the
ever-escalating subscription fees publishers charge, especially when library
budgets are being reduced. Restricting access to the results of scientific
publication. Rather than charge a subscription fee to access the journal,
PLOS decided to turn the model on its head and charge a publication fee,
known as an article-processing charge. This up-front fee, generally paid by
-the funder of the research or the author’s institution, covers the expenses
+the funder of the research or the author’s institution, covers the expenses
such as editorial oversight, peer-review management, journal production,
online hosting, and support for discovery. Fees are per article and are
billed upon acceptance for publishing. There are no additional charges based
</p><p>
Calculating the article-processing charge involves taking all the costs
associated with publishing the journal and determining a cost per article
-that collectively recovers costs. For PLOS’s journals in biology, medicine,
+that collectively recovers costs. For PLOS’s journals in biology, medicine,
genetics, computational biology, neglected tropical diseases, and pathogens,
the article-processing charge ranges from $2,250 to
$2,900. Article-publication charges for PLOS ONE, a journal started in 2006,
</p><p>
PLOS believes that lack of funds should not be a barrier to
publication. Since its inception, PLOS has provided fee support for
-individuals and institutions to help authors who can’t afford the
+individuals and institutions to help authors who can’t afford the
article-processing charges.
</p><p>
Louise identifies marketing as one area of big difference between PLOS and
in staff, buildings, and infrastructure to market their journal and convince
customers to subscribe. Restricting access to subscribers means that tools
for managing access control are necessary. They spend millions of dollars on
-access-control systems, staff to manage them, and sales staff. With PLOS’s
-open-access publishing, there’s no need for these massive expenses; the
+access-control systems, staff to manage them, and sales staff. With PLOS’s
+open-access publishing, there’s no need for these massive expenses; the
articles are free, open, and accessible to all upon
publication. Additionally, traditional publishers tend to spend more on
marketing to libraries, who ultimately pay the subscription fees. PLOS
there is always a trade-off with scale, as the bigger the volume of
articles, the more time the approval process inevitably takes.
</p><p>
- Peer review is another part of the process that could change. It’s possible
+ Peer review is another part of the process that could change. It’s possible
to redefine what peer review actually is, when to review, and what
constitutes the final article for publication. Louise talked about the
potential to shift to an open-review process, placing the emphasis on
-transparency rather than double-blind reviews. Louise thinks we’re moving
-into a direction where it’s actually beneficial for an author to know who is
+transparency rather than double-blind reviews. Louise thinks we’re moving
+into a direction where it’s actually beneficial for an author to know who is
reviewing their paper and for the reviewer to know their review will be
public. An open-review process can also ensure everyone gets credit; right
now, credit is limited to the publisher and author.
</p><p>
Louise says research with negative outcomes is almost as important as
positive results. If journals published more research with negative
-outcomes, we’d learn from what didn’t work. It could also reduce how much
+outcomes, we’d learn from what didn’t work. It could also reduce how much
the research wheel gets reinvented around the world.
</p><p>
Another adjustable practice is the sharing of articles at early preprint
with findings based on their research. Other researches may see findings the
preprint author has not yet thought of. However, preprints help researchers
get their discoveries out early and establish precedence. A big challenge is
-that researchers don’t have a lot of time to comment on preprints.
+that researchers don’t have a lot of time to comment on preprints.
</p><p>
What constitutes a journal article could also change. The idea of a research
article as printed, bound, and in a library stack is outdated. Digital and
Ultimately, for PLOS, its authors, and its readers, success is about making
research discoverable, available, and reproducible for the advancement of
science.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1796" class="footnote"><p><a href="#idm1796" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1799" class="footnote"><p><a href="#idm1799" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>Kapitel 21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1796" class="footnote"><p><a href="#idm1796" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1799" class="footnote"><p><a href="#idm1799" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>Kapitel 21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
The Rijksmuseum is a Dutch national museum dedicated to art and
history. Founded in 1800 in the Netherlands
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 11, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Lizzy Jongma, the data
manager of the collections information department
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
</p><p>
By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager,
staff were fed up with the situation the museum was in. They also realized
-that even with the new and larger space, it still wouldn’t be able to show
-very much of the whole collection—eight thousand of over one million works
+that even with the new and larger space, it still wouldn’t be able to show
+very much of the whole collection—eight thousand of over one million works
representing just 1 percent. Staff began exploring ways to express
themselves, to have something to show for all of the work they had been
doing. The Rijksmuseum is primarily funded by Dutch taxpayers, so was there
a way for the museum provide benefit to the public while it was closed? They
-began thinking about sharing Rijksmuseum’s collection using information
+began thinking about sharing Rijksmuseum’s collection using information
technology. And they put up a card-catalog like database of the entire
collection online.
</p><p>
of the one hundred most important pieces in the Rijksmuseum collection? That
eventually led to why not put the whole collection online?
</p><p>
- Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
+ Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
library, museum, and archive for cultural heritage.<a href="#ftn.idm1822" class="footnote" name="idm1822"><sup class="footnote">[143]</sup></a> As an online portal to museum collections all
across Europe, Europeana had become an important online platform. In October
2010 Creative Commons released CC0 and its public-domain mark as tools
business practice a bit scary, but at the same time it stimulated even more
discussion on whether the Rijksmuseum should follow suit.
</p><p>
- They realized that they don’t <span class="quote">”<span class="quote">own</span>”</span> the collection and couldn’t
+ They realized that they don’t <span class="quote">”<span class="quote">own</span>”</span> the collection and couldn’t
realistically monitor and enforce compliance with the restrictive licensing
terms they currently had in place. For example, many copies and versions of
-Vermeer’s Milkmaid (part of their collection) were already online, many of
+Vermeer’s Milkmaid (part of their collection) were already online, many of
them of very poor quality. They could spend time and money policing its use,
-but it would probably be futile and wouldn’t make people stop using their
-images online. They ended up thinking it’s an utter waste of time to hunt
+but it would probably be futile and wouldn’t make people stop using their
+images online. They ended up thinking it’s an utter waste of time to hunt
down people who use the Rijksmuseum collection. And anyway, restricting
access meant the people they were frustrating the most were schoolkids.
</p><p>
</p><p>
Releasing these high-quality images for free reduced the number of
poor-quality images that were proliferating. The high-quality image of
-Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
+Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
month. On the Internet, images from a source like the Rijksmuseum are more
trusted, and releasing them with a Creative Commons CC0 means they can
easily be found in other platforms. For example, Rijksmuseum images are now
used in thousands of Wikipedia articles, receiving ten to eleven million
-views per month. This extends Rijksmuseum’s reach far beyond the scope of
+views per month. This extends Rijksmuseum’s reach far beyond the scope of
its website. Sharing these images online creates what Lizzy calls the
-<span class="quote">”<span class="quote">Mona Lisa effect,</span>”</span> where a work of art becomes so famous that
+<span class="quote">”<span class="quote">Mona Lisa effect,</span>”</span> where a work of art becomes so famous that
people want to see it in real life by visiting the actual museum.
</p><p>
Every museum tends to be driven by the number of physical visitors. The
Rijksmuseum.
</p><p>
As museums create a digital presence for themselves and put up digital
-representations of their collection online, there’s frequently a worry that
+representations of their collection online, there’s frequently a worry that
it will lead to a drop in actual physical visits. For the Rijksmuseum, this
has not turned out to be the case. Lizzy told us the Rijksmuseum used to get
about one million visitors a year before closing and now gets more than two
million a year. Making the collection available online has generated
publicity and acts as a form of marketing. The Creative Commons mark
encourages reuse as well. When the image is found on protest leaflets, milk
-cartons, and children’s toys, people also see what museum the image comes
-from and this increases the museum’s visibility.
+cartons, and children’s toys, people also see what museum the image comes
+from and this increases the museum’s visibility.
</p><p>
- In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
-a new web presence that would be different from any other museum’s. In
+ In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
+a new web presence that would be different from any other 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 Rijksstudio gives users access to over two hundred thousand high-quality
digital representations of masterworks from the collection. Users can zoom
in to any work and even clip small parts of images they like. Rijksstudio is
-a bit like Pinterest. You can <span class="quote">”<span class="quote">like</span>”</span> works and compile your
+a bit like Pinterest. You can <span class="quote">”<span class="quote">like</span>”</span> works and compile your
personal favorites, and you can share them with friends or download them
free of charge. All the images in the Rijksstudio are copyright and royalty
free, and users are encouraged to use them as they like, for private or even
</p><p>
Some contemporary artists who have works in the Rijksmuseum collection
contacted them to ask why their works were not included in the
-Rijksstudio. The answer was that contemporary artists’ works are still bound
+Rijksstudio. The answer was that contemporary artists’ works are still bound
by copyright. The Rijksmuseum does encourage contemporary artists to use a
Creative Commons license for their works, usually a CC BY-SA license
(Attribution-ShareAlike), or a CC BY-NC (Attribution-NonCommercial) if they
line between creative and commercial can be blurry. As Lizzy says, even
Rembrandt was commercial, making his livelihood from selling his
paintings. The Rijksmuseum encourages entrepreneurial commercial use of the
-images in Rijksstudio. They’ve even partnered with the DIY marketplace Etsy
+images in Rijksstudio. They’ve even partnered with the DIY 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
competition, known as the Rijksstudio Award.<a href="#ftn.idm1846" class="footnote" name="idm1846"><sup class="footnote">[146]</sup></a> With the call to action Make Your Own Masterpiece, the competition
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 final award comes with a prize of €10,000. The second edition
+winners. The final award comes with a prize of €10,000. The second edition
in 2015 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
Going with a more open business model generated lots of publicity for the
Rijksmuseum. They were one of the first museums to open up their collection
(that is, give free access) with high-quality images. This strategy, along
-with the many improvements to the Rijksmuseum’s website, dramatically
+with the many improvements to the Rijksmuseum’s website, dramatically
increased visits to their website from thirty-five thousand visits per month
to three hundred thousand.
</p><p>
</p><p>
For the Rijksmuseum, adopting an open business model was scary. They came
up with many worst-case scenarios, imagining all kinds of awful things
-people might do with the museum’s works. But Lizzy says those fears did not
-come true because <span class="quote">”<span class="quote">ninety-nine percent of people have respect for
-great art.</span>”</span> Many museums think they can make a lot of money by
-selling things related to their collection. But in Lizzy’s experience,
+people might do with the museum’s works. But Lizzy says those fears did not
+come true because <span class="quote">”<span class="quote">ninety-nine percent of people have respect for
+great art.</span>”</span> Many museums think they can make a lot of money by
+selling things related to their collection. But in Lizzy’s experience,
museums are usually bad at selling things, and sometimes efforts to generate
-a small amount of money block something much bigger—the real value that the
+a small amount of money block something much bigger—the real value that the
collection has. For Lizzy, clinging to small amounts of revenue is being
penny-wise but pound-foolish. For the Rijksmuseum, a key lesson has been to
never lose sight of its vision for the collection. Allowing access to and
-use of their collection has generated great promotional value—far more than
+use of their collection has generated great promotional value—far more than
the previous practice of charging fees for access and use. Lizzy sums up
-their experience: <span class="quote">”<span class="quote">Give away; get something in return. Generosity
-makes people happy to join you and help out.</span>”</span>
+their experience: <span class="quote">”<span class="quote">Give away; get something in return. Generosity
+makes people happy to join you and help out.</span>”</span>
</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1822" class="footnote"><p><a href="#idm1822" class="para"><sup class="para">[143] </sup></a><a class="ulink" href="http://www.europeana.eu/portal/en" target="_top">http://www.europeana.eu/portal/en</a></p></div><div id="ftn.idm1834" class="footnote"><p><a href="#idm1834" class="para"><sup class="para">[144] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio" target="_top">http://www.rijksmuseum.nl/en/rijksstudio</a></p></div><div id="ftn.idm1842" class="footnote"><p><a href="#idm1842" class="para"><sup class="para">[145] </sup></a><a class="ulink" href="http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe" target="_top">http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe</a></p></div><div id="ftn.idm1846" class="footnote"><p><a href="#idm1846" class="para"><sup class="para">[146] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award</a>; the 2014
award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2014" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2014</a>;
-the 2015 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1851" class="footnote"><p><a href="#idm1851" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Kapitel 22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+the 2015 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1851" class="footnote"><p><a href="#idm1851" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Kapitel 22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Shareable is an online magazine about sharing. Founded in 2009 in the U.S.
</p><p>
<a class="ulink" href="http://www.shareable.net" target="_top">http://www.shareable.net</a>
</p><p><span class="strong"><strong>Interview date</strong></span>: February 24, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Neal Gorenflo, cofounder and
executive editor
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
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, they
watched one part of the movement stray from its ideals. As giants like Uber
-and Airbnb gained ground, attention began to center on the <span class="quote">”<span class="quote">sharing
-economy</span>”</span> we know now—profit-driven, transactional, and loaded with
+and Airbnb gained ground, attention began to center on the <span class="quote">”<span class="quote">sharing
+economy</span>”</span> we know now—profit-driven, transactional, and loaded with
venture-capital money. Leaders of corporate start-ups in this domain invited
Shareable to advocate for them. The magazine faced a choice: ride the wave
or stand on principle.
</p><p>
As an organization, Shareable decided to draw a line in the sand. In 2013,
the cofounder and executive editor Neal Gorenflo wrote an opinion piece in
-the PandoDaily that charted Shareable’s new critical stance on the Silicon
+the PandoDaily that charted Shareable’s new critical stance on the Silicon
Valley version of the sharing economy, while contrasting it with aspects of
the real sharing economy like open-source software, participatory budgeting
(where citizens decide how a public budget is spent), cooperatives, and
-more. He wrote, <span class="quote">”<span class="quote">It’s not so much that collaborative consumption is
-dead, it’s more that it risks dying as it gets absorbed by the
-<span class="quote">’<span class="quote">Borg.</span>’</span></span>”</span>
+more. He wrote, <span class="quote">”<span class="quote">It’s not so much that collaborative consumption is
+dead, it’s more that it risks dying as it gets absorbed by the
+<span class="quote">’<span class="quote">Borg.</span>’</span></span>”</span>
</p><p>
Neal said their public critique of the corporate sharing economy defined
what Shareable was and is. He does not think the magazine would still be
-around had they chosen differently. <span class="quote">”<span class="quote">We would have gotten another type
-of audience, but it would have spelled the end of us,</span>”</span> he
-said. <span class="quote">”<span class="quote">We are a small, mission-driven organization. We would never
+around had they chosen differently. <span class="quote">”<span class="quote">We would have gotten another type
+of audience, but it would have spelled the end of us,</span>”</span> he
+said. <span class="quote">”<span class="quote">We are a small, mission-driven organization. We would never
have been able to weather the criticism that Airbnb and Uber are getting
-now.</span>”</span>
+now.</span>”</span>
</p><p>
- Interestingly, impassioned supporters are only a small sliver of Shareable’s
+ Interestingly, impassioned supporters are only a small sliver of Shareable’s
total audience. Most are casual readers who come across a Shareable story
because it happens to align with a project or interest they have. But
choosing principles over the possibility of riding the coattails of the
-major corporate players in the sharing space saved Shareable’s
+major corporate players in the sharing space saved Shareable’s
credibility. Although they became detached from the corporate sharing
-economy, the online magazine became the voice of the <span class="quote">”<span class="quote">real sharing
-economy</span>”</span> and continued to grow their audience.
+economy, the online magazine became the voice of the <span class="quote">”<span class="quote">real sharing
+economy</span>”</span> and continued to grow their audience.
</p><p>
Shareable is a magazine, but the content they publish is a means to
furthering their role as a leader and catalyst of a movement. Shareable
-became a leader in the movement in 2009. <span class="quote">”<span class="quote">At that time, there was a
+became a leader in the movement in 2009. <span class="quote">”<span class="quote">At that time, there was a
sharing movement bubbling beneath the surface, but no one was connecting the
-dots,</span>”</span> Neal said. <span class="quote">”<span class="quote">We decided to step into that space and take
-on that role.</span>”</span> The small team behind the nonprofit publication truly
+dots,</span>”</span> Neal said. <span class="quote">”<span class="quote">We decided to step into that space and take
+on that role.</span>”</span> The small team behind the nonprofit publication truly
believed sharing could be central to solving some of the major problems
-human beings face—resource inequality, social isolation, and global warming.
+human beings face—resource inequality, social isolation, and global warming.
</p><p>
They have worked hard to find ways to tell stories that show different
-metrics for success. <span class="quote">”<span class="quote">We wanted to change the notion of what
-constitutes the good life,</span>”</span> Neal said. While they started out with a
+metrics for success. <span class="quote">”<span class="quote">We wanted to change the notion of what
+constitutes the good life,</span>”</span> Neal said. While they started out with a
very broad focus on sharing generally, today they emphasize stories about
-the physical commons like <span class="quote">”<span class="quote">sharing cities</span>”</span> (i.e., urban areas
+the physical commons like <span class="quote">”<span class="quote">sharing cities</span>”</span> (i.e., urban areas
managed in a sustainable, cooperative way), as well as digital platforms
that are run democratically. They particularly focus on how-to content that
help their readers make changes in their own lives and communities.
</p><p>
- More than half of Shareable’s stories are written by paid journalists that
-are contracted by the magazine. <span class="quote">”<span class="quote">Particularly in content areas that
+ More than half of Shareable’s stories are written by paid journalists that
+are contracted by the magazine. <span class="quote">”<span class="quote">Particularly in content areas that
are a priority for us, we really want to go deep and control the
-quality,</span>”</span> Neal said. The rest of the content is either contributed by
+quality,</span>”</span> Neal said. The rest of the content is either contributed by
guest writers, often for free, or written by other publications from their
network of content publishers. Shareable is a member of the Post Growth
Alliance, which facilitates the sharing of content and audiences among a
large and growing group of mostly nonprofits. Each organization gets a
chance to present stories to the group, and the organizations can use and
-promote each other’s stories. Much of the content created by the network is
+promote each other’s stories. Much of the content created by the network is
licensed with Creative Commons.
</p><p>
- All of Shareable’s original content is published under the Attribution
+ All of Shareable’s original content is published under the Attribution
license (CC BY), meaning it can be used for any purpose as long as credit is
-given to Shareable. Creative Commons licensing is aligned with Shareable’s
-vision, mission, and identity. That alone explains the organization’s
+given to Shareable. Creative Commons licensing is aligned with Shareable’s
+vision, mission, and identity. That alone explains the organization’s
embrace of the licenses for their content, but Neal also believes CC
-licensing helps them increase their reach. <span class="quote">”<span class="quote">By using CC
-licensing,</span>”</span> he said, <span class="quote">”<span class="quote">we realized we could reach far more
+licensing helps them increase their reach. <span class="quote">”<span class="quote">By using CC
+licensing,</span>”</span> he said, <span class="quote">”<span class="quote">we realized we could reach far more
people through a formal and informal network of republishers or
-affiliates. That has definitely been the case. It’s hard for us to measure
+affiliates. That has definitely been the case. It’s hard for us to measure
the reach of other media properties, but most of the outlets who republish
-our work have much bigger audiences than we do.</span>”</span>
+our work have much bigger audiences than we do.</span>”</span>
</p><p>
In addition to their regular news and commentary online, Shareable has also
experimented with book publishing. In 2012, they worked with a traditional
publisher to release Share or Die: Voices of the Get Lost Generation in an
Age of Crisis. The CC-licensed book was available in print form for purchase
-or online for free. To this day, the book—along with their CC-licensed guide
-Policies for Shareable Cities—are two of the biggest generators of traffic
+or online for free. To this day, the book—along with their CC-licensed guide
+Policies for Shareable Cities—are two of the biggest generators of traffic
on their website.
</p><p>
In 2016, Shareable self-published a book of curated Shareable stories called
community-supported will better represent their vision of the world.
</p><p>
For Shareable, success is very much about their impact on the world. This is
-true for Neal, but also for everyone who works for Shareable. <span class="quote">”<span class="quote">We
-attract passionate people,</span>”</span> Neal said. At times, that means
+true for Neal, but also for everyone who works for Shareable. <span class="quote">”<span class="quote">We
+attract passionate people,</span>”</span> Neal said. At times, that means
employees work so hard they burn out. Neal tries to stress to the Shareable
team that another part of success is having fun and taking care of yourself
-while you do something you love. <span class="quote">”<span class="quote">A central part of human beings is
-that we long to be on a great adventure with people we love,</span>”</span> he
-said. <span class="quote">”<span class="quote">We are a species who look over the horizon and imagine and
-create new worlds, but we also seek the comfort of hearth and home.</span>”</span>
+while you do something you love. <span class="quote">”<span class="quote">A central part of human beings is
+that we long to be on a great adventure with people we love,</span>”</span> he
+said. <span class="quote">”<span class="quote">We are a species who look over the horizon and imagine and
+create new worlds, but we also seek the comfort of hearth and home.</span>”</span>
</p><p>
In 2013, Shareable ran its first crowdfunding campaign to launch their
Sharing Cities Network. Neal said at first they were on pace to fail
spectacularly. They called in their advisers in a panic and asked for
-help. The advice they received was simple—<span class="quote">”<span class="quote">Sit your ass in a chair and
-start making calls.</span>”</span> That’s exactly what they did, and they ended up
+help. The advice they received was simple—<span class="quote">”<span class="quote">Sit your ass in a chair and
+start making calls.</span>”</span> That’s exactly what they did, and they ended up
reaching their $50,000 goal. Neal said the campaign helped them reach new
people, but the vast majority of backers were people in their existing base.
</p><p>
Shareable began hosting events in 2010. These events were designed to bring
the sharing community together. But over time they realized they could reach
far more people if they helped their readers to host their own
-events. <span class="quote">”<span class="quote">If we wanted to go big on a conference, there was a huge risk
+events. <span class="quote">”<span class="quote">If we wanted to go big on a conference, there was a huge risk
and huge staffing needs, plus only a fraction of our community could travel
-to the event,</span>”</span> Neal said. Enabling others to create their own events
+to the event,</span>”</span> Neal said. Enabling others to create their own events
around the globe allowed them to scale up their work more effectively and
reach far more people. Shareable has catalyzed three hundred different
events reaching over twenty thousand people since implementing this strategy
encapsulate just how the commons is supposed to work. Rather than a
one-size-fits-all approach, Shareable puts the tools out there for people
take the ideas and adapt them to their own communities.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Kapitel 23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Kapitel 23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Siyavula is a for-profit educational-technology company that creates
textbooks and integrated learning experiences. Founded in 2012 in South
Africa.
services, sponsorships
</p><p><span class="strong"><strong>Interview date</strong></span>: April 5, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Horner, CEO
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
subjects for grades 4 to 12 in South Africa.
</p><p>
In terms of creating an open business model that involves Creative Commons,
-Siyavula—and its founder, Mark Horner—have been around the block a few
+Siyavula—and its founder, Mark Horner—have been around the block a few
times. Siyavula has significantly shifted directions and strategies to
-survive and prosper. Mark says it’s been very organic.
+survive and prosper. Mark says it’s been very organic.
</p><p>
It all started in 2002, when Mark and several other colleagues at the
University of Cape Town in South Africa founded the Free High School Science
-Texts project. Most students in South Africa high schools didn’t have access
+Texts project. Most students in South Africa high schools didn’t have access
to high-quality, comprehensive science and math textbooks, so Mark and his
colleagues set out to write them and make them freely available.
</p><p>
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.<a href="#ftn.idm1924" class="footnote" name="idm1924"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
+Foundation
’s GNU Free Documentation License.<a href="#ftn.idm1924" class="footnote" name="idm1924"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
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 to 12.
In 2007, the Shuttleworth Foundation offered funding support to make the
textbooks available for trial use at more schools. Surveys before and after
the textbooks were adopted showed there were no substantial criticisms of
-the textbooks’ pedagogical content. This pleased both the authors and
+the textbooks’ pedagogical content. This pleased both the authors and
Shuttleworth; Mark remains incredibly proud of this accomplishment.
</p><p>
But the development of new textbooks froze at this stage. Mark shifted his
-focus to rural schools, which didn’t have textbooks at all, and looked into
+focus to rural schools, which didn’t have textbooks at all, and looked into
the printing and distribution options. A few sponsors came on board but not
enough to meet the need.
</p><p>
result was the Cape Town Open Education Declaration, a statement of
principles, strategies, and commitment to help the open-education movement
grow.<a href="#ftn.idm1930" class="footnote" name="idm1930"><sup class="footnote">[149]</sup></a> Shuttleworth also invited Mark to
-run a project writing open content for all subjects for K–12 in
+run a project writing open content for all subjects for K–12 in
English. That project became Siyavula.
</p><p>
They wrote six original textbooks. A small publishing company offered
-Shuttleworth the option to buy out the publisher’s existing K–9 content for
+Shuttleworth the option to buy out the publisher’s existing K–9 content for
every subject in South African schools in both English and Afrikaans. A deal
was struck, and all the acquired content was licensed with Creative Commons,
significantly expanding the collection beyond the six original books.
</p><p>
Mark wanted to build out the remaining curricula collaboratively through
-communities of practice—that is, with fellow educators and writers. Although
+communities of practice—that is, with fellow educators and writers. Although
sharing is fundamental to teaching, there can be a few challenges when you
create educational resources collectively. One concern is legal. It is
standard practice in education to copy diagrams and snippets of text, but of
-course this doesn’t always comply with copyright law. Another concern is
-transparency. Sharing what you’ve authored means everyone can see it and
+course this doesn’t always comply with copyright law. Another concern is
+transparency. Sharing what you’ve authored means everyone can see it and
opens you up to criticism. To alleviate these concerns, Mark adopted a
team-based approach to authoring and insisted the curricula be based
entirely on resources with Creative Commons licenses, thereby ensuring they
Not only did Mark want the resources to be shareable, he wanted all 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
+putting all the books they’d acquired and authored on a platform called
Connexions.<a href="#ftn.idm1936" class="footnote" name="idm1936"><sup class="footnote">[150]</sup></a> Siyavula trained many
teachers to use Connexions, but it proved to be too complex and the
textbooks were rarely edited.
</p><p>
Then the Shuttleworth Foundation decided to completely restructure its work
as a foundation into a fellowship model (for reasons completely unrelated to
-Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
+Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
an independent entity and took ownership over it as a Shuttleworth fellow.
</p><p>
Mark and his team experimented with several different strategies. They
Africa would give their brand huge exposure and could drive vast amounts of
traffic to their website. In addition to print books, Siyavula could also
make the books available on their website, making it possible for learners
-to access them using any device—computer, tablet, or mobile phone.
+to access them using any device—computer, tablet, or mobile phone.
</p><p>
Mark and his team began imagining what they could develop beyond what was in
-the textbooks as a service they charge for. One key thing you can’t do well
+the textbooks as a service they charge for. One key thing you can’t do well
in a printed textbook is demonstrate solutions. Typically, a one-line answer
is given at the end of the book but nothing on the process for arriving at
that solution. Mark and his team developed practice items and detailed
-solutions, giving learners plenty of opportunity to test out what they’ve
+solutions, giving learners plenty of opportunity to test out what they’ve
learned. Furthermore, an algorithm could adapt these practice items to the
individual needs of each learner. They called this service Intelligent
Practice and embedded links to it in the open textbooks.
an unexpected wrinkle: the books were delivered late. Rather than wait,
schools who could afford it provided students with a different textbook. The
Siyavula books were eventually distributed, but with well-off schools mainly
-using a different book, the primary market for Siyavula’s Intelligent
+using a different book, the primary market for Siyavula’s Intelligent
Practice service inadvertently became low-income learners.
</p><p>
- Siyavula’s site did see a dramatic increase in traffic. They got five
+ Siyavula’s site did see a dramatic increase in traffic. They got five
hundred thousand visitors per month to their math site and the same number
to their science site. Two-fifths of the traffic was reading on a
-<span class="quote">”<span class="quote">feature phone</span>”</span> (a nonsmartphone with no apps). People on basic
+<span class="quote">”<span class="quote">feature phone</span>”</span> (a nonsmartphone with no apps). People on basic
phones were reading math and science on a two-inch screen at all hours of
the day. To Mark, it was quite amazing and spoke to a need they were
servicing.
At first, the Intelligent Practice services could only be paid using a
credit card. This proved problematic, especially for those in the low-income
demographic, as credit cards were not prevalent. Mark says Siyavula got a
-harsh business-model lesson early on. As he describes it, it’s not just
+harsh business-model lesson early on. As he describes it, it’s not just
about product, but how you sell it, who the market is, what the price is,
and what the barriers to entry are.
</p><p>
- Mark describes this as the first version of Siyavula’s business model: open
+ Mark describes this as the first version of Siyavula’s business model: open
textbooks serving as marketing material and driving traffic to your site,
where you can offer a related service and convert some people into a paid
customer.
</p><p>
- For Mark a key decision for Siyavula’s business was to focus on how they can
-add value on top of their basic service. They’ll charge only if they are
-adding unique value. The actual content of the textbook isn’t unique at all,
+ For Mark a key decision for Siyavula’s business was to focus on how they can
+add value on top of their basic service. They’ll charge only if they are
+adding unique value. The actual content of the textbook isn’t unique at all,
so Siyavula sees no value in locking it down and charging for it. Mark
contrasts this with traditional publishers who charge over and over again
for the same content without adding value.
</p><p>
- Version two of Siyavula’s business model was a big, ambitious idea—scale
+ Version two of Siyavula’s business model was a big, ambitious idea—scale
up. They also decided to sell the Intelligent Practice service to schools
directly. Schools can subscribe on a per-student, per-subject basis. A
single subscription gives a learner access to a single subject, including
schools where both the science and math departments subscribe.
</p><p>
Teachers get a dashboard that allows them to monitor the progress of an
-entire class or view an individual learner’s results. They can see the
+entire class or view an individual learner’s results. They can see the
questions that learners are working on, identify areas of difficulty, and be
more strategic in their teaching. Students also have their own personalized
-dashboard, where they can view the sections they’ve practiced, how many
-points they’ve earned, and how their performance is improving.
+dashboard, where they can view the sections they’ve practiced, how many
+points they’ve earned, and how their performance is improving.
</p><p>
Based on the success of this effort, Siyavula decided to substantially
increase the production of open educational resources so they could provide
</p><p>
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.<a href="#ftn.idm1955" class="footnote" name="idm1955"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
-teacher’s guides and other resources.
+to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1955" class="footnote" name="idm1955"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
+teacher’s guides and other resources.
</p><p>
Through this experience, Siyavula learned they could get sponsors to help
fund openly licensed textbooks. It helped that Siyavula had by this time
distributed to over one million students.
</p><p>
The Siyavula books that are reviewed, approved, and branded by the
-government are freely and openly available on Siyavula’s website under an
-Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
+government are freely and openly available on Siyavula’s website under an
+Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
cannot be modified. Non-government-branded books are available under an
Attribution license (CC BY), allowing others to modify and redistribute the
books.
Although the South African government paid to print and distribute hard
copies of the books to schoolkids, Siyavula itself received no funding from
the government. Siyavula initially tried to convince the government to
-provide them with five rand per book (about US35¢). With those funds, Mark
+provide them with five rand per book (about US35¢). With those funds, Mark
says that Siyavula could have run its entire operation, built a
community-based model for producing more books, and provide Intelligent
Practice for free to every child in the country. But after a lengthy
Just as Siyavula was planning to scale up the production of open textbooks
even more, the South African government changed its textbook policy. To save
costs, the government declared there would be only one authorized textbook
-for each grade and each subject. There was no guarantee that Siyavula’s
+for each grade and each subject. There was no guarantee that Siyavula’s
would be chosen. This scared away potential sponsors.
</p><p>
Rather than producing more textbooks, Siyavula focused on improving its
Intelligent Practice technology for its existing books. Mark calls this
-version three of Siyavula’s business model—focusing on the technology that
+version three of Siyavula’s business model—focusing on the technology that
provides the revenue-generating service and generating more users of this
service. Version three got a significant boost in 2014 with an investment by
the Omidyar Network (the philanthropic venture started by eBay founder
all kids by selling the nonpersonal data Intelligent Practice collects.
</p><p>
Siyavula is a for-profit business but one with a social mission. Their
-shareholders’ agreement lists lots of requirements around openness for
+shareholders’ agreement lists lots of requirements around openness for
Siyavula, including stipulations that content always be put under an open
-license and that they can’t charge for something that people volunteered to
+license and that they can’t charge for something that people volunteered to
do for them. They believe each individual should have access to the
resources and support they need to achieve the education they
deserve. Having educational resources openly licensed with Creative Commons
revenue-generating services to sustain the ongoing operation of Siyavula. In
terms of open business models, Mark and Siyavula may have been around the
block a few times, but both he and the company are stronger for it.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1924" class="footnote"><p><a href="#idm1924" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1930" class="footnote"><p><a href="#idm1930" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1936" class="footnote"><p><a href="#idm1936" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1955" class="footnote"><p><a href="#idm1955" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>Kapitel 24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1924" class="footnote"><p><a href="#idm1924" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1930" class="footnote"><p><a href="#idm1930" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1936" class="footnote"><p><a href="#idm1936" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1955" class="footnote"><p><a href="#idm1955" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>Kapitel 24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
SparkFun is an online electronics retailer specializing in open
hardware. Founded in 2003 in the U.S.
</p><p>
copies (electronics sales)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 29, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Nathan Seidle, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
with a huge grin on his face. He was traveling in China when he came across
their LilyPad wearable technology being made by someone else. His reaction
was glee.
- </p><p><span class="quote">”<span class="quote">Being copied is the greatest earmark of flattery and success,</span>”</span>
-Nathan said. <span class="quote">”<span class="quote">I thought it was so cool that they were selling to a
+ </p><p><span class="quote">”<span class="quote">Being copied is the greatest earmark of flattery and success,</span>”</span>
+Nathan said. <span class="quote">”<span class="quote">I thought it was so cool that they were selling to a
market we were never going to get access to otherwise. It was evidence of
-our impact on the world.</span>”</span>
+our impact on the world.</span>”</span>
</p><p>
This worldview runs through everything SparkFun does. SparkFun is an
electronics manufacturer. The company sells its products directly to the
schematics, images, tutorial content, and curricula, so anyone can make
their products on their own. Being copied is part of the design.
</p><p>
- Nathan believes open licensing is good for the world. <span class="quote">”<span class="quote">It touches on
-our natural human instinct to share,</span>”</span> he said. But he also strongly
+ Nathan believes open licensing is good for the world. <span class="quote">”<span class="quote">It touches on
+our natural human instinct to share,</span>”</span> he said. But he also strongly
believes it makes SparkFun better at what they do. They encourage copying,
and their products are copied at a very fast rate, often within ten to
twelve weeks of release. This forces the company to compete on something
other than product design, or what most commonly consider their intellectual
property.
- </p><p><span class="quote">”<span class="quote">We compete on business principles,</span>”</span> Nathan said.
-<span class="quote">”<span class="quote">Claiming your territory with intellectual property allows you to get
+ </p><p><span class="quote">”<span class="quote">We compete on business principles,</span>”</span> Nathan said.
+<span class="quote">”<span class="quote">Claiming your territory with intellectual property allows you to get
comfy and rest on your laurels. It gives you a safety net. We took away that
-safety net.</span>”</span>
+safety net.</span>”</span>
</p><p>
The result is an intense company-wide focus on product development and
-improvement. <span class="quote">”<span class="quote">Our products are so much better than they were five
-years ago,</span>”</span> Nathan said. <span class="quote">”<span class="quote">We used to just sell products. Now
-it’s a product plus a video, a seventeen-page hookup guide, and example
+improvement. <span class="quote">”<span class="quote">Our products are so much better than they were five
+years ago,</span>”</span> Nathan said. <span class="quote">”<span class="quote">We used to just sell products. Now
+it’s a product plus a video, a seventeen-page hookup guide, and example
firmware on three different platforms to get you up and running faster. We
have gotten better because we had to in order to compete. As painful as it
-is for us, it’s better for the customers.</span>”</span>
+is for us, it’s better for the customers.</span>”</span>
</p><p>
SparkFun parts are available on eBay for lower prices. But people come
directly to SparkFun because SparkFun makes their lives easier. The example
code works; there is a service number to call; they ship replacement parts
the day they get a service call. They invest heavily in service and
-support. <span class="quote">”<span class="quote">I don’t believe businesses should be competing with IP
-[intellectual property] barriers,</span>”</span> Nathan said. <span class="quote">”<span class="quote">This is the
-stuff they should be competing on.</span>”</span>
+support. <span class="quote">”<span class="quote">I don’t believe businesses should be competing with IP
+[intellectual property] barriers,</span>”</span> Nathan said. <span class="quote">”<span class="quote">This is the
+stuff they should be competing on.</span>”</span>
</p><p>
- SparkFun’s company history began in Nathan’s college dorm room. He spent a
+ SparkFun’s company history began in Nathan’s college dorm room. He spent a
lot of time experimenting with and building electronics, and he realized
-there was a void in the market. <span class="quote">”<span class="quote">If you wanted to place an order for
-something,</span>”</span> he said, <span class="quote">”<span class="quote">you first had to search far and wide to
-find it, and then you had to call or fax someone.</span>”</span> In 2003, during
+there was a void in the market. <span class="quote">”<span class="quote">If you wanted to place an order for
+something,</span>”</span> he said, <span class="quote">”<span class="quote">you first had to search far and wide to
+find it, and then you had to call or fax someone.</span>”</span> In 2003, during
his third year of college, he registered <a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a>
and started reselling products out of his bedroom. After he graduated, he
started making and selling his own products.
Once he started designing his own products, he began putting the software
and schematics online to help with technical support. After doing some
research on licensing options, he chose Creative Commons licenses because he
-was drawn to the <span class="quote">”<span class="quote">human-readable deeds</span>”</span> that explain the
+was drawn to the <span class="quote">”<span class="quote">human-readable deeds</span>”</span> that explain the
licensing terms in simple terms. SparkFun still uses CC licenses for all of
the schematics and firmware for the products they create.
</p><p>
The company has grown from a solo project to a corporation with 140
employees. In 2015, SparkFun earned $33 million in revenue. Selling
components and widgets to hobbyists, professionals, and artists remains a
-major part of SparkFun’s business. They sell their own products, but they
+major part of SparkFun’s business. They sell their own products, but they
also partner with Arduino (also profiled in this book) by manufacturing
-boards for resale using Arduino’s brand.
+boards for resale using Arduino’s brand.
</p><p>
SparkFun also has an educational department dedicated to creating a hands-on
curriculum to teach students about electronics using prototyping
re-create and fix their products on their own, the more recent focus on
introducing young people to technology is a natural extension of their core
business.
- </p><p><span class="quote">”<span class="quote">We have the burden and opportunity to educate the next generation of
-technical citizens,</span>”</span> Nathan said. <span class="quote">”<span class="quote">Our goal is to affect the
+ </p><p><span class="quote">”<span class="quote">We have the burden and opportunity to educate the next generation of
+technical citizens,</span>”</span> Nathan said. <span class="quote">”<span class="quote">Our goal is to affect the
lives of three hundred and fifty thousand high school students by
-2020.</span>”</span>
+2020.</span>”</span>
</p><p>
- The Creative Commons license underlying all of SparkFun’s products is
+ The Creative Commons license underlying all of SparkFun’s products is
central to this mission. The license not only signals a willingness to
share, but it also expresses a desire for others to get in and tinker with
their products, both to learn and to make their products better. SparkFun
uses the Attribution-ShareAlike license (CC BY-SA), which is a
-<span class="quote">”<span class="quote">copyleft</span>”</span> license that allows people to do anything with the
+<span class="quote">”<span class="quote">copyleft</span>”</span> license that allows people to do anything with the
content as long as they provide credit and make any adaptations available
under the same licensing terms.
</p><p>
thousand to two thousand customers and other technology enthusiasts from
around the area to race their own self-created bots against each other,
participate in training workshops, and socialize. From a business
-perspective, Nathan says it’s a terrible idea. But they don’t hold the event
-for business reasons. <span class="quote">”<span class="quote">The reason we do it is because I get to travel
+perspective, Nathan says it’s a terrible idea. But they don’t hold the event
+for business reasons. <span class="quote">”<span class="quote">The reason we do it is because I get to travel
and have interactions with our customers all the time, but most of our
-employees don’t,</span>”</span> he said. <span class="quote">”<span class="quote">This event gives our employees the
-opportunity to get face-to-face contact with our customers.</span>”</span> The
+employees don’t,</span>”</span> he said. <span class="quote">”<span class="quote">This event gives our employees the
+opportunity to get face-to-face contact with our customers.</span>”</span> The
event infuses their work with a human element, which makes it more
meaningful.
</p><p>
Nathan has worked hard to imbue a deeper meaning into the work SparkFun
does. The company is, of course, focused on being fiscally responsible, but
-they are ultimately driven by something other than money. <span class="quote">”<span class="quote">Profit is
-not the goal; it is the outcome of a well-executed plan,</span>”</span> Nathan
-said. <span class="quote">”<span class="quote">We focus on having a bigger impact on the world.</span>”</span> Nathan
+they are ultimately driven by something other than money. <span class="quote">”<span class="quote">Profit is
+not the goal; it is the outcome of a well-executed plan,</span>”</span> Nathan
+said. <span class="quote">”<span class="quote">We focus on having a bigger impact on the world.</span>”</span> Nathan
believes they get some of the brightest and most amazing employees because
-they aren’t singularly focused on the bottom line.
+they aren’t singularly focused on the bottom line.
</p><p>
The company is committed to transparency and shares all of its financials
with its employees. They also generally strive to avoid being another
soulless corporation. They actively try to reveal the humans behind the
-company, and they work to ensure people coming to their site don’t find only
+company, and they work to ensure people coming to their site don’t find only
unchanging content.
</p><p>
- SparkFun’s customer base is largely made up of industrious electronics
-enthusiasts. They have customers who are regularly involved in the company’s
+ SparkFun’s customer base is largely made up of industrious electronics
+enthusiasts. They have customers who are regularly involved in the company’s
customer support, independently responding to questions in forums and
product-comment sections. Customers also bring product ideas to the
company. SparkFun regularly sifts through suggestions from customers and
-tries to build on them where they can. <span class="quote">”<span class="quote">From the beginning, we have
-been listening to the community,</span>”</span> Nathan said. <span class="quote">”<span class="quote">Customers
+tries to build on them where they can. <span class="quote">”<span class="quote">From the beginning, we have
+been listening to the community,</span>”</span> Nathan said. <span class="quote">”<span class="quote">Customers
would identify a pain point, and we would design something to address
-it.</span>”</span>
+it.</span>”</span>
</p><p>
However, this sort of customer engagement does not always translate to
-people actively contributing to SparkFun’s projects. The company has a
+people actively contributing to SparkFun’s projects. The company has a
public repository of software code for each of its devices online. On a
particularly active project, there will only be about two dozen people
contributing significant improvements. The vast majority of projects are
-relatively untouched by the public. <span class="quote">”<span class="quote">There is a theory that if you
-open-source it, they will come,</span>”</span> Nathan said. <span class="quote">”<span class="quote">That’s not
-really true.</span>”</span>
+relatively untouched by the public. <span class="quote">”<span class="quote">There is a theory that if you
+open-source it, they will come,</span>”</span> Nathan said. <span class="quote">”<span class="quote">That’s not
+really true.</span>”</span>
</p><p>
Rather than focusing on cocreation with their customers, SparkFun instead
focuses on enabling people to copy, tinker, and improve products on their
own. They heavily invest in tutorials and other material designed to help
people understand how the products work so they can fix and improve things
-independently. <span class="quote">”<span class="quote">What gives me joy is when people take open-source
-layouts and then build their own circuit boards from our designs,</span>”</span>
+independently. <span class="quote">”<span class="quote">What gives me joy is when people take open-source
+layouts and then build their own circuit boards from our designs,</span>”</span>
Nathan said.
</p><p>
Obviously, opening up the design of their products is a necessary step if
a few dollars when others copy their products. But in the long run, it makes
them a more nimble, innovative business. In other words, it makes them the
kind of company they set out to be.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Kapitel 25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Kapitel 25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: March 24, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: Piya Sorcar, the CEO, and
Shuman Ghosemajumder, the chair
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
</p><p>
In late 2005, Piya and her team used research-based design to create new
educational materials and worked with local partners in India to help
-distribute them. As soon as the animated software was posted online, Piya’s
+distribute them. As soon as the animated software was posted online, Piya’s
team started receiving requests from individuals and governments who were
-interested in bringing this model to more countries. <span class="quote">”<span class="quote">We realized
+interested in bringing this model to more countries. <span class="quote">”<span class="quote">We realized
fairly quickly that educating large populations about a topic that was
considered taboo would be challenging. We began by identifying optimal local
partners and worked toward creating an effective, culturally appropriate
-education,</span>”</span> Piya said.
+education,</span>”</span> Piya said.
</p><p>
- Very shortly after the initial release, Piya’s team decided to spin the
+ Very shortly after the initial release, Piya’s team decided to spin the
endeavor into an independent nonprofit out of Stanford University. They also
decided to use Creative Commons licenses on the materials.
</p><p>
the integrity of the medical information in the content. They chose the
Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which essentially
gives the public the right to distribute only verbatim copies of the
-content, and for noncommercial purposes. <span class="quote">”<span class="quote">We wanted attribution for
-TeachAIDS, and we couldn’t stand by derivatives without vetting
-them,</span>”</span> the cofounder and chair Shuman Ghosemajumder said. <span class="quote">”<span class="quote">It
+content, and for noncommercial purposes. <span class="quote">”<span class="quote">We wanted attribution for
+TeachAIDS, and we couldn’t stand by derivatives without vetting
+them,</span>”</span> the cofounder and chair Shuman Ghosemajumder said. <span class="quote">”<span class="quote">It
was almost a no-brainer to go with a CC license because it was a
plug-and-play solution to this exact problem. It has allowed us to scale our
materials safely and quickly worldwide while preserving our content and
-protecting us at the same time.</span>”</span>
+protecting us at the same time.</span>”</span>
</p><p>
Choosing a license that does not allow adaptation of the content was an
outgrowth of the careful precision with which TeachAIDS crafts their
content. The organization invests heavily in research and testing to
-determine the best method of conveying the information. <span class="quote">”<span class="quote">Creating
-high-quality content is what matters most to us,</span>”</span> Piya
-said. <span class="quote">”<span class="quote">Research drives everything we do.</span>”</span>
+determine the best method of conveying the information. <span class="quote">”<span class="quote">Creating
+high-quality content is what matters most to us,</span>”</span> Piya
+said. <span class="quote">”<span class="quote">Research drives everything we do.</span>”</span>
</p><p>
One important finding was that people accept the message best when it comes
from familiar voices they trust and admire. To achieve this, TeachAIDS
but highly controlled, creative process is undertaken entirely by people who
are specifically brought on to help with a particular project, rather than
ongoing staff. The final product they create is designed to require zero
-training for people to implement in practice. <span class="quote">”<span class="quote">In our research, we
-found we can’t depend on people passing on the information correctly, even
-if they have the best of intentions,</span>”</span> Piya said. <span class="quote">”<span class="quote">We need
-materials where you can push play and they will work.</span>”</span>
+training for people to implement in practice. <span class="quote">”<span class="quote">In our research, we
+found we can’t depend on people passing on the information correctly, even
+if they have the best of intentions,</span>”</span> Piya said. <span class="quote">”<span class="quote">We need
+materials where you can push play and they will work.</span>”</span>
</p><p>
- Piya’s team was able to produce all of these versions over several years
+ Piya’s team was able to produce all of these versions over several years
with a head count that never exceeded eight full-time employees. The
organization is able to reduce costs by relying heavily on volunteers and
in-kind donations. Nevertheless, the nonprofit needed a sustainable revenue
model to subsidize content creation and physical distribution of the
materials. Charging even a low price was simply not an
-option. <span class="quote">”<span class="quote">Educators from various nonprofits around the world were just
+option. <span class="quote">”<span class="quote">Educators from various nonprofits around the world were just
creating their own materials using whatever they could find for free
-online,</span>”</span> Shuman said. <span class="quote">”<span class="quote">The only way to persuade them to use our
-highly effective model was to make it completely free.</span>”</span>
+online,</span>”</span> Shuman said. <span class="quote">”<span class="quote">The only way to persuade them to use our
+highly effective model was to make it completely free.</span>”</span>
</p><p>
Like many content creators offering their work for free, they settled on
advertising as a funding model. But they were extremely careful not to let
project. Instead, sponsorships are structured as unrestricted donations to
the nonprofit. This gives the nonprofit more stability, but even more
importantly, it enables them to subsidize projects being localized for an
-area with no sponsors. <span class="quote">”<span class="quote">If we just created versions based on where we
+area with no sponsors. <span class="quote">”<span class="quote">If we just created versions based on where we
could get sponsorships, we would only have materials for wealthier
-countries,</span>”</span> Shuman said.
+countries,</span>”</span> Shuman said.
</p><p>
- As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">”<span class="quote">When we go into a new
-country, various companies hear about us and reach out to us,</span>”</span> Piya
-said. <span class="quote">”<span class="quote">We don’t have to do much to find or attract them.</span>”</span> They
+ As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">”<span class="quote">When we go into a new
+country, various companies hear about us and reach out to us,</span>”</span> Piya
+said. <span class="quote">”<span class="quote">We don’t have to do much to find or attract them.</span>”</span> They
believe the sponsorships are easy to sell because they offer so much value
to sponsors. TeachAIDS sponsorships give corporations the chance to reach
new eyeballs with their brand, but at a much lower cost than other
</p><p>
Importantly, the value to corporate sponsors goes beyond commercial
considerations. As a nonprofit with a clearly articulated social mission,
-corporate sponsorships are donations to a cause. <span class="quote">”<span class="quote">This is something
-companies can be proud of internally,</span>”</span> Shuman said. Some companies
+corporate sponsorships are donations to a cause. <span class="quote">”<span class="quote">This is something
+companies can be proud of internally,</span>”</span> Shuman said. Some companies
have even built publicity campaigns around the fact that they have sponsored
these initiatives.
</p><p>
- The core mission of TeachAIDS—ensuring global access to life-saving
-education—is at the root of everything the organization does. It underpins
+ The core mission of TeachAIDS—ensuring global access to life-saving
+education—is at the root of everything the organization does. It underpins
the work; it motivates the funders. The CC license on the materials they
create furthers that mission, allowing them to safely and quickly scale
-their materials worldwide. <span class="quote">”<span class="quote">The Creative Commons license has been a
-game changer for TeachAIDS,</span>”</span> Piya said.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Kapitel 26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+their materials worldwide. <span class="quote">”<span class="quote">The Creative Commons license has been a
+game changer for TeachAIDS,</span>”</span> Piya said.
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Kapitel 26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: January 26, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Hessel van Oorschot,
cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
They hired two lawyers to investigate further, and while they uncovered five
or six examples, Hessel found the business models lacking. The lawyers
expressed interest in being their legal team should they decide to pursue
-this as an entrepreneurial opportunity. Hessel says, <span class="quote">”<span class="quote">When lawyers are
-interested in a venture like this, you might have something special.</span>”</span>
+this as an entrepreneurial opportunity. Hessel says, <span class="quote">”<span class="quote">When lawyers are
+interested in a venture like this, you might have something special.</span>”</span>
So after some more research, in early 2008, Hessel and Sandra decided to
build a platform.
</p><p>
artists, or at least a portion of their repertoire. Hessel and his legal
team reached out to collecting societies, starting with those in the
Netherlands. What would be the best legal way forward that would respect the
-wishes of composers and musicians who’d be interested in trying out new
+wishes of composers and musicians who’d be interested in trying out new
models like the In-store Music Service? Collecting societies at first were
hesitant and said no, but Tribe of Noise persisted arguing that they
primarily work with unknown artists and provide them exposure in parts of
-the world where they don’t get airtime normally and a source of revenue—and
-this convinced them that it was OK. However, Hessel says, <span class="quote">”<span class="quote">We are
-still fighting for a good cause every single day.</span>”</span>
+the world where they don’t get airtime normally and a source of revenue—and
+this convinced them that it was OK. However, Hessel says, <span class="quote">”<span class="quote">We are
+still fighting for a good cause every single day.</span>”</span>
</p><p>
Instead of building a large sales force, Tribe of Noise partnered with big
organizations who have lots of clients and can act as a kind of Tribe of
Noise reseller. The largest telecom network in the Netherlands, for example,
-sells Tribe’s In-store Music Service subscriptions to their business
+sells Tribe’s In-store Music Service subscriptions to their business
clients, which include fashion retailers and fitness centers. They have a
similar deal with the leading trade association representing hotels and
-restaurants in the country. Hessel hopes to <span class="quote">”<span class="quote">copy and paste</span>”</span>
+restaurants in the country. Hessel hopes to <span class="quote">”<span class="quote">copy and paste</span>”</span>
this service into other countries where collecting societies understand what
you can do with Creative Commons. Outside of the Netherlands, early
adoptions have happened in Scandinavia, Belgium, and the U.S.
</p><p>
- Tribe of Noise doesn’t pay the musicians up front; they get paid when their
-music ends up in Tribe of Noise’s in-store music channels. The musicians’
-share is 42.5 percent. It’s not uncommon in a traditional model for the
+ Tribe of Noise doesn’t pay the musicians up front; they get paid when their
+music ends up in Tribe of Noise’s in-store music channels. The musicians’
+share is 42.5 percent. It’s not uncommon in a traditional model for the
artist to get only 5 to 10 percent, so a share of over 40 percent is a
-significantly better deal. Here’s how they give an example on their
+significantly better deal. Here’s how they give an example on their
website:
</p><p>
A few of your songs [licensed with CC BY-SA], for example five in total, are
selected for a bespoke in-store music channel broadcasting at a large
retailer with 1,000 stores nationwide. In this case the overall playlist
-contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
+contains 350 songs so the musician’s share is 5/350 = 1.43%. 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
one of their songs may become an overnight hit. If that happened the CC
BY-SA license would preclude them getting rich off the sale of that song.
</p><p>
- Hessel’s legal team took this feedback and created a second model and
+ Hessel’s legal team took this feedback and created a second model and
separate area of the platform called Tribe of Noise Pro. Songs uploaded to
-Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
-instead created a <span class="quote">”<span class="quote">nonexclusive exploitation</span>”</span> contract, similar
+Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
+instead created a <span class="quote">”<span class="quote">nonexclusive exploitation</span>”</span> contract, similar
to a Creative Commons license but allowing musicians to opt out whenever
they want. When you opt out, Tribe of Noise agrees to take your music off
the Tribe of Noise platform within one to two months. This lets the musician
reuse their song for a better deal.
</p><p>
Tribe of Noise Pro is primarily geared toward media makers who are looking
-for music. If they buy a license from this catalog, they don’t have to state
+for music. If they buy a license from this catalog, they don’t have to state
the name of the creator; they just license the song for a specific
amount. This is a big plus for media makers. And musicians can pull their
repertoire at any time. Hessel sees this as a more direct and clean deal.
</p><p>
Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and
-the community area of Tribe of Noises. There aren’t that many artists who
+the community area of Tribe of Noises. There aren’t that many artists who
upload only to Tribe of Noise Pro, which has a smaller repertoire of music
than the community area.
</p><p>
hybrid model by licensing some of their songs under CC BY-SA and opting in
others with collecting societies like ASCAP or BMI.
</p><p>
- It’s not uncommon for performance-rights organizations, record labels, or
+ It’s not uncommon for performance-rights organizations, record labels, or
music publishers to sign contracts with musicians based on exclusivity. Such
an arrangement prevents those musicians from uploading their music to Tribe
of Noise. In the United States, you can have a collecting society handle
represent. So far, Tribe of Noise has been able to make all this work
without litigation.
</p><p>
- For Hessel the key to Tribe of Noise’s success is trust. The fact that
+ For Hessel the key to Tribe of Noise’s success is trust. The fact that
Creative Commons licenses work the same way all over the world and have been
translated into all languages really helps build that trust. Tribe of Noise
believes in creating a model where they work together with musicians. They
can only do that if they have a live and kicking community, with people who
think that the Tribe of Noise team has their best interests in
mind. Creative Commons makes it possible to create a new business model for
-music, a model that’s based on trust.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2090" class="footnote"><p><a href="#idm2090" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2099" class="footnote"><p><a href="#idm2099" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>Kapitel 27. Wikimedia Foundation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+music, a model that’s based on trust.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2090" class="footnote"><p><a href="#idm2090" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2099" class="footnote"><p><a href="#idm2099" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>Kapitel 27. Wikimedia Foundation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia
and its sister projects. Founded in 2003 in the U.S.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 18, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: Luis Villa, former Chief
Officer of Community Engagement, and Stephen LaPorte, legal counsel
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
to reuse and adapt it for any purpose.
</p><p>
As of December 2016, there were more than forty-two million articles in the
-295 language editions of the online encyclopedia, according to—what
-else?—the Wikipedia article about Wikipedia.
+295 language editions of the online encyclopedia, according to—what
+else?—the Wikipedia article about Wikipedia.
</p><p>
The Wikimedia Foundation is a U.S.-based nonprofit organization that owns
the Wikipedia domain name and hosts the site, along with many other related
particular theme, user groups, and many thousands who are not connected to a
particular organization.
</p><p>
- As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">”<span class="quote">There is a common
-saying that Wikipedia works in practice but not in theory.</span>”</span> While it
+ As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">”<span class="quote">There is a common
+saying that Wikipedia works in practice but not in theory.</span>”</span> While it
undoubtedly has its challenges and flaws, Wikipedia and its sister projects
are a striking testament to the power of human collaboration.
</p><p>
Because of its extraordinary breadth and scope, it does feel a bit like a
unicorn. Indeed, there is nothing else like Wikipedia. Still, much of what
-makes the projects successful—community, transparency, a strong mission,
-trust—are consistent with what it takes to be successfully Made with
+makes the projects successful—community, transparency, a strong mission,
+trust—are consistent with what it takes to be successfully Made with
Creative Commons more generally. With Wikipedia, everything just happens at
an unprecedented scale.
</p><p>
edits are made every hour.
</p><p>
The nature of the content the community creates is ideal for asynchronous
-cocreation. <span class="quote">”<span class="quote">An encyclopedia is something where incremental community
-improvement really works,</span>”</span> Luis Villa, former Chief Officer of
+cocreation. <span class="quote">”<span class="quote">An encyclopedia is something where incremental community
+improvement really works,</span>”</span> Luis Villa, former Chief Officer of
Community Engagement, told us. The rules and processes that govern
cocreation on Wikipedia and its sister projects are all community-driven and
vary by language edition. There are entire books written on the intricacies
system. The extensive peer-review process includes elaborate systems to
resolve disputes, methods for managing particularly controversial subject
areas, talk pages explaining decisions, and much, much more. The Wikimedia
-Foundation’s decision to leave governance of the projects to the community
-is very deliberate. <span class="quote">”<span class="quote">We look at the things that the community can do
-well, and we want to let them do those things,</span>”</span> Stephen told
+Foundation’s decision to leave governance of the projects to the community
+is very deliberate. <span class="quote">”<span class="quote">We look at the things that the community can do
+well, and we want to let them do those things,</span>”</span> Stephen told
us. Instead, the foundation focuses its time and resources on what the
community cannot do as effectively, like the software engineering that
supports the technical infrastructure of the sites. In 2015-16, about half
-of the foundation’s budget went to direct support for the Wikimedia sites.
+of the foundation’s budget went to direct support for the Wikimedia sites.
</p><p>
Some of that is directed at servers and general IT support, but the
foundation also invests a significant amount on architecture designed to
-help the site function as effectively as possible. <span class="quote">”<span class="quote">There is a
+help the site function as effectively as possible. <span class="quote">”<span class="quote">There is a
constantly evolving system to keep the balance in place to avoid Wikipedia
-becoming the world’s biggest graffiti wall,</span>”</span> Luis said. Depending on
+becoming the world’s biggest graffiti wall,</span>”</span> Luis said. Depending on
how you measure it, somewhere between 90 to 98 percent of edits to Wikipedia
are positive. Some portion of that success is attributable to the tools
-Wikimedia has in place to try to incentivize good actors. <span class="quote">”<span class="quote">The secret
-to having any healthy community is bringing back the right people,</span>”</span>
-Luis said. <span class="quote">”<span class="quote">Vandals tend to get bored and go away. That is partially
-our model working, and partially just human nature.</span>”</span> Most of the
+Wikimedia has in place to try to incentivize good actors. <span class="quote">”<span class="quote">The secret
+to having any healthy community is bringing back the right people,</span>”</span>
+Luis said. <span class="quote">”<span class="quote">Vandals tend to get bored and go away. That is partially
+our model working, and partially just human nature.</span>”</span> Most of the
time, people want to do the right thing.
</p><p>
Wikipedia not only relies on good behavior within its community and on its
(CC BY-SA), which means it can be used for any purpose and modified so long
as credit is given and anything new is shared back with the public under the
same license. In theory, that means anyone can copy the content and start a
-new Wikipedia. But as Stephen explained, <span class="quote">”<span class="quote">Being open has only made
+new Wikipedia. But as Stephen explained, <span class="quote">”<span class="quote">Being open has only made
Wikipedia bigger and stronger. The desire to protect is not always what is
-best for everyone.</span>”</span>
+best for everyone.</span>”</span>
</p><p>
Of course, the primary reason no one has successfully co-opted Wikipedia is
that copycat efforts do not have the Wikipedia community to sustain what
they do. Wikipedia is not simply a source of up-to-the-minute content on
-every given topic—it is also a global patchwork of humans working together
+every given topic—it is also a global patchwork of humans working together
in a million different ways, in a million different capacities, for a
million different reasons. While many have tried to guess what makes
Wikipedia work as well it does, the fact is there is no single
-explanation. <span class="quote">”<span class="quote">In a movement as large as ours, there is an incredible
-diversity of motivations,</span>”</span> Stephen said. For example, there is one
+explanation. <span class="quote">”<span class="quote">In a movement as large as ours, there is an incredible
+diversity of motivations,</span>”</span> 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.<a href="#ftn.idm2145" class="footnote" name="idm2145"><sup class="footnote">[154]</sup></a> Only a fraction of Wikipedia
users are also editors. But editing is not the only way to contribute to
-Wikipedia. <span class="quote">”<span class="quote">Some donate text, some donate images, some donate
-financially,</span>”</span> Stephen told us. <span class="quote">”<span class="quote">They are all
-contributors.</span>”</span>
+Wikipedia. <span class="quote">”<span class="quote">Some donate text, some donate images, some donate
+financially,</span>”</span> Stephen told us. <span class="quote">”<span class="quote">They are all
+contributors.</span>”</span>
</p><p>
But the vast majority of us who use Wikipedia are not contributors; we are
passive readers. The Wikimedia Foundation survives primarily on individual
</p><p>
Any given edit on Wikipedia could be motivated by nearly an infinite number
of reasons. But the social mission of the project is what binds the global
-community together. <span class="quote">”<span class="quote">Wikipedia is an example of how a mission can
-motivate an entire movement,</span>”</span> Stephen told us.
+community together. <span class="quote">”<span class="quote">Wikipedia is an example of how a mission can
+motivate an entire movement,</span>”</span> Stephen told us.
</p><p>
- Of course, what results from that movement is one of the Internet’s great
-public resources. <span class="quote">”<span class="quote">The Internet has a lot of businesses and stores,
+ Of course, what results from that movement is one of the Internet’s great
+public resources. <span class="quote">”<span class="quote">The Internet has a lot of businesses and stores,
but it is missing the digital equivalent of parks and open public
-spaces,</span>”</span> Stephen said. <span class="quote">”<span class="quote">Wikipedia has found a way to be that
-open public space.</span>”</span>
+spaces,</span>”</span> Stephen said. <span class="quote">”<span class="quote">Wikipedia has found a way to be that
+open public space.</span>”</span>
</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2145" class="footnote"><p><a href="#idm2145" class="para"><sup class="para">[154] </sup></a><a class="ulink" href="http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/" target="_top">http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/</a></p></div></div></div></div>\chapter*{<title>Bibliography</title>}\addcontentsline{toc}{chapter}{<title>Bibliography</title>}<p>
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</p><p>
- Anderson, Chris. Free: How Today’s Smartest Businesses Profit by Giving
+ Anderson, Chris. Free: How Today’s Smartest Businesses Profit by Giving
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</p><p>
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</p><p>
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- ———. Open Innovation: The New Imperative for Creating and Profiting from
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+ Eckhardt, Giana, and Fleura Bardhi. <span class="quote">”<span class="quote">The Sharing Economy Isn’t about
+Sharing at All.</span>
”</span> Harvard Business Review, January 28, 2015. <a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
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+ Farley, Joshua, and Ida Kubiszewski. <span class="quote">”<span class="quote">The Economics of Information in
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Knowledge.
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+ ———. Steal Like an Artist: 10 Things Nobody Told You about Being
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+ Lee, David. <span class="quote">”<span class="quote">Inside Medium: An Attempt to Bring Civility to the
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+Source by an Accidental Revolutionary. Rev. ed. Sebastopol, CA: O’Reilly
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+Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
+Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
+Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
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MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black,
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+Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
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Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall
McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman,
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+Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny
Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv
Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones,
Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio,
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Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent,
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+Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh,
William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque,
Yancey Strickler
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Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert
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+O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
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Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar,
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+Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
+Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
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Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas
Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew
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Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton
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+Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
publishing, April Johnson, Aria F. Chernik, Ariane Allan, Ariel Katz,
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Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin
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Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini,
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+Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth
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Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker,
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Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian
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Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
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+Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney,
Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini,
Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei,
Dom Lane, Domi Enders, Domingo Gallardo, Dominic de Haas, Dominique
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Doug Hoover, Douglas Craver, Douglas Van Camp, Douglas Van Houweling,
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Erika Reid, Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan
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Software, Felix Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix
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+Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
Games, Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois
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+Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
+Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
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Gary Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de
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Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives
Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman,
Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg
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+Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho
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+Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
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Raad, Hans Vd Horst, Harold van Ingen, Harold Watson, Harry Chapman, Harry
Kaczka, Harry Torque, Hayden Glass, Hayley Rosenblum, Heather Leson, Helen
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+Crisp, Helen Michaud, Helen Qubain, Helle Rekdal Schønemann, Henrique Flach
Latorre Moreno, Henry Finn, Henry Kaiser, Henry Lahore, Henry Steingieser,
Hermann Paar, Hillary Miller, Hironori Kuriaki, Holly Dykes, Holly Lyne,
-Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
+Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider,
Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah
Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek
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+Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach,
James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James
Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol,
Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park,
Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason
E. Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy
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+Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
Jean-Philippe Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff
De Cagna, Jeff Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff
Rasalla, Jeff Ski Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen
Garcia, Jens Erat, Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell,
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+Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
Jessica Dickinson Goodman, Jessica Litman, Jessica Mackay, Jessy Kate
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-O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
+Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
+O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
Allum, Joachim Brandon LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim
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+Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
Sandfort, Joe Cardillo, Joe Carpita, Joe Moross, Joerg Fricke, Johan Adda,
-Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
+Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
Bevan, John C Patterson, John Crumrine, John Dimatos, John Feyler, John
Huntsman, John Manoogian III, John Muller, John Ober, John Paul Blodgett,
John Pearce, John Shale, John Sharp, John Simpson, John Sumser, John Weeks,
John Wilbanks, John Worland, Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon
Andersen, Jon Cohrs, Jon Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith,
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+Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
+Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
+Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
Sullivan, Joseph Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP
Rangaswami, Juan Carlos Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo
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+Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
Julia Devonshire, Julian Fietkau, Julie Harboe, Julien Brossoit, Julien
-Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
+Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
Grimes, Justin Jones, Justin Szlasa, Justin Walsh, JustinChung.com, K. J.
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+Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
Kara Monroe, Karen Pe, Karl Jahn, Karl Jonsson, Karl Nelson, Kasia
Zygmuntowicz, Kat Lim, Kate Chapman, Kate Stewart, Kathleen Beck, Kathleen
Hanrahan, Kathryn Abuzzahab, Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie
Higginbottom, Ken Friis Larsen, Ken Haase, Ken Torbeck, Kendel Ratley,
Kendra Byrne, Kerry Hicks, Kevin Brown, Kevin Coates, Kevin Flynn, Kevin
Rumon, Kevin Shannon, Kevin Taylor, Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane
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+l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
Rennert, Kris Kasianovitz, Kristian Lundquist, Kristin Buxton, Kristina
Popova, Kristofer Bratt, Kristoffer Steen, Kumar McMillan, Kurt Whittemore,
Kyle Pinches, Kyle Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry
Marinis, Lucas Lopez, Lukas Mathis, Luke Chamberlin, Luke Chesser, Luke
Woodbury, Lulu Tang, Lydia Pintscher, M Alexander Jurkat, Maarten Sander,
Macie J Klosowski, Magnus Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh,
-Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
+Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich, Marc Harpster, Marc
-Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
+Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
Leeuwe, Marcel Hill, Marcia Hofmann, Marcin Olender, Marco Massarotto, Marco
Montanari, Marco Morales, Marcos Medionegro, Marcus Bitzl, Marcus Norrgren,
Margaret Gary, Mari Moreshead, Maria Liberman, Marielle Hsu, Marino
Decky, Martin DeMello, Martin Humpolec, Martin Mayr, Martin Peck, Martin
Sanchez, Martino Loco, Martti Remmelgas, Martyn Eggleton, Martyn Lewis, Mary
Ellen Davis, Mary Heacock, Mary Hess, Mary Mi, Masahiro Takagi, Mason Du,
-Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
+Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
Kruk, Matija Nalis, Matt Alcock, Matt Black, Matt Broach, Matt Hall, Matt
Haughey, Matt Lee, Matt Plec, Matt Skoss, Matt Thompson, Matt Vance, Matt
Wagstaff, Matteo Cocco, Matthew Bendert, Matthew Bergholt, Matthew Darlison,
Matthew Epler, Matthew Hawken, Matthew Heimbecker, Matthew Orstad, Matthew
Peterworth, Matthew Sheehy, Matthew Tucker, Adaptive Handy Apps, LLC,
Mattias Axell, Max Green, Max Kossatz, Max lupo, Max Temkin, Max van
-Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
+Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
Finlayson, Melissa Aho, Melissa Sterry, Melle Funambuline, Menachem
Goldstein, Micah Bridges, Michael Ailberto, Michael Anderson, Michael
Andersson Skane, Michael C. Stewart, Michael Carroll, Michael Cavette,
Michael Murphy, Michael Murvine, Michael Perkins, Michael Sauers, Michael
St.Onge, Michael Stanford, Michael Stanley, Michael Underwood, Michael
Weiss, Michael Wright, Michael-Andreas Kuttner, Michaela Voigt, Michal
-Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
+Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike Chelen, Mike Habicher,
Mike Maloney, Mike Masnick, Mike McDaniel, Mike Pouraryan, Mike Sheldon,
-Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
+Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko
-<span class="quote">”<span class="quote">Macro</span>”</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
+<span class="quote">”<span class="quote">Macro</span>”</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, Moritz
-Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
+Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, Nah Wee Yang,
Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey, Nathan Miller,
Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele Wollert,
Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole Hickman, Niek
Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola Chernev,
Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-Fein, Noah
-Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
+Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle Ahnve, Omar
-Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
-Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
+Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
+Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat
Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf,
Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, Patrick
McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik
Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey,
Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul
-Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
-Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
-Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
+Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
+Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
+Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter
-O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
+O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip
Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer,
Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels,
Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill,
Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer,
Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani,
-Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
-Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
+Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
+Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich
-McCue, Richard <span class="quote">”<span class="quote">TalkToMeGuy</span>”</span> Olson, Richard Best, Richard
+McCue, Richard <span class="quote">”<span class="quote">TalkToMeGuy</span>”</span> Olson, Richard Best, Richard
Blumberg, Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly,
Richard Littauer, Richard Sobey, Richard White, Richard Winchell, Rik
ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley,
Lawlis, Robert McDonald, Robert Orzanna, Robert Paterson Hunter, Robert
R. Daniel Jr., Robert Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto
Selvaggio, Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon,
-Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
+Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald
Bissell, Ronald van den Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay,
Ross Pruden, Ross Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert
Price, Ryan Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin
Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin,
Samantha-Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel
-A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
+A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
Cersosimo, Samuel Tait, Sandra Fauconnier, Sandra Markus, Sandy Bjar, Sandy
ONeil, Sang-Phil Ju, Sanjay Basu, Santiago Garcia, Sara Armstrong, Sara
Lucca, Sara Rodriguez Marin, Sarah Brand, Sarah Cove, Sarah Curran, Sarah
Simon Klose, Simon Law, Simon Linder, Simon Moffitt, Solomon Kahn, Solomon
Simon, Soujanna Sarkar, Stanislav Trifonov, Stefan Dumont, Stefan Jansson,
Stefan Langer, Stefan Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan
-Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
+Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
Stephen Pearce, Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson,
Steve Battle, Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve
Ingram, Steve Kroy, Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven
-Knudsen, Steven Melvin, Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart
-Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
+Knudsen, Steven Melvin, Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart
+Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
Susan R Grossman, Suzie Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle,
Sylvain Chery, Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz,
T. L. Mason, Tanbir Baeg, Tanya Hart, Tara Tiger Brown, Tara Westover, Tarmo
Toikkanen, Tasha Turner Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan,
Teresa Gonczy, Terry Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo,
-Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
+Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
Chang, Thomas Hartman, Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds,
Thomas Thrush, Thomas Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim
-Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
+Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
Timothy Arfsten, Timothy Hinchliff, Timothy Vollmer, Tina Coffman, Tisza
-Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
+Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
Bamford, Tom Caswell, Tom Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom
Merkli, Tom Merritt, Tom Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti,
Tommy Dahlen, Tony Ciak, Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin,
Tracey Henton, Tracey James, Traci Long DeForge, Trent Yarwood, Trevor
-Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
+Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
Tyler Occhiogrosso, Udo Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum,
Vaughan jenkins, Veethika Mishra, Vic King, Vickie Goode, Victor DePina,
Victor Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture, Vikas
-Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
+Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
Gentilini, Virginia Kopelman, Vitor Menezes, Vivian Marthell, Wayne
Mackintosh, Wendy Keenan, Werner Wiethege, Wesley Derbyshire, Widar Hellwig,
-Willa Köerner, William Bettridge-Radford, William Jefferson, William
+Willa Köerner, William Bettridge-Radford, William Jefferson, William
Marshall, William Peter Nash, William Ray, William Robins, Willow Rosenberg,
Winie Evers, Wolfgang Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier
Moisant, Xueqi Li, Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian
projects / text-madewithcc.git / blobdiff