-"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. “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,” he wrote. “The copies that others make of my work cost me nothing, and present the possibility that I’ll "
-"get something.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3539
-msgid "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 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: “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.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3548
-msgid "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. “On the one hand, we can credibly make our work available to a widely dispersed audience,” he said. “On the other hand, the intermediaries we historically sold to are making it harder to go around them.” Cory continually looks for ways to reach his audience without relying upon major platforms that will try to take control over his work."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3557
-msgid "Cory says his e-book sales have been lower than those of his competitors, and he attributes some of that to the CC license making the work available for free. But he believes people are willing to pay for content they like, 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 soon."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3566
-msgid "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. “If you look at the history of artists, most die in penury,” he said. “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.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3572
-msgid "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, “is how many ways there are to make things, and to get them into other people’s hands and minds.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3574
-msgid "It has never been easier to think like a dandelion."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3576
-msgid "<span id=\"anchor-75\"></span>Figshare"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3581
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3583
-msgid "figshare.com"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3585
-msgid "Revenue model: platform providing paid services to creators"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3587
-msgid "Interview date: January 28, 2016"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3589
-msgid "Interviewee: Mark Hahnel, founder"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3600
-msgid "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 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3604
-msgid "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 trusted? Answers have evolved over time."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3612
-msgid "Mark traces the origins of Figshare back to when he was a graduate student getting his PhD in stem cell biology. His research involved working with videos of stem cells in motion. However, when he went to publish his research, there was no way for him to also publish the videos, figures, graphs, and data sets. This was frustrating. Mark believed publishing his complete research would lead to more citations and be better for his career."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3618
-msgid "Mark does not consider himself an advanced software programmer. Fortunately, things like cloud-based computing and wikis had become mainstream, and he believed it ought to be possible to put all his research online and share it with anyone. So he began working on a solution."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3622
-msgid "There were two key needs: licenses to make the data citable, and persistent identifiers— URL links that always point back to the original object ensuring the research is citable for the long term."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3629
-msgid "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 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 for the provision of DOIs for research data."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3635
-msgid "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 dialogue with peers, he went with CC0 (in the public domain) for data sets and CC BY (Attribution) for figures, videos, and data sets."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3640
-msgid "So Mark began using DOIs and Creative Commons for his own research work. He had a science blog where he wrote about it and made all his data open. People started commenting on his blog that they wanted to do the same. So he opened it up for them to use, too."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3647
-msgid "People liked the interface and simple upload process. People started asking if they could also share theses, grant proposals, and code. Inclusion of code raised new licensing issues, as Creative Commons licenses are not used for software. To allow the sharing of software code, Mark chose the MIT license, but GNU and Apache licenses can also be used."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3653
-msgid "Mark sought investment to make this into a scalable product. After a few unsuccessful funding pitches, UK-based Digital Science expressed interest but insisted on a more viable business model. They made an initial investment, and together they came up with a freemium-like business model."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3663
-msgid "Under the freemium model, academics upload their research to Figshare for storage and sharing for free. Each research object is licensed with Creative Commons and receives a DOI link. The premium option charges researchers a 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 “You retain ownership. You license it. You get credit. We just make sure it persists.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3671
-msgid "In January 2012, Figshare was launched. (The fig in Figshare stands for figures.) Using investment funds, Mark made significant improvements to Figshare. For example, researchers could quickly preview their research files within a browser without having to download them first or require third-party software. Journals who were still largely publishing articles as static noninteractive PDFs became interested in having Figshare provide that functionality for them."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3680
-msgid "Figshare diversified its business model to include services for 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 both journal publishers and researchers. Figshare now provides"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3684
-msgid "research-data infrastructure for a wide variety of publishers including Wiley, Springer Nature, PLOS, and Taylor and Francis, to name a few, and has convinced them to use Creative Commons licenses for the data."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3692
-msgid "Governments allocate significant public funds to research. In parallel with the launch of Figshare, governments around the world began requesting the research they fund be open and accessible. They mandated that researchers and academic institutions better manage and disseminate their research outputs. Institutions looking to comply with this new mandate became interested in Figshare. Figshare once again diversified its business model, adding services for institutions."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3700
-msgid "Figshare now offers a range of fee-based services to institutions, including 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 institutions, take into account the needs of librarians and administrators, as well as of the researchers."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3711
-msgid "As with researchers and publishers, Fig-share encouraged institutions to share their research with CC BY (Attribution) and their data with CC0 (into the public domain). Funders who require researchers and institutions to use open licensing believe in the social responsibilities and benefits of making research accessible to all. Publishing research in this open way has come to be called open access. But not all funders specify CC BY; some institutions want to offer their researchers a choice, including less permissive licenses like CC BY-NC (Attribution-NonCommercial), CC BY-SA (Attribution-ShareAlike), or CC BY-ND (Attribution-NoDerivs)."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3719
-msgid "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 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3726
-msgid "Mark is thinking of doing a Figshare study that tracks research dissemination according to Creative Commons license, and gathering metrics on views, citations, and downloads. You could see which license generates the biggest impact. If the data showed that CC BY is more impactful, Mark believes more and more researchers and institutions will make it their license of choice."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3735
-msgid "Figshare has an Application Programming Interface (API) that makes it possible for data to be pulled from Figshare and used in other applications. As an example, Mark shared a Figshare data set showing the journal subscriptions that higher-education institutions in the United Kingdom paid to ten major publishers.1 Figshare’s API enables that data to be pulled into an app developed by a completely different researcher that converts the data into a visually interesting graph, which any viewer can alter by changing any of the variables.2"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3745
-msgid "The free version of Figshare has built a community of academics, who through word of mouth and presentations have promoted and spread awareness of Figshare. To amplify and reward the community, Figshare established an Advisor program, providing those who promoted Figshare with hoodies and T-shirts, early access to new features, and travel expenses when they gave presentations outside of their area. These Advisors also helped Mark on what license to use for software code and whether to offer universities an option of using Creative Commons licenses."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3755
-msgid "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 has been key to success. Figshare now offers a comprehensive set of services to researchers, publishers, and institutions.3 If he had relied solely on revenue from premium 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3762
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3774
-msgid ""
-"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 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 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 differentiator. Going forward, Mark sees Figshare not only as supporting open access to research but also enabling people to collaborate and make new "
-"discoveries."
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3780
-msgid "figshare.com/articles/Journal\\_subscription\\_costs\\_FOIs\\_to\\_UK\\_universities/1186832"
-msgstr ""
-
-#. type: Bullet: '2. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3780
-msgid "retr0.shinyapps.io/journal\\_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136"
-msgstr ""
-
-#. type: Bullet: '3. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3780
-msgid "figshare.com/features"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3782
-msgid "<span id=\"anchor-76\"></span>Figure.NZ"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3786
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3788
-msgid "figure.nz"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3791
-msgid "Revenue model: platform providing paid services to creators, donations, sponsorships"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3793
-msgid "Interview date: May 3, 2016"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3795
-msgid "Interviewee: Lillian Grace, founder"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3814
-msgid ""
-"In the paper Harnessing the Economic and Social Power of Data presented at the New Zealand Data Futures Forum in 2014,1 Figure.NZ founder 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 their families, their communities, their businesses, and their country. But 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 question to ask, identify a source that has collected the data, and manipulate complex tools to extract and visualize the information within the data set. Lillian established Figure.NZ to make data truly accessible to all, with a specific focus on New Zealand."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3823
-msgid "Lillian had the idea for Figure.NZ in February 2012 while working for the 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 “every single issue we addressed would have been easier to deal with if more people understood the basic facts.” But understanding the basic facts sometimes requires data and research that you often have to pay for."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3835
-msgid "Lillian began to imagine a website that lifted data up to a visual form that could be easily understood and freely accessed. Initially launched as Wiki 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 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3850
-msgid ""
-"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 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, line, and area graphs from any data source. The graphs are posted to the Figure.NZ website, and they can also be exported in a variety of formats for print or online use. Figure.NZ makes its data and graphs available "
-"using the Attribution (CC BY) license. This allows others to reuse, revise, remix, and redistribute Figure.NZ data and graphs as long as they give attribution to the original source and to Figure.NZ."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3864
-msgid ""
-"Lillian characterizes the initial decision to use Creative Commons as 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 an open-access and licensing framework called NZGOAL, which provides guidance for agencies when they release copyrighted and noncopyrighted work and material.2 It aims to standardize the licensing 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3875
-msgid "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 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 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 wrangler and source."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3892
-msgid ""
-"Although Figure.NZ is a social enterprise that openly licenses their data and graphs for everyone to use for free, they have taken care not to be perceived as a free service all around the table. Lillian believes hundreds of millions of dollars are spent by the government and organizations to collect data. However, very little money is spent on taking that data and making it accessible, understandable, and useful for decision making. Government uses some of the data for policy, but Lillian believes that it is underutilized and the potential value is much larger. Figure.NZ is focused on solving that problem. They believe a portion of money allocated to collecting data should go into making sure that data is useful and generates "
-"value. If the government wants citizens to understand why certain decisions are being made and to be more aware about what the government is doing, why not transform the data it collects into easily understood visuals? It could even become a way for a government or any organization to differentiate, market, and brand itself."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3897
-msgid "Figure.NZ spends a lot of time seeking to understand the motivations of data collectors and to identify the channels where it can provide value. Every part of their business model has been focused on who is going to get value from the data and visuals."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3910
-msgid ""
-"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 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 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 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3921
-msgid "Lillian notes that the current state of most data is terrible and often not 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 “high-trust contracts,” 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 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3927
-msgid "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 example, with their support Figure.NZ has been able to create Business Figures, a special way for businesses to find useful data without having to know what questions to ask.3"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3931
-msgid "Figure.NZ also has patrons.4 Patrons donate to topic areas they care about, directly enabling Figure.NZ to get data together to flesh out those areas. Patrons do not direct what data is included or excluded."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3936
-msgid "Figure.NZ also accepts philanthropic donations, which are used to provide more content, extend technology, and improve services, or are targeted to fund a specific effort or provide in-kind support. As a charity, donations are tax deductible."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3946
-msgid "Figure.NZ has morphed and grown over time. With data aggregation, curation, 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 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3955
-msgid "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 graphs. Figure.NZ does not provide analysis or interpretation of the data or visuals. Their goal is to teach people how to think, not think for them. Figure.NZ wants to create intuitive experiences, not user manuals."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3967
-msgid ""
-"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 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 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 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 people to be curious about, access, and interpret data on topics they are interested in."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3975
-msgid "Lillian has a deep and profound vision for Figure.NZ that goes well beyond simply providing open-data services. She says things are different now. “We used to live in a world where it was really hard to share information widely. And in that world, the best future was created by having a few great 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3979
-msgid "“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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3983
-msgid "“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 numbers as a part of our thinking and part of our understanding yet."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3993
-msgid "“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 numbers and data literacy. We largely still believe that only a few specially trained people can analyze and think with numbers."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3999
-msgid "“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 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4007
-msgid "“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.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4011
-msgid "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 “network effect”—"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4015
-msgid "users dramatically increasing value for themselves and for others through use of their service. Creative Commons is core to making the network effect possible."
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4022
-msgid "www.nzdatafutures.org.nz/sites/default/files/NZDFF\\_harness-the-power.pdf"
-msgstr ""
-
-#. type: Bullet: '2. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4022
-msgid "www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/"
-msgstr ""
-
-#. type: Bullet: '3. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4022
-msgid "figure.nz/business/"
-msgstr ""
-
-#. type: Bullet: '4. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4022
-msgid "figure.nz/patrons/"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4024
-msgid "<span id=\"anchor-77\"></span>Knowledge Unlatched"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4028
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4030
-msgid "knowledgeunlatched.org"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4032
-msgid "Revenue model: crowdfunding (specialized)"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4034
-msgid "Interview date: February 26, 2016"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4036
-msgid "Interviewee: Frances Pinter, founder"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4043
-msgid "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-"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4053
-msgid "book-publishing system is not working for anyone, and especially not for monographs in the humanities and social sciences. Knowledge Unlatched is committed to changing this and has been working with libraries to create a sustainable alternative model for publishing scholarly books, sharing the cost of making monographs (released under a Creative Commons license) and savings costs over the long term. Since its launch, Knowledge Unlatched has received several awards, including the IFLA/Brill Open Access award in 2014 and a Curtin University Commercial Innovation Award for Innovation in Education in 2015."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4058
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4063
-msgid "Not long after, she ran a project in Africa convincing publishers in Uganda and South Africa to put some of their content online for free using a Creative Commons license and to see what happened to print sales. Sales went up, not down."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4077
-msgid ""
-"In 2008, Bloomsbury Academic, a new imprint of Bloomsbury Publishing in the United Kingdom, appointed her its founding publisher in London. As part of the launch, Frances convinced Bloomsbury to differentiate themselves by putting out monographs for free online under a Creative Commons license (BY-NC or BY-NC-ND, i.e., Attribution-NonCommercial or Attribution-NonCommercial-NoDerivs). This was seen as risky, as the biggest cost for publishers is getting a book to the stage where it can be printed. If everyone read the online book for free, there would be no 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 as a marketing vehicle for the print format."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4084
-msgid "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 printed book, and 3) a digital version of the book on an aggregator platform with enhanced features. She thought of this as the “ice cream model”: 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4091
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4098
-msgid "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 “book-processing charge”—and providing everyone in the world with an open-access version of the books released under a Creative Commons license."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4107
-msgid "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 good name for the idea. Her husband came up with Knowledge Unlatched, and after two years of generating interest, she decided to move forward and launch a community interest company (a UK term for not-for-profit social enterprises) in 2012."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4110
-msgid "She describes the business model in a paper called Knowledge Unlatched: Toward an Open and Networked Future for Academic Publishing:"
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4128
-msgid "Publishers offer titles for sale reflecting origination costs only via Knowledge Unlatched."
-msgstr ""
-
-#. type: Bullet: '2. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4128
-msgid "Individual libraries select titles either as individual titles or as collections (as they do from library suppliers now)."
-msgstr ""
-
-#. type: Bullet: '3. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4128
-msgid "Their selections are sent to Knowledge Unlatched specifying the titles to be purchased at the stated price(s)."
-msgstr ""
-
-#. type: Bullet: '4. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4128
-msgid "The price, called a Title Fee (set by publishers and negotiated by Knowledge Unlatched), is paid to publishers to cover the fixed costs of publishing each of the titles that were selected by a minimum number of libraries to cover the Title Fee."
-msgstr ""
-
-#. type: Bullet: '5. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4128
-msgid "Publishers make the selected titles available Open Access (on a Creative Commons or similar open license) and are then paid the Title Fee which is the total collected from the libraries."
-msgstr ""
-
-#. type: Bullet: '6. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4128
-msgid "Publishers make print copies, e-Pub, and other digital versions of selected titles available to member libraries at a discount that reflects their contribution to the Title Fee and incentivizes membership.1"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4136
-msgid "The first round of this model resulted in a collection of twenty-eight current titles from thirteen recognized scholarly publishers being unlatched. The target was to have two hundred libraries participate. The cost of the package per library was capped at \\$1,680, which was an average price of sixty dollars per book, but in the end they had nearly three hundred libraries sharing the costs, and the price per book came in at just under forty-three dollars."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4145
-msgid "The open-access, Creative Commons versions of these twenty-eight books are still available online.4 Most books have been licensed with CC BY-NC or CC BY-NC-ND. Authors are the copyright holder, not the publisher, and negotiate choice of license as part of the publishing agreement. Frances has found that most authors want to retain control over the commercial and remix use of their work. Publishers list the book in their catalogs, and the noncommercial restriction in the Creative Commons license ensures authors continue to get royalties on sales of physical copies."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4155
-msgid "There are three cost variables to consider for each round: the overall cost incurred by the publishers, total cost for each library to acquire all the books, and the individual price per book. The fee publishers charge for each title is a fixed charge, and Knowledge Unlatched calculates the total amount for all the books being unlatched at a time. The cost of an order for each library is capped at a maximum based on a minimum number of libraries participating. If the number of participating libraries exceeds the minimum, then the cost of the order and the price per book go down for each library."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4168
-msgid ""
-"The second round, recently completed, unlatched seventy-eight books from twenty-six publishers. For this round, Frances was experimenting with the size and shape of the offerings. Books were being bundled into eight small packages separated by subject (including Anthropology, History, Literature, Media and Communications, and Politics), of around ten books per package. Three hundred libraries around the world have to commit to at least six of 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 "
-"libraries to pledge, billing the libraries, and finally, unlatching."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4173
-msgid "The longest part of the whole process is getting libraries to pledge and commit funds. It takes about five months, as library buy-in has to fit within acquisition cycles, budget cycles, and library-committee meetings."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4181
-msgid "Knowledge Unlatched informs and recruits libraries through social media, mailing lists, listservs, and library associations. Of the three hundred libraries that participated in the first round, 80 percent are also participating in the second round, and there are an additional eighty new libraries taking part. Knowledge Unlatched is also working not just with individual libraries but also library consortia, which has been getting even more libraries involved."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4185
-msgid "Knowledge Unlatched is scaling up, offering 150 new titles in the second half of 2016. It will also offer backlist titles, and in 2017 will start to make journals open access too."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4189
-msgid "Knowledge Unlatched deliberately chose monographs as the initial type of book to unlatch. Monographs are foundational and important, but also problematic to keep going in the standard closed publishing model."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4197
-msgid "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 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4206
-msgid "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 more downloads and therefore awareness. (On the Knowledge Unlatched website, you can find interviews with the twenty-eight round-one authors describing their experience and the benefits of taking part.)5"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4215
-msgid "Library budgets are constantly being squeezed, partly due to the inflation of journal subscriptions. But even without budget constraints, academic libraries are moving away from buying physical copies. An academic library catalog entry is typically a URL to wherever the book is hosted. Or if they have enough electronic storage space, they may download the digital file into their digital repository. Only secondarily do they consider getting a print book, and if they do, they buy it separately from the digital version."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4222
-msgid "Knowledge Unlatched offers libraries a compelling economic argument. Many of the participating libraries would have bought a copy of the monograph anyway, but instead of paying \\$95 for a print copy or \\$150 for a digital multiple-use copy, they pay \\$50 to unlatch. It costs them less, and it opens the book to not just the participating libraries, but to the world."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4232
-msgid "Not only do the economics make sense, but there is very strong alignment with library mandates. The participating libraries pay less than they would have in the closed model, and the open-access book is available to all 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. “Free ride” 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4235
-msgid "For publishers, authors, and librarians, the Knowledge Unlatched model for monographs is a win-win-win."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4244
-msgid "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 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4253
-msgid "Frances believes that Knowledge Unlatched is tapping into new ways of 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."
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4261
-msgid "www.pinter.org.uk/pdfs/Toward\\_an\\_Open.pdf"
-msgstr ""
-
-#. type: Bullet: '2. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4261
-msgid "www.oapen.org"
-msgstr ""
-
-#. type: Bullet: '3. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4261
-msgid "www.hathitrust.org"
-msgstr ""
-
-#. type: Bullet: '4. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4261
-msgid "collections.knowledgeunlatched.org/collection-availability-1/"
-msgstr ""
-
-#. type: Bullet: '5. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4261
-msgid "www.knowledgeunlatched.org/featured-authors-section/"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4263
-msgid "<span id=\"anchor-78\"></span>Lumen Learning"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4266
-msgid "Lumen Learning is a for-profit company helping educational institutions use open educational resources (OER). Founded in 2013 in the U.S."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4268
-msgid "lumenlearning.com"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4270
-msgid "Revenue model: charging for custom services, grant funding"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4272
-msgid "Interview date: December 21, 2015"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4274
-msgid "Interviewees: David Wiley and Kim Thanos, cofounders"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4296
-msgid ""
-"Cofounded by open education visionary Dr. David Wiley and education-technology strategist Kim Thanos, Lumen Learning is dedicated to improving student success, bringing new ideas to pedagogy, and making education more affordable by facilitating adoption of open educational resources. In 2012, David and Kim partnered on a grant-funded project called the Kaleidoscope Open Course Initiative.1 It involved a set of fully open general-education courses across eight colleges predominantly serving at-risk students, with goals to dramatically reduce textbook costs and collaborate to improve the courses to help students succeed. David and Kim exceeded those goals: the cost of the required textbooks, replaced with OER, decreased to zero "
-"dollars, and average student-success rates improved by 5 to 10 percent when compared with previous years. After a second round of funding, a total of more than twenty-five institutions participated in and benefited from this project. It was career changing for David and Kim to see the impact this initiative had on low-income students. David and Kim sought further funding from the Bill and Melinda Gates Foundation, who asked them to define a plan to scale their work in a financially sustainable way. That is when they decided to create Lumen Learning."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4299
-msgid "David and Kim went back and forth on whether it should be a nonprofit or for-"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4306
-msgid "profit. A nonprofit would make it a more comfortable fit with the 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 a lot of flexibility to do so."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4314
-msgid "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, with its different model for and approach to sustainability."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4320
-msgid "Right from the start, David and Kim positioned Lumen Learning as a way to help institutions engage in open educational resources, or OER. OER are teaching, learning, and research materials, in all different media, that reside in the public domain or are released under an open license that permits free use and repurposing by others."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4332
-msgid "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 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 a way that is very student-focused. Lumen Learning helps colleges and universities—"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4341
-msgid "replace expensive textbooks in high-enrollment courses with OER;"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4341
-msgid "provide enrolled students day one access to Lumen’s fully customizable OER course materials through the institution’s learning-management system;"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4341
-msgid "measure improvements in student success with metrics like passing rates, persistence, and course completion; and"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4341
-msgid "collaborate with faculty to make ongoing improvements to OER based on student success research."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4347
-msgid "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 Creative Commons license."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4353
-msgid "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, and tracking of effectiveness. Candela courseware costs institutions ten dollars per enrolled student."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4359
-msgid "A second option is Waymaker, which offers the services of Candela but adds personalized learning technologies, such as study plans, automated messages, and assessments, and helps instructors find and support the students who need it most. Waymaker courses cost twenty-five dollars per enrolled student."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4366
-msgid "The third and emerging line of business for Lumen is providing guidance and support for institutions and state systems that are pursuing the development of complete OER degrees. Often called Z-Degrees, these programs eliminate textbook costs for students in all courses that make up the degree (both required and elective) by replacing commercial textbooks and other expensive resources with OER."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4381
-msgid ""
-"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 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 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4390
-msgid "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 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 curates the best OER they can find that addresses those learning needs, which the faculty reviews."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4400
-msgid "Sometimes faculty like the existing OER but not the way it is presented. The open licensing of existing OER allows Lumen to pick and choose from images, videos, and other media to adapt and customize the course. Lumen creates new content as they discover gaps in existing OER. Test-bank items and feedback 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4406
-msgid "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, however, when mixing different OER together."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4415
-msgid "Remixing OER often results in multiple attributions on every page of every 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 find it a distraction. Lumen dealt with this challenge by capturing the license and attribution information as metadata, and getting it to show up at the end of each page."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4422
-msgid "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"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4424
-msgid "capacity."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4435
-msgid "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 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 of students."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4443
-msgid "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 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4451
-msgid "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 community makes in OER is not exploited? Lumen thinks we all need to be clear about how we are benefiting from and contributing to the open"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4453
-msgid "community."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4460
-msgid "In the OER sector, there are examples of corporations, and even institutions, acting as free riders. Some simply take and use open resources without paying anything or contributing anything back. Others give back the minimum amount so they can save face. Sustainability will require those using open resources to give back an amount that seems fair or even give back something that is generous."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4469
-msgid "Lumen does track institutions accessing and using their free content. They 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 guarantee of support for faculty and students; and future sustainability with funding supporting the evolution and improvement of the OER they are using."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4476
-msgid "Lumen works hard to be a good corporate citizen in the OER community. For David and Kim, a good corporate citizen gives more than they take, adds unique value, and is very transparent about what they are taking from community, what they are giving back, and what they are monetizing. Lumen believes these are the building blocks of a sustainable model and strives for a correct balance of all these factors."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4481
-msgid "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 structure for their value-add and how to package it in a way that is understandable and repeatable."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4491
-msgid "As of the fall 2016 term, Lumen had eighty-six different open courses, working relationships with ninety-two institutions, and more than seventy-five thousand student enrollments. Lumen received early start-up funding from the Bill and Melinda Gates Foundation, the Hewlett Foundation, and the Shuttleworth Foundation. Since then, Lumen has also attracted investment funding. Over the last three years, Lumen has been roughly 60 percent grant funded, 20 percent revenue earned, and 20 percent funded with angel capital. Going forward, their strategy is to replace grant funding with revenue."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4499
-msgid "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 trust."
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4503
-msgid "lumenlearning.com/innovative-projects/"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4505
-msgid "<span id=\"anchor-79\"></span>Jonathan Mann"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4508
-msgid "Jonathan Mann is a singer and songwriter who is most well known as the “Song A Day” guy. Based in the U.S."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4510
-msgid "jonathanmann.net and"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4512
-msgid "jonathanmann.bandcamp.com"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4516
-msgid "Revenue model: charging for custom services, pay-what-you-want, crowdfunding (subscription-based), charging for in-person version (speaking engagements and musical performances)"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4518
-msgid "Interview date: February 22, 2016"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4530
-msgid "Jonathan Mann thinks of his business model as “hustling”—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 from YouTube and Bandcamp, where he posts all of his music. He gives paid speaking engagements about creativity and motivation. He has been hired by major conferences to write songs summarizing what speakers have said in the conference sessions."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4539
-msgid "His entrepreneurial spirit is coupled with a willingness to take action quickly. A perfect illustration of his ability to act fast happened in 2010, when he read that Apple was having a conference the following day to address a snafu related to the iPhone 4. He decided to write and post a song about the iPhone 4 that day, and the next day he got a call from the public relations people at Apple wanting to use and promote his video at the Apple conference. The song then went viral, and the experience landed him in Time magazine."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4544
-msgid "Jonathan’s successful “hustling” 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 “song-a-day guy.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4552
-msgid "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 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 knew people were more likely to watch video online than simply listening to audio files."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4566
-msgid ""
-"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 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 extremely personal, like the song he cowrote with his exgirlfriend announcing their breakup. Rain or shine, in sickness or health, Jonathan posts and writes a song every day. If he is on a flight or otherwise incapable "
-"of getting Internet access in time to meet the deadline, he will prepare ahead and have someone else post the song for him."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4573
-msgid "Over time, the song-a-day gig became the basis of his livelihood. In the beginning, he made money one of two ways. The first was by entering a wide variety of contests and winning a handful. The second was by having the occasional song and video go some varying degree of viral, which would bring 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4580
-msgid "His website explains his gig as “taking any message, from the super simple to the totally complicated, and conveying that message through a heartfelt, fun and quirky song.” 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4587
-msgid "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. “CC seems like such a no-brainer,” Jonathan said. “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.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4595
-msgid "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. “If you let someone cover your song or remix it or use parts of it, that’s how music is supposed to work,” Jonathan said. “That is how music has worked since the beginning of time. Our me-me, mine-mine culture has undermined that.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4601
-msgid "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. “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,” Jonathan said."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4609
-msgid "He does have a fan community he cultivates on Bandcamp, but it isn’t his major focus. “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,” he said. “There is also a transitional aspect that drop in and get what they need and then move on.” Focusing less on community building than other artists makes sense given Jonathan’s primary income source of writing custom songs for clients."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4619
-msgid "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 “How to Choose a Master Password,” 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 rare) journalist, he translated the technical concepts into something understandable."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4630
-msgid "When he is hired by a client to write a song, he first asks them to send a list of talking points and other information they want to include in the song. He puts all of that into a text file and starts moving things around, cutting and pasting until the message starts to come together. The first 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. “There is something about being challenged and forced to take information that doesn’t seem like it should be sung about"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4634
-msgid "or doesn’t seem like it lends itself to a song,” he said. “I find that creative challenge really satisfying. I enjoy getting lost in that process.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4639
-msgid "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 business model is about capitalizing on his strengths as a songwriter, and he has found a way to keep it interesting for"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4641
-msgid "himself."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4651
-msgid "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 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. “My style is silly, so I can’t really accommodate people who want something super serious,” Jonathan said. “I do what I do very easily, and it’s part of who I am.” Jonathan hasn’t gotten into writing commercials for the same reasons; he is best at using his own unique style rather than mimicking others."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4658
-msgid "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 a living embodiment of these principles."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4664
-msgid "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 might be better."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4671
-msgid "Jonathan seems to have this mentality about his career more generally. He is constantly experimenting with ways to make a living while sharing his work 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4675
-msgid "“Success feels like it’s over,” he said. “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.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4677
-msgid "<span id=\"anchor-80\"></span>Noun Project"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4681
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4683
-msgid "thenounproject.com"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4685
-msgid "Revenue model: charging a transaction fee, charging for custom services"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4687
-msgid "Interview date: October 6, 2015"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4689
-msgid "Interviewee: Edward Boatman, cofounder"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4695
-msgid "The Noun Project creates and shares visual language. There are millions who use Noun Project symbols to simplify communication across borders, languages, and cultures."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4702
-msgid "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 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 the planet."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4708
-msgid "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 provide them. Perhaps his idea for creating a library of icons could actually help people in similar situations."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4715
-msgid "With his partner, Sofya Polyakov, he began collecting symbols for a website and writing a business plan. Inspiration came from the book Professor and the Madman, which chronicles the use of crowdsourcing to create the Oxford English Dictionary in 1870. Edward began to imagine crowdsourcing icons and symbols from volunteer designers around the world."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4723
-msgid "Then Edward got laid off during the recession, which turned out to be a huge catalyst. He decided to give his idea a go, and in 2010 Edward and Sofya launched the Noun Project with a Kickstarter campaign, back when Kickstarter was in its infancy.1 They thought it’d be a good way to 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4729
-msgid "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 “digital dust” on their hard drives. It’s easy to convince them to finally share them with the world."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4737
-msgid "The Noun Project currently has about seven thousand designers from around 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4742
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4754
-msgid "Edward knew he wanted to offer a free visual language while still providing some protection and reward for its contributors. There is a tension between those two goals, but for Edward, Creative Commons licenses bring this idealism and business opportunity together elegantly. He chose the Attribution (CC BY) license, which means people can download the icons for free and modify them and even use them commercially. The requirement to give attribution to the original creator ensures that the creator can build a reputation and get global recognition for their work. And if they simply 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4763
-msgid "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, “That’s when our lightbulb went off.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4769
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4781
-msgid ""
-"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 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 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 for the platform."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4792
-msgid "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 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 “Playground API” for free to test how it integrates with your application, but full implementation will require you to purchase the API Pro version."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4796
-msgid "The Noun Project shares revenue with its international designers. For one-off purchases, the revenue is split 70 percent to the designer and 30 percent to Noun Project."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4805
-msgid "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 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 providing more service to the user."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4809
-msgid "The Noun Project tries to be completely transparent about their royalty structure.2 They tend to over communicate with creators about it because building trust is the top"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4811
-msgid "priority."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4817
-msgid "For most creators, contributing to the Noun Project is not a full-time job but something they do on the side. Edward categorizes monthly earnings for creators into three broad categories: enough money to buy beer; enough to pay the bills; and most successful of all, enough to pay the rent."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4829
-msgid "Recently the Noun Project launched a new app called Lingo. Designers can use Lingo to organize not just their Noun Project icons and symbols but also their photos, illustrations, UX designs, et cetera. You simply drag any visual item directly into Lingo to save it. Lingo also works for teams so people can share visuals with each other and search across their combined 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 can access Noun Project from within Lingo."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4835
-msgid "The Noun Project gives a ton of value away for free. A very large percentage of their roughly one million members have a free account, but there are still lots of paid accounts coming from digital designers, advertising and design agencies, educators, and others who need to communicate ideas visually."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4840
-msgid "For Edward, “creating, sharing, and celebrating the world’s visual language” 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4847
-msgid "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 important to have a mission beyond making money."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4852
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4860
-msgid "Edward told us, “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 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.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4865
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4873
-msgid "The Noun Project also builds community through Iconathons—hackathons for icons.2 In partnership with a sponsoring organization, the Noun Project comes up with a theme (e.g., sustainable energy, food bank, guerrilla gardening, human rights) and a list of icons that are needed, which designers are invited to create at the event. The results are vectorized, and added to the Noun Project using CC0 so they can be used by anyone for free."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4881
-msgid "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 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 been key to that goal."
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4887
-msgid "www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description"
-msgstr ""
-
-#. type: Bullet: '2. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4887
-msgid "thenounproject.com/handbook/royalties/\\#getting\\_paid"
-msgstr ""
-
-#. type: Bullet: '3. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4887
-msgid "thenounproject.com/iconathon/"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4889
-msgid "<span id=\"anchor-81\"></span>Open Data Institute"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4893
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4895
-msgid "theodi.org"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4898
-msgid "Revenue model: grant and government funding, charging for custom services, donations"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4900
-msgid "Interview date: November 11, 2015"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4902
-msgid "Interviewee: Jeni Tennison, technical director"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4912
-msgid "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 (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 around the world innovate with data."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4922
-msgid "Data underpins planning and decision making across all aspects of society. Weather data helps farmers know when to plant their crops, flight time data from airplane companies helps us plan our travel, data on local housing informs city planning. When this data is not only accurate and timely, but open and accessible, it opens up new possibilities. Open data can be a resource businesses use to build new products and services. It can help governments measure progress, improve efficiency, and target investments. It can help citizens improve their lives by better understanding what is happening around them."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4928
-msgid "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 policy. (The government was an early pioneer in open policy and open-data initiatives.) It goes on to say that the ODI wants to—"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4935
-msgid "demonstrate the commercial value of open government data and how open-data policies affect this;"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4935
-msgid "develop the economic benefits case and business models for open data;"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4935
-msgid "help UK businesses use open data; and"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4935
-msgid "show how open data can improve public services.1"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4943
-msgid "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: “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.” ODI’s particular focus is to show open data’s potential for revenue."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4949
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4955
-msgid "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 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4962
-msgid "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 establishes some stability, but also keeps them motivated to go out and generate these matching funds in response to market needs."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4965
-msgid "On the commercial side, ODI generates funding through memberships, training, and advisory services."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4976
-msgid "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 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 members have greater opportunities to connect and collaborate, explore the benefits of open data, and unlock new business opportunities. (All members are listed on their website.)2"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4988
-msgid "ODI provides standardized open data training courses in which anyone can enroll. The initial idea was to offer an intensive and academically oriented diploma in open data, but it quickly became clear there was no market for 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, “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.” Public-sector organizations sometimes give vouchers to their employees so they can attend as a form of professional development."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4996
-msgid "ODI customizes training for clients as well, for which there is more demand. Custom training usually emerges through an established relationship with an organization. The training program is based on a definition of open-data knowledge as applicable to the organization and on the skills needed by their high-level executives, management, and technical staff. The training tends to generate high interest and commitment."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5003
-msgid "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 2014, there were four thematic tracks and over 750 attendees."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5010
-msgid "In addition to memberships and training, ODI provides advisory services to help with technical-data support, technology development, change management, policies, and other areas. ODI has advised large commercial organizations, small businesses, and international governments; the focus at the moment is on government, but ODI is working to shift more toward commercial organizations."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5013
-msgid "On the commercial side, the following value propositions seem to resonate:"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5028
-msgid "Data-driven insights. Businesses need data from outside their business to get more insight. Businesses can generate value and more effectively pursue their own goals if they open up their own data too. Big data is a hot topic."
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5028
-msgid "Open innovation. Many large-scale enterprises are aware they don’t innovate very well. One way they can innovate is to open up their data. ODI encourages them to do so even if it exposes problems and challenges. The key is to invite other people to help while still maintaining organizational autonomy."
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5028
-msgid "Corporate social responsibility. While this resonates with businesses, ODI cautions against having it be the sole reason for making data open. If a business is just thinking about open data as a way to be transparent and accountable, they can miss out on efficiencies and opportunities."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5036
-msgid "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 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 “nodes.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5046
-msgid "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 but are part of the global network. Each ODI node adopts the charter, a set of guiding principles and rules under which ODI operates. They develop and deliver training, connect people and businesses through membership and events, and communicate open-data stories from their part of the world. There are twenty-seven different nodes across nineteen countries. ODI nodes are charged a small fee to be part of the network and to use the brand."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5050
-msgid "ODI also runs programs to help start-ups in the UK and across Europe develop a sustainable business around open data, offering mentoring, advice, training, and even office space.3"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5058
-msgid "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 Network.) For ODI, community is key to success. They devote significant time and effort to build it, not just online but through face-to-face events."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5064
-msgid "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 globally recognized mark that signals that their open data is useful, reliable, accessible, discoverable, and supported.4"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5069
-msgid "Separate from commercial activities, the ODI generates funding through research grants. Research includes looking at evidence on the impact of open data, development of open-data tools and standards, and how to deploy open data at scale."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5074
-msgid "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 “open licenses” of their own."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5090
-msgid ""
-"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 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 it is perfectly possible to generate sustainable revenue streams that do not rely on restrictive licensing of content, data, or code. People pay to have ODI experts provide training to them, not for the content of the training; 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, “The biggest lesson we have learned is that it is completely possible to be open, get customers, and make money.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5094
-msgid "To serve as evidence of a successful open business model and return on investment, ODI has a public dashboard of key performance indicators. Here are a few metrics as of April 27, 2016:"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5106
-msgid "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 million"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5106
-msgid "Total number of active members and nodes across the globe: 1,350"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5106
-msgid "Total sales since ODI began: £7.44 million"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5106
-msgid "Total number of unique people reached since ODI began, in person and online: 2.2 million"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5106
-msgid "Total Open Data Certificates created: 151,000"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5106
-msgid "Total number of people trained by ODI and its nodes since ODI began: 5,0805"
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5115
-msgid "e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf"
-msgstr ""
-
-#. type: Bullet: '2. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5115
-msgid "directory.theodi.org/members"
-msgstr ""
-
-#. type: Bullet: '3. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5115
-msgid "theodi.org/odi-startup-programme; theodi.org/open-data-incubator-for-europe"
-msgstr ""
-
-#. type: Bullet: '4. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5115
-msgid "certificates.theodi.org"
-msgstr ""
-
-#. type: Bullet: '5. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5115
-msgid "dashboards.theodi.org/company/all"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5117
-msgid "<span id=\"anchor-82\"></span>OpenDesk"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5121
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5123
-msgid "www.opendesk.cc"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5125 MadewithCreativeCommonsmostup-to-dateversion.md:7080
-msgid "Revenue model: charging a transaction fee"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5127
-msgid "Interview date: November 4, 2015"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5129
-msgid "Interviewees: Nick Ierodiaconou and Joni Steiner, cofounders"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5136
-msgid "Opendesk is an online platform that connects furniture designers around the world not just with customers but also with local registered makers who bring the designs to life. Opendesk and the designer receive a portion of every sale that is made by a maker."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5151
-msgid ""
-"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 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 “ship the recipe, but not the goods.” 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 around the same table. The two projects ultimately went on separate paths, with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit company."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5157
-msgid "When Nick and Joni set out to create Opendesk, there were a lot of questions about the viability of distributed manufacturing. No one was doing it in a way that was even close to realistic or competitive. The design community had the intent, but fulfilling this vision was still a long way away."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5167
-msgid "And now this sector is emerging, and Nick and Joni are highly interested in the commercialization aspects of it. As part of coming up with a business 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 hold ownership? In the end, they decided there was no need to reinvent the wheel and settled on using Creative Commons."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5173
-msgid "When designing the Opendesk system, they had two goals. They wanted anyone, anywhere in the world, to be able to download designs so that they could be made locally, and they wanted a viable model that benefited designers when their designs were sold. Coming up with a business model was going to be complex."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5177
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5183
-msgid "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 choose from the full suite of Creative Commons licenses, deciding for themselves how open or closed they want to be."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5188
-msgid "For the most part, designers love the idea of sharing content. They understand that you get positive feedback when you’re attributed, what Nick and Joni called “reputational glow.” And Opendesk does an awesome job profiling the designers.1"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5193
-msgid "While designers are largely OK with personal sharing, there is a concern that someone will take the design and manufacture the furniture in bulk, with the designer not getting any benefits. So most Opendesk designers choose the Attribution-NonCommercial license (CC BY-NC)."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5202
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5210
-msgid "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, “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.” Opendesk now has relationships with hundreds of makers in countries all around the world.2"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5214
-msgid "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 website:"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5217
-msgid "When customers buy an Opendesk product directly from a registered maker, they pay:"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5239
-msgid "the manufacturing cost as set by the maker (this covers material and labour costs for the product to be manufactured and any extra assembly costs charged by the maker)"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5239
-msgid "a design fee for the designer (a design fee that is paid to the designer every time their design is used)"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5239
-msgid "a percentage fee to the Opendesk platform (this supports the infrastructure and ongoing development of the platform that helps us build out our marketplace)"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5239
-msgid "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)"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5239
-msgid "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)"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5239
-msgid "charges for any additional services the customer chooses, such as on-site assembly (additional services are discretionary—in many cases makers will be happy to quote for assembly on-site and designers may offer bespoke design options)"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5239
-msgid "local sales taxes (variable by customer and maker location)3"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5241
-msgid "They then go into detail how makers’ quotes are created:"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5250
-msgid "When a customer wants to buy an Opendesk . . . they are provided with a transparent breakdown of fees including the manufacturing cost, design fee, Opendesk platform fee and channel fees. If a customer opts to buy by getting in touch directly with a registered local maker using a downloaded Opendesk file, the maker is responsible for ensuring the design fee, Opendesk platform fee and channel fees are included in any quote at the time of sale. Percentage fees are always based on the underlying manufacturing cost and are typically apportioned as follows:"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5258
-msgid "manufacturing cost: fabrication, finishing and any other costs as set by the maker (excluding any services like delivery or on-site assembly)"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5258
-msgid "design fee: 8 percent of the manufacturing cost"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5258
-msgid "platform fee: 12 percent of the manufacturing cost"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5258
-msgid "channel fee: 18 percent of the manufacturing cost"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5258
-msgid "sales tax: as applicable (depends on product and location)"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5263
-msgid "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 percent is more generous, and providing a higher value to the designer."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5270
-msgid "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 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5278
-msgid "To manage resources and remain effective, Opendesk has so far focused on a 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5284
-msgid "On their website, Opendesk describes what they do as “open making”: “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.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5290
-msgid "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 furniture from the usual mass-produced items from a store."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5298
-msgid "Nick and Joni are taking a community-based approach to define and evolve Opendesk and the “open making” business model. They’re engaging thought leaders and practitioners to define this new movement. They have a separate Open Making site, which includes a manifesto, a field guide, and an invitation to get involved in the Open Making community.4 People can submit ideas and discuss the principles and business practices they’d like to see used."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5304
-msgid "Nick and Joni talked a lot with us about intellectual property (IP) and commercialization. Many of their designers fear the idea that someone could take one of their design files and make and sell infinite number of pieces of furniture with it. As a consequence, most Opendesk designers choose the Attribution-NonCommercial license (CC BY-NC)."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5307
-msgid "Opendesk established a set of principles for what their community considers commercial and noncommercial use. Their website states:"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5309
-msgid "It is unambiguously commercial use when anyone:"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5312
-msgid "charges a fee or makes a profit when making an Opendesk"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5312
-msgid "sells (or bases a commercial service on) an Opendesk"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5316
-msgid "It follows from this that noncommercial use is when you make an Opendesk yourself, with no intention to gain commercial advantage or monetary compensation. For example, these qualify as noncommercial:"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5325
-msgid "you are an individual with your own CNC machine, or access to a shared CNC machine, and will personally cut and make a few pieces of furniture yourself"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5325
-msgid "you are a student (or teacher) and you use the design files for educational purposes or training (and do not intend to sell the resulting pieces)"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5325
-msgid "you work for a charity and get furniture cut by volunteers, or by employees at a fab lab or maker space"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5334
-msgid "Whether or not people technically are doing things that implicate IP, Nick and Joni have found that people tend to comply with the wishes of creators 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 customers. For them, the value Opendesk generates hangs off “open,” not IP."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5340
-msgid "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 many makers and designers are engaged through Opendesk in revenue-making work."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5345
-msgid "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."
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5352
-msgid "www.opendesk.cc/designers"
-msgstr ""
-
-#. type: Bullet: '2. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5352
-msgid "www.opendesk.cc/open-making/makers/"
-msgstr ""
-
-#. type: Bullet: '3. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5352
-msgid "www.opendesk.cc/open-making/join"
-msgstr ""
-
-#. type: Bullet: '4. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5352
-msgid "openmaking.is"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5354
-msgid "<span id=\"anchor-83\"></span>OpenStax"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5358
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5360
-msgid "www.openstaxcollege.org"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5363
-msgid "Revenue model: grant funding, charging for custom services, charging for physical copies (textbook sales)"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5365
-msgid "Interview date: December 16, 2015"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5367
-msgid "Interviewee: David Harris, editor-in-chief"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5380
-msgid "OpenStax is an extension of a program called Connexions, which was started 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 freely adapt educational materials such as courses, books, and 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5389
-msgid "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 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5399
-msgid "David brought with him a deep understanding of the best practices of 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 find. The working hypothesis for the launch of OpenStax was to professionally produce a turnkey textbook by investing effort up front, with the expectation that this would lead to rapid growth through easy downstream adoptions by faculty and students."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5408
-msgid "In 2012, OpenStax College launched as a nonprofit with the aim of producing high-quality, peer-reviewed full-color textbooks that would be available for free for the twenty-five most heavily attended college courses in the nation. Today they are fast approaching that number. There is data that proves the success of their original hypothesis on how many students they could help and how much money they could help save.1 Professionally produced content scales rapidly. All with no sales force!"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5416
-msgid "OpenStax textbooks are all Attribution (CC BY) licensed, and each textbook is available as a PDF, an e-book, or web pages. Those who want a physical copy can buy one for an affordable price. Given the cost of education and student debt in North America, free or very low-cost textbooks are very appealing. OpenStax encourages students to talk to their professor and librarians about these textbooks and to advocate for their use."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5423
-msgid "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 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5428
-msgid "Any teacher can post corrections, suggest examples for difficult concepts, or volunteer as an editor or author. As many teachers also want supplemental material to accompany a textbook, OpenStax also provides slide presentations, test banks, answer keys, and so on."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5433
-msgid "Institutions can stand out by offering students a lower-cost education through the use of OpenStax textbooks; there’s even a textbook-savings calculator they can use to see how much students would save. OpenStax keeps a running list of institutions that have adopted their textbooks.2"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5438
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5447
-msgid "Up-front funding of a professionally produced all-color turnkey textbook is expensive. For this part of their model, OpenStax relies on philanthropy. They have initially been funded by the William and Flora Hewlett Foundation, the Laura and John Arnold Foundation, the Bill and Melinda Gates Foundation, the 20 Million Minds Foundation, the Maxfield Foundation, the Calvin K. Kazanjian Foundation, and Rice University. To develop additional titles and supporting technology is probably still going to require philanthropic investment."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5456
-msgid "However, ongoing operations will not rely on foundation grants but instead on funds received through an ecosystem of over forty partners, whereby a partner takes core content from OpenStax and adds features that it can create revenue from. For example, WebAssign, an online homework and assessment tool, takes the physics book and adds algorithmically generated physics problems, with problem-specific feedback, detailed solutions, and tutorial support. WebAssign resources are available to students for a fee."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5464
-msgid "Another example is Odigia, who has turned OpenStax books into interactive learning experiences and created additional tools to measure and promote student engagement. Odigia licenses its learning platform to institutions. Partners like Odigia and WebAssign give a percentage of the revenue they earn back to OpenStax, as mission-support fees. OpenStax has already published revisions of their titles, such as Introduction to Sociology 2e, using these funds."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5474
-msgid "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 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 materials."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5480
-msgid "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 these findings with the community."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5489
-msgid "While OpenStax books are available online for free, many students still want a print copy. Through a partnership with a print and courier company, OpenStax offers a complete solution that scales. OpenStax sells tens of thousands of print books. The price of an OpenStax sociology textbook is about twenty-eight dollars, a fraction of what sociology textbooks usually cost. OpenStax keeps the prices low but does aim to earn a small margin on each book sold, which also contributes to ongoing operations."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5500
-msgid "Campus-based bookstores are part of the OpenStax solution. OpenStax collaborates with NACSCORP (the National Association of College Stores Corporation) to provide print versions of their textbooks in the stores. While the overall cost of the textbook is significantly less than a traditional textbook, bookstores can still make a profit on sales. Sometimes students take the savings they have from the lower-priced book and use it to buy other things in the bookstore. And OpenStax is trying to break the expensive behavior of excessive returns by having a no-returns policy. This is working well, since the sell-through of their print titles is virtually a hundred percent."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5507
-msgid "David thinks of the OpenStax model as “OER 2.0.” 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 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 is reasonable."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5518
-msgid "OER 2.0 is about OER intended to be used and adopted on a national level right from the start. This requires a bigger investment up front but pays off through wide geographic adoption. The OER 2.0 process for OpenStax involves two development models. The first is what David calls the acquisition model, where OpenStax purchases the rights from a publisher or author for an already published book and then extensively revises it. The OpenStax physics textbook, for example, was licensed from an author after the publisher released the rights back to the authors. The second model is to develop a book from scratch, a good example being their biology book."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5533
-msgid ""
-"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 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 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 "
-"illustrations and visuals to go along with the text. The book is then copyedited to ensure grammatical correctness and a singular voice. Finally, it goes into production and through a final proofread. The whole process is very time-consuming."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5542
-msgid "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 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 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5550
-msgid "David thinks of the Attribution license (CC BY) as the “innovation license.” 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 materials. By enabling frictionless remixing, CC BY gives teachers control and academic freedom."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5559
-msgid "Using CC BY is also a good example of using strategies that traditional 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 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5562
-msgid "As of September 16, 2016, OpenStax has achieved some impressive results. From the OpenStax at a Glance fact sheet from their recent press kit:"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5571
-msgid "Books published: 23"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5571
-msgid "Students who have used OpenStax: 1.6 million"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5571
-msgid "Money saved for students: \\$155 million"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5571
-msgid "Money saved for students in the 2016/17 academic year: \\$77 million"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5571
-msgid "Schools that have used OpenStax: 2,668 (This number reflects all institutions using at least one OpenStax textbook. Out of 2,668 schools, 517 are two-year colleges, 835 four-year colleges and universities, and 344 colleges and universities outside the U.S.)"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5576
-msgid "While OpenStax has to date been focused on the United States, there is overseas adoption especially in the science, technology, engineering, and math (STEM) fields. Large scale adoption in the United States is seen as a necessary precursor to international interest."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5582
-msgid "OpenStax has primarily focused on introductory-level college courses where 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5592
-msgid "Finally, for OpenStax success is not just about the adoption of their textbooks and student savings. There is a human aspect to the work that is hard to quantify but incredibly important. They get emails from students saying how OpenStax saved them from making difficult choices like buying food or a textbook. OpenStax would also like to assess the impact their 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."
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5597
-msgid "news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg"
-msgstr ""
-
-#. type: Bullet: '2. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5597
-msgid "openstax.org/adopters"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5599
-msgid "<span id=\"anchor-84\"></span>Amanda Palmer"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5601
-msgid "Amanda Palmer is a musician, artist, and writer. Based in the U.S."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5603
-msgid "amandapalmer.net"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5607
-msgid "Revenue model: crowdfunding (subscription-based), pay-what-you-want, charging for physical copies (book and album sales), charg-ing for in-person version (performances), selling merchandise"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5609
-msgid "Interview date: December 15, 2015"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5615
-msgid "Since the beginning of her career, Amanda Palmer has been on what she calls a “journey with no roadmap,” continually experimenting to find new ways to sustain her creative work. 1"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5621
-msgid "In her best-selling book, The Art of Asking, Amanda articulates exactly what she has been and continues to strive for—“the ideal sweet spot . . . 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.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5628
-msgid "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. “On the one hand, we have this beautiful shareability,” Amanda said. “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.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5640
-msgid "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 crates, and hand out flowers to strangers as part of a silent dramatic 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. “All I needed was . . . some people,” she wrote in her book. “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.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5649
-msgid "Amanda has come a long way from her street-performing days, but her career remains dominated by that same sentiment—finding ways to reach “her crowd” 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 making music for the masses was never what Amanda and the Dresden Dolls set out to do."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5659
-msgid "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 “pay what you want” 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 million. It remains one of the most successful Kickstarter projects of all time."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5669
-msgid "Today, Amanda has switched gears away from crowdfunding for specific projects to instead getting consistent financial support from her fan base 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 “thing” that she is inspired to make. The recurring pledges are made on a “per thing” basis. All of the content she makes is made freely available under an Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA)."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5684
-msgid ""
-"Making her music and art available under Creative Commons licensing undoubtedly limits her options for how she makes a living. But sharing her work has been part of her model since the beginning of her career, even 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. “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,” 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5691
-msgid "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 music surpass the official videos in number of views on YouTube. Rather than seeing this sort of thing as competition, Amanda celebrates it. “We got into this because we wanted to share the joy of music,” she said."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5699
-msgid "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. “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,” Amanda wrote in The Art of Asking."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5709
-msgid "Even though her fan base is now huge and global, she continues to seek this sort of human connection with her fans. She seeks out face-to-face contact with her fans every chance she can get. Her hugely successful Kickstarter featured fifty concerts at house parties for backers. She spends hours in 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. “Listening fast and caring immediately is a skill unto itself,” Amanda wrote."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5718
-msgid "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 the first time after a show, they can legitimately feel like they know her."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5725
-msgid "“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,” Amanda said. “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.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5733
-msgid "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 her use of Creative Commons licenses. Because that is what you do with your friends—you share."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5741
-msgid "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 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5748
-msgid "“When you openly, radically trust people, they not only take care of you, they become your allies, your family,” 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 “weird little family.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5756
-msgid "This sort of intimacy with fans is not possible or even desirable for every creator. “I don’t take for granted that I happen to be the type of person who loves cavorting with strangers,” Amanda said. “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.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5767
-msgid "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 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 initially draw people to Amanda Palmer. It is only once she has connected to people through her music that she can then begin to build ties with them on a more personal level, both in person and online. In her book, Amanda describes it as casting a net. It starts with the art and then the bond strengthens with human connection."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5775
-msgid "For Amanda, the entire point of being an artist is to establish and maintain this connection. “It sounds so corny,” she said, “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 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.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5783
-msgid "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 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."
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5787
-msgid "http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/\\#44e20ce46d67"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5789
-msgid "<span id=\"anchor-85\"></span>PLOS"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5791
-msgid "<span id=\"anchor-86\"></span>(Public Library of Science)"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5795
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5797
-msgid "plos.org"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5800
-msgid "Revenue model: charging content creators an author processing charge to be featured in the journal"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5802
-msgid "Interview date: March 7, 2016"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5804
-msgid "Interviewee: Louise Page, publisher"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5818
-msgid ""
-"The Public Library of Science (PLOS) began in 2000 when three leading 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 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 do just what the petition promised. With start-up grant support from the Gordon and Betty Moore Foundation, PLOS was launched to provide new open-access journals for biomedicine, with research articles being released "
-"under Attribution (CC BY) licenses."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5828
-msgid "Traditionally, academic publishing begins with an author submitting a manuscript to a publisher. After in-house technical and ethical considerations, the article is then peer-reviewed to determine if the quality of the work is acceptable for publishing. Once accepted, the publisher takes the article through the process of copyediting, typesetting, and eventual publishing in a print or online publication. Traditional journal publishers recover costs and earn profit by charging a subscription fee to libraries or an access fee to users wanting to read the journal or article."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5838
-msgid "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 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 research slows the dissemination of this research and advancement of the field. It was time for a new model."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5848
-msgid "That new model became known as open access. That is, free and open availability on the Internet. Open-access research articles are not behind a paywall and do not require a login. A key benefit of open access is that it allows people to freely use, copy, and distribute the articles, as they are primarily published under an Attribution (CC BY) license (which only requires the user to provide appropriate attribution). And more importantly, policy makers, clinicians, entrepreneurs, educators, and students around the world have free and timely access to the latest research immediately on publication."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5859
-msgid "However, open access requires rethinking the business model of research 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 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 on word length, figures, or other elements."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5867
-msgid "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, 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, are just under \\$1,500."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5872
-msgid "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 article-processing charges."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5887
-msgid ""
-"Louise identifies marketing as one area of big difference between PLOS and traditional journal publishers. Traditional journals have to invest heavily 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 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 provides a better "
-"service for authors by promoting their research directly to the research community and giving the authors exposure. And this encourages other authors to submit their work for publication."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5894
-msgid "For Louise, PLOS would not exist without the Attribution license (CC BY). This makes it very clear what rights are associated with the content and provides a safe way for researchers to make their work available while ensuring they get recognition (appropriate attribution). For PLOS, all of this aligns with how they think research content should be published and disseminated."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5898
-msgid "PLOS also has a broad open-data policy. To get their research paper published, PLOS authors must also make their data available in a public repository and provide a data-availability statement."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5906
-msgid "Business-operation costs associated with the open-access model still largely follow the existing publishing model. PLOS journals are online only, but the editorial, peer-review, production, typesetting, and publishing stages are all the same as for a traditional publisher. The editorial teams must be top notch. PLOS has to function as well as or better than other premier journals, as researchers have a choice about where to publish."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5911
-msgid "Researchers are influenced by journal rankings, which reflect the place of a journal within its field, the relative difficulty of being published in that journal, and the prestige associated with it. PLOS journals rank high, even though they are relatively new."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5919
-msgid "The promotion and tenure of researchers are partially based how many times other researchers cite their articles. Louise says when researchers want to discover and read the work of others in their field, they go to an online aggregator or search engine, and not typically to a particular journal. The CC BY licensing of PLOS research articles ensures easy access for readers and generates more discovery and citations for authors."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5926
-msgid "Louise believes that open access has been a huge success, progressing from a movement led by a small cadre of researchers to something that is now widespread and used in some form by every journal publisher. PLOS has had a big impact. In 2012 to 2014, they published more open-access articles than BioMed Central, the original open-access publisher, or anyone else."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5947
-msgid ""
-"PLOS further disrupted the traditional journal-publishing model by pioneering the concept of a megajournal. The PLOS ONE megajournal, launched in 2006, is an open-access peer-reviewed academic journal that is much larger than a traditional journal, publishing thousands of articles per year and benefiting from economies of scale. PLOS ONE has a broad scope, covering science and medicine as well as social sciences and the humanities. The review and editorial process is less subjective. Articles are accepted for publication based on whether they are technically sound rather than perceived importance or relevance. This is very important in the current debate about the integrity and reproducibility of research because negative or null "
-"results can then be published as well, which are generally rejected by traditional journals. PLOS ONE, like all the PLOS journals, is online only with no print version. PLOS passes on the financial savings accrued through economies of scale to researchers and the public by lowering the article-processing charges, which are below that of other journals. PLOS ONE is the biggest journal in the world and has really set the bar for publishing academic journal articles on a large scale. Other publishers see the value of the PLOS ONE model and are now offering their own multidisciplinary forums for publishing all sound science."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5951
-msgid "Louise outlined some other aspects of the research-journal business model PLOS is experimenting with, describing each as a kind of slider that could be adjusted to change current practice."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5956
-msgid "One slider is time to publication. Time to publication may shorten as journals get better at providing quicker decisions to authors. However, there is always a trade-off with scale, as the bigger the volume of articles, the more time the approval process inevitably takes."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5966
-msgid "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 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5971
-msgid "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 the research wheel gets reinvented around the world."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5986
-msgid ""
-"Another adjustable practice is the sharing of articles at early preprint stages. Publication of research in a peer-reviewed journal can take a long time because articles must undergo extensive peer review. The need to quickly circulate current results within a scientific community has led to a practice of distributing pre-print documents that have not yet undergone peer review. Preprints broaden the peer-review process, allowing authors to receive early feedback from a wide group of peers, which can help revise and prepare the article for submission. Offsetting the advantages of preprints are author concerns over ensuring their primacy of being first to come up 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5994
-msgid "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 online open up new possibilities, such as a living document evolving over time, inclusion of audio and video, and interactivity, like discussion and recommendations. Even the size of what gets published could change. With these changes the current form factor for what constitutes a research article would undergo transformation."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6006
-msgid "As journals scale up, and new journals are introduced, more and more information is being pushed out to readers, making the experience feel like drinking from a fire hose. To help mitigate this, PLOS aggregates and curates content from PLOS journals and their network of blogs.1 It also offers something called Article-Level Metrics, which helps users assess research most relevant to the field itself, based on indicators like usage, citations, social bookmarking and dissemination activity, media and blog coverage, discussions, and ratings.2 Louise believes that the journal model could evolve to provide a more friendly and interactive user experience, including a way for readers to communicate with authors."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6015
-msgid "The big picture for PLOS going forward is to combine and adjust these experimental practices in ways that continue to improve accessibility and dissemination of research, while ensuring its integrity and reliability. The ways they interlink are complex. The process of change and adjustment is not linear. PLOS sees itself as a very flexible publisher interested in exploring all the permutations research-publishing can take, with authors and readers who are open to experimentation."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6023
-msgid "For PLOS, success is not about revenue. Success is about proving that scientific research can be communicated rapidly and economically at scale, for the benefit of researchers and society. The CC BY license makes it possible for PLOS to publish in a way that is unfettered, open, and fast, while ensuring that the authors get credit for their work. More than two million scientists, scholars, and clinicians visit PLOS every month, with more than 135,000 quality articles to peruse for free."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6027
-msgid "Ultimately, for PLOS, its authors, and its readers, success is about making research discoverable, available, and reproducible for the advancement of science."
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6032
-msgid "collections.plos.org"
-msgstr ""
-
-#. type: Bullet: '2. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6032
-msgid "plos.org/article-level-metrics"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6034
-msgid "<span id=\"anchor-87\"></span>Rijksmuseum"
-msgstr "<span id=\"anchor-87\"></span>Rijksmuseum"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6037
-msgid "The Rijksmuseum is a Dutch national museum dedicated to art and history. Founded in 1800 in the Netherlands"
-msgstr "El Rijksmuseum es un museo nacional holandés dedicado al arte y a la historia. Fundado en 1800 en Holanda (Países Bajos)."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6039
-msgid "www.rijksmuseum.nl"
-msgstr "www.rijksmuseum.nl"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6042
-msgid "Revenue model: grants and government funding, charging for in-person version"
-msgstr "Modelo de ingresos: subvenciones y financiamiento gubernamental, cobro de entrada"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6044
-msgid "(museum admission), selling merchandise"
-msgstr "(admisión al museo), venta de mercancías"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6046
-msgid "Interview date: December 11, 2015"
-msgstr "Fecha de la entrevista: 11 de diciembre, 2015"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6049
-msgid "Interviewee: Lizzy Jongma, the data manager of the collections information department"
-msgstr "Entrevistada: Lizzy Jongma, Gerente de Datos del Departamento de Información sobre Colecciones"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6065
-msgid ""
-"The Rijksmuseum, a national museum in the Netherlands dedicated to art and history, has been housed in its current building since 1885. The monumental building enjoyed more than 125 years of intensive use before needing a thorough overhaul. In 2003, the museum was closed for renovations. Asbestos was found in the roof, and although the museum was scheduled to be closed for only three to four years, renovations ended up taking ten years. During this time, the collection was moved to a different part of Amsterdam, which created a physical distance with the curators. Out of necessity, they started digitally photographing the collection and creating metadata (information about each object to put into a database). With the renovations "
-"going on for so long, the museum became largely forgotten by the public. Out of these circumstances emerged a new and more open model for the museum."
-msgstr ""
-"El Rijksmuseum, un museo nacional de Holanda dedicado al arte y a la historia, ha sido alojado en su edificio actual desde 1885. El edificio monumental disfrutó más de 125 años de uso intensivo antes de necesitar una revisión general. En el 2003, se cerró el museo por renovaciones. Se encontró amianto en el techo, y aunque estaba previsto que el museo cerrara solamente de tres a cuatro años, las reformas terminaron tomando diez años. Durante este tiempo, la colección fue movida a una parte diferente de Ámsterdam, lo que creó una distancia física con los curadores. A partir de la necesidad, comenzaron a fotografiar digitalmente la colección y a crear metadatos (información sobre cada objeto para poner en una base de datos). Con las "
-"renovaciones tomando tanto tiempo, el museo empezó a perder lugar en la memoria del público. A partir de estas circunstancias, nació un nuevo modelo para el museo, más abierto."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6077
-msgid ""
-"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 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 technology. And they put up a card-catalog like database of the entire "
-"collection online."
-msgstr ""
-"Para el momento en que Lizzy Jongma se unió al Rijskmuseum en 2011 como Gerente de Datos, el personal estaba harto de la situación en la que se encontraba el museo. También se dieron cuenta que incluso con un espacio nuevo y más grande, iban a seguir sin poder mostrar mucho de toda la colección—ocho mil sobre un millón de obras representando solamente el 1 por ciento. El personal empezó a explorar formas de expresarse, para tener algo que mostrar de todo el trabajo que habían estado haciendo. El Rijskmuseum está principalmente financiado por los ciudadanos holandeses, por lo tanto, ¿había alguna forma de que el museo le diera beneficios al público mientras estaba cerrado? Empezaron a pensar en compartir la colección del Rijksmuseum "
-"utilizando tecnologías informáticas. Y pusieron una base de datos parecida a un catálogo de fichas de toda la colección en línea."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6085
-msgid "It was effective but a bit boring. It was just data. A hackathon they were invited to got them to start talking about events like that as having potential. They liked the idea of inviting people to do cool stuff with their collection. What about giving online access to digital representations of the one hundred most important pieces in the Rijksmuseum collection? That eventually led to why not put the whole collection online?"
-msgstr "Era efectiva pero un poco aburrida. Eran solamente datos. Un hackatón al que fueron invitados los puso a hablar acerca del potencial de eventos como ese. Les gustó la idea de invitar a la gente a hacer cosas interesantes con la colección del museo. ¿Y qué tal si le daban acceso en línea a las representaciones digitales de las cien piezas más importantes de la colección del Rijksmuseum? Eso eventualmente llevó a ¿y por qué no poner toda la colección en línea?"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6097
-msgid ""
-"Then, Lizzy says, Europeana came along. Europeana is Europe’s digital library, museum, and archive for cultural heritage.1 As an online portal to museum collections all across Europe, Europeana had become an important online platform. In October 2010 Creative Commons released CC0 and its public-domain mark as tools people could use to identify works as free of known copyright. Europeana was the first major adopter, using CC0 to release metadata about their collection and the public domain mark for millions of digital works in their collection. Lizzy says the Rijksmuseum initially found this change in business practice a bit scary, but at the same time it stimulated even more discussion on whether the Rijksmuseum should follow suit."
-msgstr "Luego, dice Lizzy, llegó Europeana. Europeana es la biblioteca, museo y archivo digital del patrimonio cultural de Europa. Como portal en línea de las colecciones de los museos alrededor de Europa, Europeana se había vuelto una plataforma en línea importante. En 2010, Creative Commons lanzó la licencia CC0 y su marca del dominio público como herramientas que la gente podía utilizar para identificar obras de las que se conociera que estaban libres de derecho de autor. Lizzy dice que inicialmente el Rijksmuseum sintió un poco de miedo de este cambio en la forma de gestionar el museo, pero al mismo tiempo estimuló aún más discusiones sobre si el Rijksmuseum debería seguir el ejemplo."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6108
-msgid "They realized that they don’t “own” 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 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 down people who use the Rijksmuseum collection. And anyway, restricting access meant the people they were frustrating the most were schoolkids."
-msgstr ""
-"Se dieron cuenta de que ellos no son los dueños de la colección y que no podían de manera realista controlar y regular el cumplimiento de los términos restrictivos de licenciamiento que habían elaborado. Por ejemplo, muchas copias y versiones de la Lechera de Vermeer (parte de su colección) ya estaban en línea, muchas de ellas con una calidad muy pobre. Podían perder tiempo y dinero monitoreando su uso, pero eso probablemente sería fútil y no haría que la gente dejara de utilizar sus imágenes. Terminaron pensando que en última instancia es una pérdida de tiempo perseguir a la gente que usa la colección del Rijksmuseum. Y de todos modos, restringir el acceso significaba que la gente que más se frustraba eran los niños en edad "
-"escolar."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6120
-msgid ""
-"In 2011 the Rijksmuseum began making their digital photos of works known to be free of copyright available online, using Creative Commons CC0 to place works in the public domain. A medium-resolution image was offered for free, but a high-resolution version cost forty euros. People started paying, but Lizzy says getting the money was frequently a nightmare, especially from overseas customers. The administrative costs often offset revenue, and income above costs was relatively low. In addition, having to pay for an image of a work in the public domain from a collection owned by the Dutch government (i.e., paid for by the public) was contentious and frustrating for some. Lizzy says they had lots of fierce debates about what to do."
-msgstr ""
-"En el 2011 el Rijksmuseum comenzó a poner en línea sus fotos digitales de obras que sabían que estaban libres de derecho de autor, usando la licencia Creative Commons CC0 para identificar a las obras en el dominio público. Una imagen con resolución media estaba disponible de manera gratuita, pero una versión de alta resolución costaba cuarenta euros. La gente empezó a pagar, pero Lizzy dice que conseguir el dinero era frecuentemente una pesadilla, sobre todo de los consumidores de afuera. Los costos administrativos a menudo superaban la ganancia, y el ingreso sobre los costos era relativamente bajo. Además, tener que pagar para una imagen de una obra en el dominio público de una colección propiedad del gobierno holandés (es decir, "
-"pagada por el público) era objeto de controversia y frustración para algunos. Lizzy dice que tuvieron un montón de debates feroces sobre qué hacer."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6130
-msgid "In 2013 the Rijksmuseum changed its business model. They Creative Commons licensed their highest-quality images and released them online for free. Digitization still cost money, however; they decided to define discrete digitization projects and find sponsors willing to fund each project. This turned out to be a successful strategy, generating high interest from sponsors and lower administrative effort for the Rijksmuseum. They started out making 150,000 high-quality images of their collection available, with the goal to eventually have the entire collection online."
-msgstr "En el 2013, el Rijksmuseum cambió su modelo de negocios. Licenciaron sus imágenes de alta calidad con una licencia Creative Commons, de manera gratuita. Sin embargo, la digitalización aún cuesta dinero. Decidieron definir proyectos concretos de digitalización y encontrar patrocinadores dispuestos a financiar cada proyecto. Esto resultó ser una estrategia exitosa, generando mucho interés por parte de los patrocinadores y poco esfuerzo administrativo para el Rijksmuseum. Comenzaron poniendo a disposición 150,000 imágenes de alta calidad de su colección, con el objetivo de eventualmente tener toda la colección en Internet."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6143
-msgid ""
-"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 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 its website. Sharing these images online creates what Lizzy calls the “Mona Lisa effect,” where a work of art becomes so famous that people want to see it in "
-"real life by visiting the actual museum."
-msgstr ""
-"Liberar estas imágenes de alta calidad de manera gratuita redujo el número de imágenes de baja calidad que proliferaban por Internet. La imagen de alta calidad de la Lechefra de Vermeer, por ejemplo, se descarga de dos a tres mil veces en un mes. En Internet, las imágenes de una fuente como el Rijksmuseum son más confiables, y liberarlas con una licencia Creative Commons CC0 significa que pueden ser fácilmente halladas en otras plataformas. Por ejemplo, las imágenes del Rijksmuseum son utilizadas ahora en miles de artículos de Wikipedia, recibiendo de diez a once millones de vistas por mes. Esto extiende el alcance del Rijksmuseum mucho más allá del ámbito de su sitio web. Compartir estas imágenes por Internet crea lo que Lizzy "
-"llama \"el efecto Mona Lisa\", cuando una obra de arte es tan famosa que la gente quiere verla en la vida real visitando de hecho el museo real."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6150
-msgid "Every museum tends to be driven by the number of physical visitors. The Rijksmuseum is primarily publicly funded, receiving roughly 70 percent of its operating budget from the government. But like many museums, it must generate the rest of the funding through other means. The admission fee has long been a way to generate revenue generation, including for the Rijksmuseum."
-msgstr "Cada museo tiende a ser conducido por el número de visitas presenciales. El Rijksmuseum es financiado principalmente con fondos públicos, recibiendo alrededor del 70% de su presupuesto operativo del gobierno. Pero al igual que todos los museos, necesita generar el resto de su financiamiento a través de otros medios. El cobro de entradas ha sido durante mucho tiempo una forma de generar ingresos, incluso para el Rijksmuseum."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6162
-msgid "As museums create a digital presence for themselves and put up digital 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."
-msgstr ""
-"A medida que los museos crean una presencia digital y ponen representaciones digitales de sus colecciones en Internet, aparece frecuentemente una preocupación de que esto llevará a una caída en las visitas presenciales. Para el Rijksmuseum, este no ha sido el caso. Lizzy nos contó que el Rijksmuseum solía recibir alrededor de un millón de visitantes antes de cerrar y ahora recibe más de dos millones al año. Poner la colección a disposición del público en Internet ha generado publicidad y sirve como una forma de mercadeo. El marcado con Creative Commons fomenta también la reutilización. Cuando la imagen es utilizada en volantes de protesta, cartones de leche y juguetes de los niños, la gente también ve de qué Museo proviene la "
-"imagen y esto incrementa la visibilidad del Museo."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6169
-msgid "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 Rijksmuseum collection.2"
-msgstr "En el 2011, el Rijksmuseum recibió un millón de euros de la lotería holandesa para crear una nueva presencia web que sería diferente de la de cualquier otro museo. Además de rediseñar su sitio principal para ser amigable a los celulares y responsivo a los dispositivos tales como el iPad, el Museo también creó el Rijksstudio, donde los usuarios y los artistas pueden utilizar y hacer varias cosas con la colección del Rijksmuseum.2"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6178
-msgid "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 “like” 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 commercial purposes."
-msgstr "El Rijksstudio da acceso a alrededor de doscientas mil representaciones digitales de alta calidad de obras máster de la colección. Los usuarios pueden hacer zoom en cualquier obra e incluso guardar pequeñas partes de las imágenes que les gustan. Rijksstudio es un poco como Pinterest. Se les puede dar un \"me gusta\" a las obras y compilarlas en los favoritos personales, y se pueden compartir con amigos o descargarlas de manera gratuita. Todas las imágenes en el Rijksstudio están libres de derechos de autor y de regalías, y se fomenta a los usuarios para que las utilicen de la forma en que quieran, para fines privados o incluso comerciales."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6183
-msgid "Users have created over 276,000 Rijksstudios, generating their own themed virtual exhibitions on a wide variety of topics ranging from tapestries to ugly babies and birds. Sets of images have also been created for educational purposes including use for school exams."
-msgstr "Los usuarios han creado alrededor de 276,000 Rijksstudios, generando su propias exhibiciones virtuales temáticas en un rango de temas tan variados, desde tapicerías hasta bebés feos y pájaros. Se han creado colecciones de imágenes con propósitos educativos, incluyendo el uso para exámenes escolares."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6190
-msgid "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 by copyright. The Rijksmuseum does encourage contemporary artists to use a Creative Commons license for their works, usually a CC BY-SA license"
-msgstr "Algunos artistas contemporáneos que tienen obras en la colección del Rijksmuseum los contactaron preguntándoles por qué sus obras no habían sido incluidas en el Rijksstudio. Su respuesta fue que las obras de los artistas contemporáneos todavía está bajo derecho de autor. El Rijksmuseum de hecho alienta a los artistas contemporáneos a utilizar licencias Creative Commons para sus obras, generalmente una licencia CC BY-SA"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6194
-msgid "(Attribution-ShareAlike), or a CC BY-NC (Attribution-NonCommercial) if they want to preclude commercial use. That way, their works can be made available to the public, but within limits the artists have specified."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6204
-msgid "The Rijksmuseum believes that art stimulates entrepreneurial activity. The 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 to inspire people to sell their creations. One great example you can find on Etsy is a kimono designed by Angie Johnson, who used an image of an elaborate cabinet along with an oil painting by Jan Asselijn called The Threatened Swan.3"
-msgstr "El Rijksmuseum cree que el arte estimula la actividad empresarial. La línea entre lo creativo y lo comercial puede ser difusa. Como dice Lizzy, incluso Rembrandt era comercial, ganándose la vida a través de la venta de sus pinturas. El Rijksmuseum alienta el uso comercial de las imágenes del Rijksstudio. Incluso se han asociado con el comercio DIY Etsy para inspirar a la gente a vender sus creaciones. Un ejemplo genial que se puede encontrar en Etsy es un kimono diseñado por Angie Johnson, que utilizó una imagen de un armario elaborado junto con una pintura al óleo de Jan Asselijn llamada \"El cisne amenazado\".3"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6217
-msgid ""
-"In 2013 the Rijksmuseum organized their first high-profile design competition, known as the Rijksstudio Award.4 With the call to action Make Your Own Masterpiece, the competition invites the public to use Rijksstudio images to make new creative designs. A jury of renowned designers and curators selects ten finalists and three winners. The 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 art.5 The Rijksmuseum has been thrilled with the results. Entries range from the fun to the weird to the inspirational. "
-"The third international edition of the Rijksstudio Award started in September 2016."
-msgstr ""
-"En 2013, el Rijksmuseum organizó su primera competencia de diseño de alto perfil, conocida como el Premio Rijksstudio.4 Con el llamado a la acción de \"Haz tu propia obra maestra\", la competencia invita al público a utilizar las imágenes del Rijksstudio para hacer nuevos diseños creativos. Un jurado de reconocidos diseñadores y curadores selecciona diez finalistas y tres ganadores. El premio final es de 10,000 euros. La segunda edición en 2015 atrajo un impactante número de 892 entradas de primer nivel. Algunos de los ganadores del premio terminaron con su obra siendo vendida a través de la tienda del Rijksmuseum, tal como la entrada de 2014 protagonizando un maquillaje basado en el esquema de colores específico de una obra de "
-"arte.5 El Rijksmuseum está emocionado con los resultados. Los candidatos van desde lo divertido a lo extraño a lo inspiracional. La tercera edición internacional del Premio Rijksstudio comenzó en septiembre de 2016."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6221
-msgid "For the next iteration of the Rijksstudio, the Rijksmuseum is considering an upload tool, for people to upload their own works of art, and enhanced social elements so users can interact with each other more."
-msgstr "Para la próxima iteración del Rijksstudio, el Rijksmuseum está considerando una herramienta para subir contenido, de manera tal que la gente pueda subir sus propias obras de arte, y elementos sociales habilitados para que los usuarios puedan interactuar más entre sí."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6228
-msgid "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 increased visits to their website from thirty-five thousand visits per month to three hundred thousand."
-msgstr "Utilizar un modelo de negocios más abierto le generó un montón de publicidad al Rijksmuseum. Fueron uno de los primeros museos en abrir su colección (esto es, dar libre acceso) con imágenes de alta calidad. Esta estrategia, junto con muchas mejoras hechas al sitio web del Rijksmuseum, incrementó dramáticamente las visitas a su sitio web, de 35 mil visitas por mes a 300 mil visitas."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6239
-msgid "The Rijksmuseum has been experimenting with other ways to invite the public to look at and interact with their collection. On an international day celebrating animals, they ran a successful bird-themed event. The museum put together a showing of two thousand works that featured birds and invited bird-watchers to identify the birds depicted. Lizzy notes that while museum curators know a lot about the works in their collections, they may not know about certain details in the paintings such as bird species. Over eight hundred different birds were identified, including a specific species of crane bird that was unknown to the scientific community at the time of the painting."
-msgstr ""
-"El Rijksmuseum ha estado experimentando con otras formas de invitar al público a mirar e interactuar con su colección. En el día internacional del animal, condujeron un exitoso evento basado en los pájaros. El museo juntó una colección de dos mil obras que representaban pájaros e invitó a los aficionados a los pájaros a identificar los pájaros representados. Lizzy destaca que mientras que los curadores de los museos saben un montón sobre las obras en sus colecciones, pueden no saber ciertos detalles en las pinturas, tales como las especies de los pájaros. Alrededor de ochocientos pájaros diferentes fueron identificados, incluyendo una especie específica de grullas que era desconocida para la comunidad científica al momento de la "
-"pintura."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6256
-msgid ""
-"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 “ninety-nine percent of people have respect for great art.” 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 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 the previous practice of charging fees for access and use. Lizzy sums up their experience: “Give away; get something in return. Generosity makes people happy to join you and help out.”"
-msgstr ""
-"Para el Rijksmuseum, adoptar un modelo de negocios abierto les daba miedo. Elaboraron varios escenarios del \"peor caso\", imaginando todo tipo de cosas horribles que la gente quizás haría sobre las obras del museo. Pero Lizzy dice que esos miedos no se volvieron realidad porque \"el 99% de la gente tiene respeto por el gran arte\". Muchos museos piensan que pueden hacer un montón de dinero vendiendo cosas relacionadas a su colección. Pero en la experiencia de Lizzy, los museos por lo general son malos vendiendo cosas, y a menudo los esfuerzos para generar un pequeño monto de dinero bloquea algo mucho mayor -el valor real que tiene la colección. Para Lizzy, mantenerse cerca de las pequeñas ganancias es ahorrar centavos para "
-"derrochar dinerales. Para el Rijksmuseum, una lección fundamental ha sido no perder de vista su visión para la colección. Permitir el acceso y el uso de su colección les ha generado un enorme valor de promoción, mucho más que la práctica previa de cobrar tarifas para el acceso y la utilización. Lizzy resume su experiencia: \"Hay que regalar y obtener algo a cambio. La generosidad hace que la gente esté feliz de acompañarte y ayudarte.\""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6266
-msgid "www.europeana.eu/portal/en"
-msgstr ""
-
-#. type: Bullet: '2. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6266
-msgid "www.rijksmuseum.nl/en/rijksstudio"
-msgstr ""
-
-#. type: Bullet: '3. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6266
-msgid "www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe"
-msgstr ""
-
-#. type: Bullet: '4. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6266
-msgid "www.rijksmuseum.nl/en/rijksstudio-award; the 2014 award: www.rijksmuseum.nl/en/rijksstudio-award-2014; the 2015 award: www.rijksmuseum.nl/en/rijksstudio-award-2015"
-msgstr "www.rijksmuseum.nl/en/rijksstudio-award; el premio de 2014: www.rijksmuseum.nl/en/rijksstudio-award-2014; el premio de 2015: www.rijksmuseum.nl/en/rijksstudio-award-2015"
-
-#. type: Bullet: '5. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6266
-msgid "www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6268
-msgid "<span id=\"anchor-88\"></span>Shareable"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6271
-msgid "Shareable is an online magazine about sharing. Founded in 2009 in the U.S."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6273
-msgid "www.shareable.net"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6276
-msgid "Revenue model: grant funding, crowdfunding (project-based), donations, sponsorships"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6278
-msgid "Interview date: February 24, 2016"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6280
-msgid "Interviewee: Neal Gorenflo, cofounder and executive editor"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6291
-msgid "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 “sharing economy” 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6301
-msgid "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 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, “It’s not so much that collaborative consumption is dead, it’s more that it risks dying as it gets absorbed by the ‘Borg.’”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6308
-msgid "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. “We would have gotten another type of audience, but it would have spelled the end of us,” he said. “We are a small, mission-driven organization. We would never have been able to weather the criticism that Airbnb and Uber are getting now.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6317
-msgid "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 credibility. Although they became detached from the corporate sharing economy, the online magazine became the voice of the “real sharing economy” and continued to grow their audience."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6327
-msgid "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. “At that time, there was a sharing movement bubbling beneath the surface, but no one was connecting the dots,” Neal said. “We decided to step into that space and take on that role.” 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6336
-msgid "They have worked hard to find ways to tell stories that show different metrics for success. “We wanted to change the notion of what constitutes the good life,” Neal said. While they started out with a very broad focus on sharing generally, today they emphasize stories about the physical commons like “sharing cities” (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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6348
-msgid ""
-"More than half of Shareable’s stories are written by paid journalists that are contracted by the magazine. “Particularly in content areas that are a priority for us, we really want to go deep and control the quality,” 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 licensed with Creative "
-"Commons."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6360
-msgid ""
-"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 embrace of the licenses for their content, but Neal also believes CC licensing helps them increase their reach. “By using CC licensing,” he said, “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 the reach of other media properties, but most of the outlets who republish our work have much bigger audiences than we do.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6368
-msgid "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 on their website."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6373
-msgid "In 2016, Shareable self-published a book of curated Shareable stories called How to: Share, Save Money and Have Fun. The book was available for sale, but a PDF version of the book was available for free. Shareable plans to offer the book in upcoming fund-raising campaigns."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6381
-msgid "This recent book is one of many fund-raising experiments Shareable has conducted in recent years. Currently, Shareable is primarily funded by grants from foundations, but they are actively moving toward a more diversified model. They have organizational sponsors and are working to expand their base of individual donors. Ideally, they will eventually be a hundred percent funded by their audience. Neal believes being fully community-supported will better represent their vision of the world."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6391
-msgid "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. “We attract passionate people,” 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. “A central part of human beings is that we long to be on a great adventure with people we love,” he said. “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.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6400
-msgid "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—“Sit your ass in a chair and start making calls.” 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6406
-msgid "For Neal, this symbolized how so much of success comes down to relationships. Over time, Shareable has invested time and energy into the relationships they have forged with their readers and supporters. They have also invested resources into building relationships between their readers and supporters."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6420
-msgid ""
-"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. “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,” 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 three years ago. Going forward, Shareable is focusing the network on creating and "
-"distributing content meant to spur local action. For instance, Shareable will publish a new CC-licensed book in 2017 filled with ideas for their network to implement."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6425
-msgid "Neal says Shareable stumbled upon this strategy, but it seems to perfectly 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6427
-msgid "<span id=\"anchor-89\"></span>Siyavula"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6431
-msgid "Siyavula is a for-profit educational-technology company that creates textbooks and integrated learning experiences. Founded in 2012 in South Africa."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6433
-msgid "www.siyavula.com"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6435
-msgid "Revenue model: charging for custom services, sponsorships"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6437
-msgid "Interview date: April 5, 2016"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6439
-msgid "Interviewee: Mark Horner, CEO"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6447
-msgid "Openness is a key principle for Siyavula. They believe that every learner and teacher should have access to high-quality educational resources, as this forms the basis for long-term growth and development. Siyavula has been a pioneer in creating high-quality open textbooks on mathematics and science subjects for grades 4 to 12 in South Africa."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6452
-msgid "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 times. Siyavula has significantly shifted directions and strategies to survive and prosper. Mark says it’s been very organic."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6459
-msgid "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 to high-quality, comprehensive science and math textbooks, so Mark and his colleagues set out to write them and make them freely available."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6467
-msgid "As physicists, Mark and his colleagues were advocates of open-source software. To make the books open and free, they adopted the Free Software Foundation’s GNU Free Documentation License.1 They chose LaTeX, 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6473
-msgid "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 Shuttleworth; Mark remains incredibly proud of this"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6475
-msgid "accomplishment."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6480
-msgid "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 the printing and distribution options. A few sponsors came on board but not enough to meet the need."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6488
-msgid "In 2007, Shuttleworth and the Open Society Institute convened a group of open-education activists for a small but lively meeting in Cape Town. One result was the Cape Town Open Education Declaration, a statement of principles, strategies, and commitment to help the open-education movement grow.2 Shuttleworth also invited Mark to run a project writing open content for all subjects for K–12 in English. That project became Siyavula."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6495
-msgid "They wrote six original textbooks. A small publishing company offered 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6508
-msgid ""
-"Mark wanted to build out the remaining curricula collaboratively through 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 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 were "
-"safe to share and free from legal repercussions."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6516
-msgid "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 Connexions.3 Siyavula trained many teachers to use Connexions, but it proved to be too complex and the textbooks were rarely edited."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6522
-msgid "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 an independent entity and took ownership over it as a Shuttleworth fellow."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6529
-msgid "Mark and his team experimented with several different strategies. They tried creating an authoring and hosting platform called Full Marks so that teachers could share assessment items. They tried creating a service called Open Press, where teachers could ask for open educational resources to be aggregated into a package and printed for them. These services never really panned out."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6536
-msgid "Then the South African government approached Siyavula with an interest in printing out the original six Free High School Science Texts (math and physical-science textbooks for grades 10 to 12) for all high school students in South Africa. Although at this point Siyavula was a bit discouraged by open educational resources, they saw this as a big opportunity."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6544
-msgid "They began to conceive of the six books as having massive marketing potential for Siyavula. Printing Siyavula books for every kid in South 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6555
-msgid "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 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 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6560
-msgid "The costs for using Intelligent Practice were set very low, making it accessible even to those with limited financial means. Siyavula was going for large volumes and wide-scale use rather than an expensive product targeting only the high end of the market."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6568
-msgid "The government distributed the books to 1.5 million students, but there was 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 Practice service inadvertently became low-income learners."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6576
-msgid "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 “feature phone” (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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6583
-msgid "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 about product, but how you sell it, who the market is, what the price is, and what the barriers to entry are."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6588
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6595
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6605
-msgid "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 practice content from every grade available for that subject. Lower subscription rates are provided when there are over two hundred students, and big schools have a price cap. A 40 percent discount is offered to schools where both the science and math departments subscribe."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6613
-msgid "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 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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6619
-msgid "Based on the success of this effort, Siyavula decided to substantially increase the production of open educational resources so they could provide the Intelligent Practice service for a wider range of books. Grades 10 to 12 math and science books were reworked each year, and new books created for grades 4 to 6 and later grades 7 to 9."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6625
-msgid "In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula produced a series of natural sciences and technology workbooks for grades 4 to 6 called Thunderbolt Kids that uses a fun comic-book style.4 It’s a complete curriculum that also comes with teacher’s guides and other resources."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6633
-msgid "Through this experience, Siyavula learned they could get sponsors to help fund openly licensed textbooks. It helped that Siyavula had by this time nailed the production model. It cost roughly \\$150,000 to produce a book in two languages. Sponsors liked the social-benefit aspect of textbooks unlocked via a Creative Commons license. They also liked the exposure their brand got. For roughly \\$150,000, their logo would be visible on books distributed to over one million students."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6640
-msgid "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 cannot be modified. Non-government-branded books are available under an Attribution license (CC BY), allowing others to modify and redistribute the books."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6649
-msgid "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 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 negotiation, the government said no."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6657
-msgid "Using Siyavula books generated huge savings for the government. Providing students with a traditionally published grade 12 science or math textbook costs around 250 rand per book (about US\\$18). Providing the Siyavula version cost around 36 rand (about \\$2.60), a savings of over 200 rand per book. But none of those savings were passed on to Siyavula. In retrospect, Mark thinks this may have turned out in their favor as it allowed them to remain independent from the government."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6664
-msgid "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 would be chosen. This scared away potential sponsors."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6673
-msgid "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 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 Pierre Omidyar and his spouse), and continues to be the model Siyavula uses today."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6678
-msgid "Mark says sales are way up, and they are really nailing Intelligent Practice. Schools continue to use their open textbooks. The government-announced policy that there would be only one textbook per subject turned out to be highly contentious and is in limbo."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6685
-msgid "Siyavula is exploring a range of enhancements to their business model. These include charging a small amount for assessment services provided over the phone, diversifying their market to all English-speaking countries in Africa, and setting up a consortium that makes Intelligent Practice free to all kids by selling the nonpersonal data Intelligent Practice collects."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6698
-msgid ""
-"Siyavula is a for-profit business but one with a social mission. Their 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 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 means they can fulfill their social mission, on top of which they can build 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."
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6705
-msgid "www.gnu.org/licenses/fdl"
-msgstr ""
-
-#. type: Bullet: '2. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6705
-msgid "www.capetowndeclaration.org"
-msgstr ""
-
-#. type: Bullet: '3. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6705
-msgid "cnx.org"
-msgstr ""
-
-#. type: Bullet: '4. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6705
-msgid "www.siyavula.com/products-primary-school.html"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6707
-msgid "<span id=\"anchor-90\"></span>Sparkfun"
-msgstr "<span id=\"anchor-90\"></span>Sparkfun"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6710
-#, fuzzy
-msgid "SparkFun is an online electronics retailer specializing in open hardware. Founded in 2003 in the U.S."
-msgstr ""
-"SparkFun es una tienda en línea de ventas al por menor que se especializa en "
-"hardware abierto. Fundada en 2003 en Estados Unidos."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6712
-msgid "www.sparkfun.com"
-msgstr "www.sparkfun.com"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6714
-msgid "Revenue model: charging for physical copies (electronics sales)"
-msgstr ""
-"Modelo de ingresos: cobrar por copias físicas (ventas de componentes "
-"electrónicos)"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6716
-msgid "Interview date: February 29, 2016"
-msgstr "Fecha de entrevista: 29 de febrero de 2016"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6718
-msgid "Interviewee: Nathan Seidle, founder"
-msgstr "Entrevistado: Nathan Seidle, fundador"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6726
-#, fuzzy
-msgid "SparkFun founder and former CEO Nathan Seidle has a picture of himself holding up a clone of a SparkFun product in an electronics market in China, 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."
-msgstr ""
-"El fundador y antiguo CEO de SparkFun, Nathan Seidle, tiene una foto de él "
-"mismo levantando un clon de un producto de SparkFun en un mercado de "
-"electrónicos en China, con una enorme sonrisa en su cara. Él estaba viajando "
-"en China cuando se encontró su tecnología de indumentaria LilyPad siendo "
-"hecha por alguien más. Su reacción fue de júbilo."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6731
-msgid "“Being copied is the greatest earmark of flattery and success,” Nathan said. “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.”"
-msgstr ""
-"«Ser copiado es el mayor destino de adulación y éxito,» dijo Nathan. «Yo "
-"pensé que era tan genial que ellos estuvieran vendiendo en un mercado al que "
-"nunca vamos a obtener acceso de otra forma. Fue evidencia de nuestro impacto "
-"en el mundo.»"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6739
-msgid "This worldview runs through everything SparkFun does. SparkFun is an electronics manufacturer. The company sells its products directly to the public online, and it bundles them with educational tools to sell to schools and teachers. SparkFun applies Creative Commons licenses to all of its schematics, images, tutorial content, and curricula, so anyone can make their products on their own. Being copied is part of the design."
-msgstr ""
-"Esta cosmovisión corre a través de todo lo que hace SparkFun. SparkFun es un "
-"productor de componentes electrónicos. La compañía vende sus productos de "
-"forma directa al público en línea, y les agregan herramientas educativas "
-"para vender a escuelas y profesores. SparkFun aplica licencias "
-"CreativeComons para todos sus diagramas, imágenes, contenido de tutoriales y "
-"planes de estudio, de forma que cualquier persona pueda hacer sus productos "
-"por su cuenta. Ser copiados es parte del diseño."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6747
-msgid "Nathan believes open licensing is good for the world. “It touches on our natural human instinct to share,” 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."
-msgstr ""
-"Nathan cree que el licenciamiento libre es bueno para el mundo. «Esto toca "
-"nuestro instinto humano de compartir,» dijo. Pero él también cree firmemente "
-"que hace a SparkFun mejor en lo que hacen. Ellos fomentan el copiado, y sus "
-"productos son copiados a un ritmo muy acelerado, con frecuencia entre diez a "
-"doce semanas desde la publicación. Esto fuerza a la compañía a competir con "
-"algo que no sea su diseño de productos, o lo que más comúnmente se considera "
-"como propiedad intelectual."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6751
-msgid "“We compete on business principles,” Nathan said. “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.”"
-msgstr ""
-"«Competimos con principios de negocio,» dijo Nathan. «Reclamar el territorio "
-"con propiedad intelectual permite ponerse cómodos y dormirse en los "
-"laureles. Da una red de seguridad. Nosotros quitamos esa red de seguridad.»"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6759
-#, fuzzy
-msgid "The result is an intense company-wide focus on product development and improvement. “Our products are so much better than they were five years ago,” Nathan said. “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.”"
-msgstr ""
-"El resultado es un intenso enfoque en toda la compañía hacia el desarrollo y "
-"mejoramiento de productos. «Nuestros productos son mucho mejores de lo que "
-"eran hace cinco años,» dijo Nathan. «Antes vendíamos productos. Ahora es un "
-"producto más un vídeo, diecisiete páginas de guía de enganche, y firmware de "
-"ejemplo en tres plataformas para ponerlo en marcha más rápido. Hemos "
-"mejorado porque tuvimos que hacerlo para competir. Tan doloroso como es para "
-"nosotros, es mejor para los clientes.»"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6767
-msgid "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. “I don’t believe businesses should be competing with IP \\[intellectual property\\] barriers,” Nathan said. “This is the stuff they should be competing on.”"
-msgstr ""
-"Las partes de SparkFun están disponibles en eBay a precios más bajos. Pero "
-"la gente viene directamente a SparkFun porque SparkFun hace sus vidas más "
-"fáciles. El código de ejemplo funciona, hay un número de servicio para "
-"llamar, envían partes de reemplazo el día que reciben una llamada de "
-"servicio. Invierten mucho en servicio y soporte. «Yo no creo que los "
-"negocios deberían competir con barreras de propiedad intelectual,» dijo "
-"Nathan. «Esto es con lo que deberían competir.»"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6776
-msgid "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. “If you wanted to place an order for something,” he said, “you first had to search far and wide to find it, and then you had to call or fax someone.” In 2003, during his third year of college, he registered sparkfun.com and started reselling products out of his bedroom. After he graduated, he started making and selling his own products."
-msgstr ""
-"La historia de la compañía de SparkFun comenzó en el dormitorio de la "
-"universidad de Nathan. Él pasó mucho tiempo experimentando y construyendo "
-"componentes electrónicos, y se dio cuenta de que había un vacío en el "
-"mercado. «Si usted quería hacer una orden de algo,» dijo, «primero tenía que "
-"buscar por todas partes para encontrarlo, y luego tenía que llamar o enviar "
-"un fax a alguien.» En 2013, durante su tercer año de universidad, registró "
-"sparkfun.com y empezó a revender productos desde su dormitorio. Después de "
-"graduarse, empezó a hacer y vender sus propios productos."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6783
-msgid "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 “human-readable deeds” 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."
-msgstr ""
-"Una vez que empezó a diseñar sus propios productos, comenzó a poner el "
-"software y los diagramas en línea para ayudar con el soporte técnico. "
-"Después de hacer un poco de investigación sobre opciones de licenciamiento, "
-"escogió licencias Creative Commons porque lo atrajeron las «escrituras "
-"legibles por humanos» que explican los términos de las licencias en términos "
-"simples. SparkFun aun usa licencias CC para todos sus diagramas y firmware "
-"para los productos que crean."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6790
-msgid "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 also partner with Arduino (also profiled in this book) by manufacturing boards for resale using Arduino’s brand."
-msgstr ""
-"La compañía ha crecido de un proyecto en solitario a una corporación con 140 "
-"empleados. En 2015, Sparkfun ganó \\$33 millones en ingresos. Vender "
-"componentes y dispositivos a aficionados, profesionales y artistas sigue "
-"siendo una gran parte del negocio de SparkFun. Venden sus propios productos, "
-"pero también están asociados con Arduino (también perfilado en este libro) "
-"para producir placas para revender usando la marca de Arduino."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6797
-msgid "SparkFun also has an educational department dedicated to creating a hands-on curriculum to teach students about electronics using prototyping parts. Because SparkFun has always been dedicated to enabling others to 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."
-msgstr ""
-"SparkFun también tiene un departamento educativo dedicado a crear un "
-"currículum práctico para enseñar a estudiantes acerca de electrónicos usando "
-"partes para prototipar. Porque SparkFun siempre ha estado dedicada a "
-"permitir que otras personas recreen y arregle su productos por su propia "
-"cuenta, el enfoque más reciente de introducir a personas jóvenes a la "
-"tecnología es una extensión natural de su negocio central."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6801
-#, fuzzy
-msgid "“We have the burden and opportunity to educate the next generation of technical citizens,” Nathan said. “Our goal is to affect the lives of three hundred and fifty thousand high school students by 2020.”"
-msgstr ""
-"«Tenemos la carga y la oportunidad de educar a la siguiente generación de "
-"ciudadanos técnicos,» dijo Nathan. «Nuestro objetivo es afectar las vidas de "
-"trescientos y cincuenta mil estudiantes de colegio para el 2020.»"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6810
-msgid "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 “copyleft” 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."
-msgstr ""
-"La licencia Creative Commons detrás de todos los productos de SparkFun es "
-"central para su misión. La licencia no solo señala una voluntad de "
-"compartir, sino que también expresa un deseo de que otros entren y jugueteen "
-"con sus productos, tanto para aprender como para mejorar los productos. "
-"SparkFun usa la licencia Atribución-CompartirIgual (CC BY-SA), que es una "
-"licencia «copyleft» que permite a las personas hacer cualquier cosa con el "
-"contenido siempre y cuando den crédito y hagan cualquier adaptación "
-"disponible bajo los mismo términos de licenciamiento."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6819
-msgid "From the beginning, Nathan has tried to create a work environment at SparkFun that he himself would want to work in. The result is what appears to be a pretty fun workplace. The U.S. company is based in Boulder, Colorado. They have an eighty-thousand-square-foot facility (approximately seventy-four-hundred square meters), where they design and manufacture their products. They offer public tours of the space several times a week, and they open their doors to the public for a competition once a year."
-msgstr ""
-"Desde el inicio, Nathan ha tratado de crear un ambiente de trabajo en "
-"SparkFun donde él mismo querría trabajar. El resultado es lo que parece ser "
-"un lugar de trabajo bastante divertido. La compañía de Estados Unidos tiene "
-"su sede en Boulder, Colorado. Tienen unas instalaciones de ochenta mil pies "
-"cuadrados (aproximadamente siete mil cuatrocientos metros cuadrados), donde "
-"diseñan y elaboran sus productos. Ofrecen visitas públicas al espacio varias "
-"veces a la semana, y abren sus puertas al público una vez al año para una "
-"competencia."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6830
-msgid "The public event, called the Autonomous Vehicle Competition, brings in a 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. “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,” he said. “This event gives our employees the opportunity to get face-to-face contact with our customers.” The event infuses their work with a human element, which makes it more meaningful."
-msgstr ""
-"El evento público, llamado «Autonomous Vehicle Competition» (Competencia de "
-"Vehículos Autónomos), atrae de mil a dos mil clientes y otras personas "
-"entusiastas de la tecnología de los alrededores a una carrera entre sus "
-"propios bots, a participar en talleres de entrenamiento, y socializar. Desde "
-"una perspectiva de negocio, Nathan dice que es una idea terrible. Pero ellos "
-"no realizan el evento por razones de negocio. «La razón por la que lo "
-"hacemos es porque yo viajo e interactúo con nuestros clientes todo el "
-"tiempo, pero la mayoría de nuestros empleados no,» dijo. «Este evento le da "
-"a nuestros empleados la oportunidad de tener un contacto cara a cara con "
-"nuestros clientes.» El evento infunde su trabajo con un elemento humano, que "
-"lo hace más significativo."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6838
-msgid "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. “Profit is not the goal; it is the outcome of a well-executed plan,” Nathan said. “We focus on having a bigger impact on the world.” Nathan believes they get some of the brightest and most amazing employees because they aren’t singularly focused on the bottom line."
-msgstr ""
-"Nathan ha trabajado duro para inculcar un significado más profundo al "
-"trabajo que hace SparkFun. La compañía está, por supuesto, enfocada en ser "
-"fiscalmente responsable, pero en última instancia los dirige algo más que el "
-"dinero. «La ganancia no es el objetivo; es el producto de un plan bien "
-"ejecutado,» dijo Nathan. «Nos enfocamos en tener un impacto más grande en el "
-"mundo.» Nathan cree que obtienen a los empleados más brillantes y asombrosos "
-"porque no se enfocan de forma singular en el resultado final."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6844
-msgid "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 unchanging content."
-msgstr ""
-"La compañía está comprometida con la transparencia y comparte todos sus "
-"estados financieros con sus empleados. Por lo general, también se esfuerzan "
-"de evitar ser otra corporación más sin alma. Tratan activamente de revelar a "
-"los humanos detrás de la compañía, y trabajan para asegurar que las personas "
-"que vienen a su sitio no solo encuentren contenido sin cambios."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6854
-msgid "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. “From the beginning, we have been listening to the community,” Nathan said. “Customers would identify a pain point, and we would design something to address it.”"
-msgstr ""
-"La clientela de SparkFun está en gran parte compuesta por personas "
-"entusiastas industriosas de los electrónicos. Ellos tienen clientes que "
-"están involucrados de forma regular en el soporte a clientes de la compañía, "
-"respondiendo de forma independiente a preguntas en foros y las secciones de "
-"comentarios de los productos. Los clientes también traen ideas de productos "
-"a la compañía. Sparkfun cierne de forma regular a través de las sugerencias "
-"de los clientes y trata de construir sobre estas en lo que pueden. «Desde el "
-"inicio, hemos estado escuchando a la comunidad,» dijo Nathan. «Los clientes "
-"identifican puntos débiles, y nosotros diseñamos algo para solucionarlos.»"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6862
-msgid "However, this sort of customer engagement does not always translate to 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. “There is a theory that if you open-source it, they will come,” Nathan said. “That’s not really true.”"
-msgstr ""
-"Sin embargo, este tipo de involucramiento con los clientes no siempre se "
-"traduce en personas contribuyendo de forma activa en los proyectos de "
-"SparkFun. La compañía tiene un repositorio público de código de software en "
-"línea para cada uno de sus dispositivos. En un proyecto particularmente "
-"activo, solo habrán cerca de una docena de personas contribuyendo mejoras "
-"significantes. La basta mayoría están relativamente sin tocar por el "
-"público. «Hay una teoría de que si usted publica el código, ellos vendrán,» "
-"dijo Nathan. «Eso no es realmente cierto.»"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6870
-msgid "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. “What gives me joy is when people take open-source layouts and then build their own circuit boards from our designs,” Nathan said."
-msgstr ""
-"En lugar de enfocarse en la cocreación con sus clientes, Sparkfun se enfoca "
-"en permitir que las personas copien, jugueteen y mejoren productos por su "
-"propia cuenta. Invierten mucho en tutoriales y otros materiales diseñados "
-"para ayudar a que las personas entiendan cómo trabajan sus productos de "
-"forma que puedan arreglar y mejorar cosas de forma independiente. «Lo que me "
-"da alegría es cuando las personas toman los diseños de fuente abierta y "
-"luego construyen sus propias placas de circuitos a partir de nuestros "
-"diseños,» dijo Nathan."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6882
-msgid "Obviously, opening up the design of their products is a necessary step if their goal is to empower the public. Nathan also firmly believes it makes them more money because it requires them to focus on how to provide maximum value. Rather than designing a new product and protecting it in order to extract as much money as possible from it, they release the keys necessary for others to build it themselves and then spend company time and resources on innovation and service. From a short-term perspective, SparkFun may lose 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."
-msgstr ""
-"Obviamente, abrir los diseños de sus productos es un paso necesario si su "
-"objetivo es empoderar al público. Nathan también cree firmemente que esto "
-"les genera más dinero porque les requiere enfocarse en brindar el máximo "
-"valor. En lugar de diseñar un nuevo producto y protegerlo para extraer tanto "
-"dinero como sea posible de este, también liberan las llaves necesarias para "
-"que otros lo construyan por ellos mismos y luego utilizan el tiempo y los "
-"recursos de la compañía en innovación y servicio. Desde una perspectiva a "
-"corto plazo, SparkFun puede perder unos pocos dólares cuando otras personas "
-"copian sus productos. Pero a largo plazo, esto los hace un negocio más ágil "
-"e innovador. En otras palabras, los hace el tipo de compañía que se "
-"propusieron ser."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6884
-msgid "<span id=\"anchor-91\"></span>TeachAIDS"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6888
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6890
-msgid "teachaids.org"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6892
-msgid "Revenue model: sponsorships"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6894
-msgid "Interview date: March 24, 2016"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6896
-msgid "Interviewees: Piya Sorcar, the CEO, and Shuman Ghosemajumder, the chair"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6903
-msgid "TeachAIDS is an unconventional media company with a conventional revenue model. Like most media companies, they are subsidized by advertising. Corporations pay to have their logos appear on the educational materials TeachAIDS distributes."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6914
-msgid "But unlike most media companies, Teach-AIDS is a nonprofit organization with a purely social mission. TeachAIDS is dedicated to educating the global population about HIV and AIDS, particularly in parts of the world where education efforts have been historically unsuccessful. Their educational content is conveyed through interactive software, using methods based on the latest research about how people learn. TeachAIDS serves content in more than eighty countries around the world. In each instance, the content is translated to the local language and adjusted to conform to local norms and customs. All content is free and made available under a Creative Commons license."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6932
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