Adjust nb introduction a bit.

[text-madewithcc.git] / MadewithCreativeCommonsmostup-to-dateversion.md

diff --git a/MadewithCreativeCommonsmostup-to-dateversion.md b/MadewithCreativeCommonsmostup-to-dateversion.md
index 16ec64d7c3d5ea14e7710156d7a3aa65eec2865b..2f1b01cbbcfe5505f25afd6af88f903decc1a031 100644 (file)
--- a/MadewithCreativeCommonsmostup-to-dateversion.md
+++ b/MadewithCreativeCommonsmostup-to-dateversion.md
@@ -1,7 +1,7 @@
-Made with Creative Commons
-
-Paul Stacey and Sarah Hinchliff Pearson
+% Made with Creative Commons
+% Paul Stacey;Sarah Hinchliff Pearson

 
 

+# Colophon {-}

 Made With Creative Commons
 
 by Paul Stacey & Sarah Hinchliff Pearson
 Made With Creative Commons
 
 by Paul Stacey & Sarah Hinchliff Pearson


@@ -17,9 +17,9 @@ Cover and interior design by Klaus Nielsen, vinterstille.dk
 
 Content editing by Grace Yaginuma
 
 
 Content editing by Grace Yaginuma
 

-Illustrations by Bryan Mathers, bryanmathers.com
+Illustrations by Bryan Mathers, [](http://bryanmathers.com)

 
 

-Downloadable e-book available at madewith.cc
+Downloadable e-book available at [](http://madewith.cc)

 
 Publisher:
 
 
 Publisher:
 


@@ -31,9 +31,9 @@ Husumgade 10, 5.
 
 Denmark
 
 
 Denmark
 

-www.cadb.dk
+[](http://www.cadb.dk)

 
 

-hey@cadb.dk
+hey\@cadb.dk

 
 Printer:
 
 
 Printer:
 


@@ -51,59 +51,60 @@ any purpose, even commercially, as long as you give appropriate credit,
 provide a link to the license, and indicate if changes were made. If you
 remix, transform, or build upon the material, you must distribute your
 contributions under the same license as the original. License details:
 provide a link to the license, and indicate if changes were made. If you
 remix, transform, or build upon the material, you must distribute your
 contributions under the same license as the original. License details:

-creativecommons.org/licenses/by-sa/4.0/
+[](http://creativecommons.org/licenses/by-sa/4.0/)

 
 Made With Creative Commons is published with the kind support of
 Creative Commons and backers of our crowdfunding-campaign on the
 Kickstarter.com platform.
 
 
 Made With Creative Commons is published with the kind support of
 Creative Commons and backers of our crowdfunding-campaign on the
 Kickstarter.com platform.
 

-“I don’t know a whole lot about nonfiction journalism. . .
+# Dedication {-}
+"I don't know a whole lot about nonfiction journalism. . .

 The way that I think about these things, and in terms of what I can do
 is. . . essays like this are occasions to watch somebody reasonably
 bright but also reasonably average pay far closer attention and think at
 far more length about all sorts of different stuff than most of us have
 The way that I think about these things, and in terms of what I can do
 is. . . essays like this are occasions to watch somebody reasonably
 bright but also reasonably average pay far closer attention and think at
 far more length about all sorts of different stuff than most of us have

-a chance to in our daily lives.”
+a chance to in our daily lives."

 
 
 
 - David Foster Wallace
 
 
 
 
 - David Foster Wallace
 

-## Foreword
+# Foreword

 
 Three years ago, just after I was hired as CEO of Creative Commons, I
 
 Three years ago, just after I was hired as CEO of Creative Commons, I

-met with Cory Doctorow in the hotel bar of Toronto’s Gladstone Hotel. As
-one of CC’s most well-known proponents—one who has also had a successful
-career as a writer who shares his work using CC—I told him I thought CC
-had a role in defining and advancing open business models. He kindly
-disagreed, and called the pursuit of viable business models through CC
-“a red herring.”
-
-He was, in a way, completely correct—those who make things with Creative
-Commons have ulterior motives, as Paul Stacey explains in this book:
-“Regardless of legal status, they all have a social mission. Their
+met with Cory Doctorow in the hotel bar of Toronto's Gladstone Hotel. As
+one of CC's most well-known proponents---one who has also had a
+successful career as a writer who shares his work using CC---I told him
+I thought CC had a role in defining and advancing open business models.
+He kindly disagreed, and called the pursuit of viable business models
+through CC "a red herring."
+
+He was, in a way, completely correct---those who make things with
+Creative Commons have ulterior motives, as Paul Stacey explains in this
+book: "Regardless of legal status, they all have a social mission. Their

 primary reason for being is to make the world a better place, not to
 primary reason for being is to make the world a better place, not to

-profit. Money is a means to a social end, not the end itself.”
+profit. Money is a means to a social end, not the end itself."

 
 In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites
 
 In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites

-Cory’s words from his book Information Doesn’t Want to Be Free:
-“Entering the arts because you want to get rich is like buying lottery
+Cory's words from his book Information Doesn't Want to Be Free:
+"Entering the arts because you want to get rich is like buying lottery

 tickets because you want to get rich. It might work, but it almost
 tickets because you want to get rich. It might work, but it almost

-certainly won’t. Though, of course, someone always wins the lottery.”
+certainly won't. Though, of course, someone always wins the lottery."

 
 

-Today, copyright is like a lottery ticket—everyone has one, and almost
-nobody wins. What they don’t tell you is that if you choose to share
+Today, copyright is like a lottery ticket---everyone has one, and almost
+nobody wins. What they don't tell you is that if you choose to share

 your work, the returns can be significant and long-lasting. This book is
 filled with stories of those who take much greater risks than the two
 dollars we pay for a lottery ticket, and instead reap the rewards that
 come from pursuing their passions and living their values.
 
 your work, the returns can be significant and long-lasting. This book is
 filled with stories of those who take much greater risks than the two
 dollars we pay for a lottery ticket, and instead reap the rewards that
 come from pursuing their passions and living their values.
 

-So it’s not about the money. Also: it is. Finding the means to continue
+So it's not about the money. Also: it is. Finding the means to continue

 to create and share often requires some amount of income. Max Temkin of
 to create and share often requires some amount of income. Max Temkin of

-Cards Against Humanity says it best in their case study: “We don’t make
-jokes and games to make money—we make money so we can make more jokes
-and games.”
+Cards Against Humanity says it best in their case study: "We don't make
+jokes and games to make money---we make money so we can make more jokes
+and games."

 
 

-Creative Commons’ focus is on building a vibrant, usable commons,
+Creative Commons' focus is on building a vibrant, usable commons,

 powered by collaboration and gratitude. Enabling communities of
 collaboration is at the heart of our strategy. With that in mind,
 Creative Commons began this book project. Led by Paul and Sarah, the
 powered by collaboration and gratitude. Enabling communities of
 collaboration is at the heart of our strategy. With that in mind,
 Creative Commons began this book project. Led by Paul and Sarah, the


@@ -114,20 +115,20 @@ Commons.
 Paul dreams of a future where new models of creativity and innovation
 overpower the inequality and scarcity that today define the worst parts
 of capitalism. He is driven by the power of human connections between
 Paul dreams of a future where new models of creativity and innovation
 overpower the inequality and scarcity that today define the worst parts
 of capitalism. He is driven by the power of human connections between

-communities of creators. He takes a longer view than most, and it’s made
+communities of creators. He takes a longer view than most, and it's made

 him a better educator, an insightful researcher, and also a skilled
 gardener. He has a calm, cool voice that conveys a passion that inspires
 his colleagues and community.
 
 him a better educator, an insightful researcher, and also a skilled
 gardener. He has a calm, cool voice that conveys a passion that inspires
 his colleagues and community.
 

-Sarah is the best kind of lawyer—a true advocate who believes in the
+Sarah is the best kind of lawyer---a true advocate who believes in the

 good of people, and the power of collective acts to change the world.
 good of people, and the power of collective acts to change the world.

-Over the past year I’ve seen Sarah struggle with the heartbreak that
-comes from investing so much into a political campaign that didn’t end
-as she’d hoped. Today, she’s more determined than ever to live with her
+Over the past year I've seen Sarah struggle with the heartbreak that
+comes from investing so much into a political campaign that didn't end
+as she'd hoped. Today, she's more determined than ever to live with her

 values right out on her sleeve. I can always count on Sarah to push
 values right out on her sleeve. I can always count on Sarah to push

-Creative Commons to focus on our impact—to make the main thing the main
-thing. She’s practical, detail-oriented, and clever. There’s no one on
-my team that I enjoy debating more.
+Creative Commons to focus on our impact---to make the main thing the
+main thing. She's practical, detail-oriented, and clever. There's no one
+on my team that I enjoy debating more.

 
 As coauthors, Paul and Sarah complement each other perfectly. They
 researched, analyzed, argued, and worked as a team, sometimes together
 
 As coauthors, Paul and Sarah complement each other perfectly. They
 researched, analyzed, argued, and worked as a team, sometimes together


@@ -135,7 +136,7 @@ and sometimes independently. They dove into the research and writing
 with passion and curiosity, and a deep respect for what goes into
 building the commons and sharing with the world. They remained open to
 new ideas, including the possibility that their initial theories would
 with passion and curiosity, and a deep respect for what goes into
 building the commons and sharing with the world. They remained open to
 new ideas, including the possibility that their initial theories would

-need refinement or might be completely wrong. That’s courageous, and it
+need refinement or might be completely wrong. That's courageous, and it

 has made for a better book that is insightful, honest, and useful.
 
 From the beginning, CC wanted to develop this project with the
 has made for a better book that is insightful, honest, and useful.
 
 From the beginning, CC wanted to develop this project with the


@@ -146,9 +147,9 @@ attribution. It is, in itself, an example of an open business model.
 
 For 31 days in August of 2015, Sarah took point to organize and execute
 a Kickstarter campaign to generate the core funding for the book. The
 
 For 31 days in August of 2015, Sarah took point to organize and execute
 a Kickstarter campaign to generate the core funding for the book. The

-remainder was provided by CC’s generous donors and supporters. In the
+remainder was provided by CC's generous donors and supporters. In the

 end, it became one of the most successful book projects on Kickstarter,
 end, it became one of the most successful book projects on Kickstarter,

-smashing through two stretch goals and engaging over 1,600 donors—the
+smashing through two stretch goals and engaging over 1,600 donors---the

 majority of them new supporters of Creative Commons.
 
 Paul and Sarah worked openly throughout the project, publishing the
 majority of them new supporters of Creative Commons.
 
 Paul and Sarah worked openly throughout the project, publishing the


@@ -172,51 +173,51 @@ he agree to do that? Because the commons has collaboration at its core,
 and community as a key value, and because the CC licenses have helped so
 many to share in the ways that they choose with a global audience.
 
 and community as a key value, and because the CC licenses have helped so
 many to share in the ways that they choose with a global audience.
 

-Sarah writes, “Endeavors that are Made with Creative Commons thrive when
+Sarah writes, "Endeavors that are Made with Creative Commons thrive when

 community is built around what they do. This may mean a community
 collaborating together to create something new, or it may simply be a
 collection of like-minded people who get to know each other and rally
 around common interests or beliefs. To a certain extent, simply being
 Made with Creative Commons automatically brings with it some element of
 community, by helping connect you to like-minded others who recognize
 community is built around what they do. This may mean a community
 collaborating together to create something new, or it may simply be a
 collection of like-minded people who get to know each other and rally
 around common interests or beliefs. To a certain extent, simply being
 Made with Creative Commons automatically brings with it some element of
 community, by helping connect you to like-minded others who recognize

-and are drawn to the values symbolized by using CC.” Amanda Palmer, the
+and are drawn to the values symbolized by using CC." Amanda Palmer, the

 other musician profiled in the book, would surely add this from her case
 other musician profiled in the book, would surely add this from her case

-study: “There is no more satisfying end goal than having someone tell
-you that what you do is genuinely of value to them.”
+study: "There is no more satisfying end goal than having someone tell
+you that what you do is genuinely of value to them."

 
 This is not a typical business book. For those looking for a recipe or a
 roadmap, you might be disappointed. But for those looking to pursue a
 social end, to build something great through collaboration, or to join a
 
 This is not a typical business book. For those looking for a recipe or a
 roadmap, you might be disappointed. But for those looking to pursue a
 social end, to build something great through collaboration, or to join a

-powerful and growing global community, they’re sure to be satisfied.
+powerful and growing global community, they're sure to be satisfied.

 Made with Creative Commons offers a world-changing set of clearly
 articulated values and principles, some essential tools for exploring
 your own business opportunities, and two dozen doses of pure
 inspiration.
 
 Made with Creative Commons offers a world-changing set of clearly
 articulated values and principles, some essential tools for exploring
 your own business opportunities, and two dozen doses of pure
 inspiration.
 

-In a 1996 Stanford Law Review article “The Zones of Cyberspace”, CC
-founder Lawrence Lessig wrote, “Cyberspace is a place. People live
+In a 1996 Stanford Law Review article "The Zones of Cyberspace", CC
+founder Lawrence Lessig wrote, "Cyberspace is a place. People live

 there. They experience all the sorts of things that they experience in
 real space, there. For some, they experience more. They experience this
 not as isolated individuals, playing some high tech computer game; they
 experience it in groups, in communities, among strangers, among people
 there. They experience all the sorts of things that they experience in
 real space, there. For some, they experience more. They experience this
 not as isolated individuals, playing some high tech computer game; they
 experience it in groups, in communities, among strangers, among people

-they come to know, and sometimes like.”
+they come to know, and sometimes like."

 
 

-I’m incredibly proud that Creative Commons is able to publish this book
-for the many communities that we have come to know and like. I’m
+I'm incredibly proud that Creative Commons is able to publish this book
+for the many communities that we have come to know and like. I'm

 grateful to Paul and Sarah for their creativity and insights, and to the
 global communities that have helped us bring it to you. As CC board
 grateful to Paul and Sarah for their creativity and insights, and to the
 global communities that have helped us bring it to you. As CC board

-member Johnathan Nightingale often says, “It’s all made of people.”
+member Johnathan Nightingale often says, "It's all made of people."

 
 

-That’s the true value of things that are Made with Creative Commons.
+That's the true value of things that are Made with Creative Commons.

 
 *Ryan Merkley*
 
 *CEO, Creative Commons*
 
 
 *Ryan Merkley*
 
 *CEO, Creative Commons*
 

-## Introduction
+# Introduction

 
 

-This book shows the world how sharing can be good for business—but with
-a twist.
+This book shows the world how sharing can be good for business---but
+with a twist.

 
 We began the project intending to explore how creators, organizations,
 and businesses make money to sustain what they do when they share their
 
 We began the project intending to explore how creators, organizations,
 and businesses make money to sustain what they do when they share their


@@ -225,13 +226,13 @@ formula for business models that use Creative Commons but instead gather
 fresh ideas and dynamic examples that spark new, innovative models and
 help others follow suit by building on what already works. At the onset,
 we framed our investigation in familiar business terms. We created a
 fresh ideas and dynamic examples that spark new, innovative models and
 help others follow suit by building on what already works. At the onset,
 we framed our investigation in familiar business terms. We created a

-blank “open business model canvas,” an interactive online tool that
+blank "open business model canvas," an interactive online tool that

 would help people design and analyze their business model.
 
 Through the generous funding of Kickstarter backers, we set about this
 project first by identifying and selecting a diverse group of creators,
 organizations, and businesses who use Creative Commons in an integral
 would help people design and analyze their business model.
 
 Through the generous funding of Kickstarter backers, we set about this
 project first by identifying and selecting a diverse group of creators,
 organizations, and businesses who use Creative Commons in an integral

-way—what we call being Made with Creative Commons. We interviewed them
+way---what we call being Made with Creative Commons. We interviewed them

 and wrote up their stories. We analyzed what we heard and dug deep into
 the literature.
 
 and wrote up their stories. We analyzed what we heard and dug deep into
 the literature.
 


@@ -244,13 +245,13 @@ sharing to make the world a better place, creating relationships and
 community around the works being shared, and generating revenue not for
 unlimited growth but to sustain the operation.
 
 community around the works being shared, and generating revenue not for
 unlimited growth but to sustain the operation.
 

-They often didn’t like hearing what they do described as an open
+They often didn't like hearing what they do described as an open

 business model. Their endeavor was something more than that. Something
 different. Something that generates not just economic value but social
 and cultural value. Something that involves human connection. Being Made
 business model. Their endeavor was something more than that. Something
 different. Something that generates not just economic value but social
 and cultural value. Something that involves human connection. Being Made

-with Creative Commons is not “business as usual.”
+with Creative Commons is not "business as usual."

 
 

-We had to rethink the way we conceived of this project. And it didn’t
+We had to rethink the way we conceived of this project. And it didn't

 happen overnight. From the fall of 2015 through 2016, we documented our
 thoughts in blog posts on Medium and with regular updates to our
 Kickstarter backers. We shared drafts of case studies and analysis with
 happen overnight. From the fall of 2015 through 2016, we documented our
 thoughts in blog posts on Medium and with regular updates to our
 Kickstarter backers. We shared drafts of case studies and analysis with


@@ -263,7 +264,7 @@ of understanding and describing what we were learning. Learning from
 each other has been one of the great joys of this work, and, we hope,
 something that has made the final product much richer than it ever could
 have been if either of us undertook this project alone. We have
 each other has been one of the great joys of this work, and, we hope,
 something that has made the final product much richer than it ever could
 have been if either of us undertook this project alone. We have

-preserved our voices throughout, and you’ll be able to sense our
+preserved our voices throughout, and you'll be able to sense our

 different but complementary approaches as you read through our different
 sections.
 
 different but complementary approaches as you read through our different
 sections.
 


@@ -274,11 +275,11 @@ two main parts.
 Part one, the overview, begins with a big-picture framework written by
 Paul. He provides some historical context for the digital commons,
 describing the three ways society has managed resources and shared
 Part one, the overview, begins with a big-picture framework written by
 Paul. He provides some historical context for the digital commons,
 describing the three ways society has managed resources and shared

-wealth—the commons, the market, and the state. He advocates for thinking
-beyond business and market terms and eloquently makes the case for
-sharing and enlarging the digital commons.
+wealth---the commons, the market, and the state. He advocates for
+thinking beyond business and market terms and eloquently makes the case
+for sharing and enlarging the digital commons.

 
 

-The overview continues with Sarah’s chapter, as she considers what it
+The overview continues with Sarah's chapter, as she considers what it

 means to be successfully Made with Creative Commons. While making money
 is one piece of the pie, there is also a set of public-minded values and
 the kind of human connections that make sharing truly meaningful. This
 means to be successfully Made with Creative Commons. While making money
 is one piece of the pie, there is also a set of public-minded values and
 the kind of human connections that make sharing truly meaningful. This


@@ -289,9 +290,9 @@ with whom they share.
 
 And to end part one, we have a short section that explains the different
 Creative Commons licenses. We talk about the misconception that the more
 
 And to end part one, we have a short section that explains the different
 Creative Commons licenses. We talk about the misconception that the more

-restrictive licenses—the ones that are closest to the
-all-rights-reserved model of traditional copyright—are the only ways to
-make money.
+restrictive licenses---the ones that are closest to the
+all-rights-reserved model of traditional copyright---are the only ways
+to make money.

 
 Part two of the book is made up of the twenty-four stories of the
 creators, businesses, and organizations we interviewed. While both of us
 
 Part two of the book is made up of the twenty-four stories of the
 creators, businesses, and organizations we interviewed. While both of us


@@ -310,7 +311,6 @@ of our economy and world for the better.
 
 *Paul and Sarah *
 
 
 *Paul and Sarah *
 

-# Part 1

 
 # The Big Picture
 
 
 # The Big Picture
 


@@ -318,13 +318,13 @@ of our economy and world for the better.
 
 Paul Stacey
 
 
 Paul Stacey
 

-Jonathan Rowe eloquently describes the commons as “the air and oceans,
-the web of species, wilderness and flowing water—all are parts of the
+Jonathan Rowe eloquently describes the commons as "the air and oceans,
+the web of species, wilderness and flowing water---all are parts of the

 commons. So are language and knowledge, sidewalks and public squares,
 the stories of childhood and the processes of democracy. Some parts of
 the commons are gifts of nature, others the product of human endeavor.
 Some are new, such as the Internet; others are as ancient as soil and
 commons. So are language and knowledge, sidewalks and public squares,
 the stories of childhood and the processes of democracy. Some parts of
 the commons are gifts of nature, others the product of human endeavor.
 Some are new, such as the Internet; others are as ancient as soil and

-calligraphy.”1
+calligraphy."[^The-New-World-of-Digital-Commons-1]

 
 In Made with Creative Commons, we focus on our current era of digital
 commons, a commons of human-produced works. This commons cuts across a
 
 In Made with Creative Commons, we focus on our current era of digital
 commons, a commons of human-produced works. This commons cuts across a


@@ -335,13 +335,13 @@ Internet is a kind of global, digital commons. The individuals,
 organizations, and businesses we profile in our case studies use
 Creative Commons to share their resources online over the Internet.
 
 organizations, and businesses we profile in our case studies use
 Creative Commons to share their resources online over the Internet.
 

-The commons is not just about shared resources, however. It’s also about
+The commons is not just about shared resources, however. It's also about

 the social practices and values that manage them. A resource is a noun,
 the social practices and values that manage them. A resource is a noun,

-but to common—to put the resource into the commons—is a verb.2 The
+but to common---to put the resource into the commons---is a verb.[^The-New-World-of-Digital-Commons-2] The

 creators, organizations, and businesses we profile are all engaged with
 commoning. Their use of Creative Commons involves them in the social
 practice of commoning, managing resources in a collective manner with a
 creators, organizations, and businesses we profile are all engaged with
 commoning. Their use of Creative Commons involves them in the social
 practice of commoning, managing resources in a collective manner with a

-community of users.3 Commoning is guided by a set of values and norms
+community of users.[^The-New-World-of-Digital-Commons-3] Commoning is guided by a set of values and norms

 that balance the costs and benefits of the enterprise with those of the
 community. Special regard is given to equitable access, use, and
 sustainability.
 that balance the costs and benefits of the enterprise with those of the
 community. Special regard is given to equitable access, use, and
 sustainability.


@@ -350,14 +350,14 @@ sustainability.
 
 Historically, there have been three ways to manage resources and share
 wealth: the commons (managed collectively), the state (i.e., the
 
 Historically, there have been three ways to manage resources and share
 wealth: the commons (managed collectively), the state (i.e., the

-government), and the market—with the last two being the dominant forms
-today.4
+government), and the market---with the last two being the dominant forms
+today.[^The-New-World-of-Digital-Commons-4]

 
 The organizations and businesses in our case studies are unique in the
 way they participate in the commons while still engaging with the market
 and/or state. The extent of engagement with market or state varies. Some
 operate primarily as a commons with minimal or no reliance on the market
 
 The organizations and businesses in our case studies are unique in the
 way they participate in the commons while still engaging with the market
 and/or state. The extent of engagement with market or state varies. Some
 operate primarily as a commons with minimal or no reliance on the market

-or state.5 Others are very much a part of the market or state, depending
+or state.[^The-New-World-of-Digital-Commons-5] Others are very much a part of the market or state, depending

 on them for financial sustainability. All operate as hybrids, blending
 the norms of the commons with those of the market or state.
 
 on them for financial sustainability. All operate as hybrids, blending
 the norms of the commons with those of the market or state.
 


@@ -387,10 +387,10 @@ contribute to and build the commons. Beyond money, laws and regulations
 regarding property, copyright, business, and finance can all be designed
 to foster the commons.
 
 regarding property, copyright, business, and finance can all be designed
 to foster the commons.
 

-![](Pictures/10000201000008000000045C30360249076453E6.png){width="6.5in"
-height="3.5417in"}
+![Enterprise engagement with commons, state and market.](Pictures/10000201000008000000045C30360249076453E6.png){width="80%"
+}

 
 

-It’s helpful to understand how the commons, market, and state manage
+It's helpful to understand how the commons, market, and state manage

 resources differently, and not just for those who consider themselves
 primarily as a commons. For businesses or governmental organizations who
 want to engage in and use the commons, knowing how the commons operates
 resources differently, and not just for those who consider themselves
 primarily as a commons. For businesses or governmental organizations who
 want to engage in and use the commons, knowing how the commons operates


@@ -400,29 +400,29 @@ for success.
 
 ### The Four Aspects of a Resource
 
 
 ### The Four Aspects of a Resource
 

-As part of her Nobel Prize–winning work, Elinor Ostrom developed a
-framework for analyzing how natural resources are managed in a commons.6
+As part of her Nobel Prize--winning work, Elinor Ostrom developed a
+framework for analyzing how natural resources are managed in a commons.[^The-New-World-of-Digital-Commons-6]

 Her framework considered things like the biophysical characteristics of
 Her framework considered things like the biophysical characteristics of

-common resources, the community’s actors and the interactions that take
+common resources, the community's actors and the interactions that take

 place between them, rules-in-use, and outcomes. That framework has been
 simplified and generalized to apply to the commons, the market, and the
 state for this chapter.
 
 To compare and contrast the ways in which the commons, market, and state
 place between them, rules-in-use, and outcomes. That framework has been
 simplified and generalized to apply to the commons, the market, and the
 state for this chapter.
 
 To compare and contrast the ways in which the commons, market, and state

-work, let’s consider four aspects of resource management: resource
+work, let's consider four aspects of resource management: resource

 characteristics, the people involved and the process they use, the norms
 and rules they develop to govern use, and finally actual resource use
 along with outcomes of that use (see Fig. 2).
 
 characteristics, the people involved and the process they use, the norms
 and rules they develop to govern use, and finally actual resource use
 along with outcomes of that use (see Fig. 2).
 

-![](Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png){width="6.5in"
-height="6.5in"}
+![Four aspects of resource management](Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png){width="80%"
+}

 
 #### Characteristics
 
 Resources have particular characteristics or attributes that affect the
 way they can be used. Some resources are natural; others are human
 
 #### Characteristics
 
 Resources have particular characteristics or attributes that affect the
 way they can be used. Some resources are natural; others are human

-produced. And—significantly for today’s commons—resources can be
-physical or digital, which affects a resource’s inherent potential.
+produced. And---significantly for today's commons---resources can be
+physical or digital, which affects a resource's inherent potential.

 
 Physical resources exist in limited supply. If I have a physical
 resource and give it to you, I no longer have it. When a resource is
 
 Physical resources exist in limited supply. If I have a physical
 resource and give it to you, I no longer have it. When a resource is


@@ -459,7 +459,7 @@ physical one.
 
 Beyond this idea of physical versus digital, the commons, market, and
 state conceive of resources differently (see Fig. 3). The market sees
 
 Beyond this idea of physical versus digital, the commons, market, and
 state conceive of resources differently (see Fig. 3). The market sees

-resources as private goods—commodities for sale—from which value is
+resources as private goods---commodities for sale---from which value is

 extracted. The state sees resources as public goods that provide value
 to state citizens. The commons sees resources as common goods, providing
 a common wealth extending beyond state boundaries, to be passed on in
 extracted. The state sees resources as public goods that provide value
 to state citizens. The commons sees resources as common goods, providing
 a common wealth extending beyond state boundaries, to be passed on in


@@ -487,21 +487,21 @@ market, resources are managed as commodities, frequently mass-produced,
 and sold to consumers on the basis of a cash transaction.
 
 In contrast to the state and market, resources in a commons are managed
 and sold to consumers on the basis of a cash transaction.
 
 In contrast to the state and market, resources in a commons are managed

-more directly by the people involved.7 Creators of human produced
+more directly by the people involved.[^The-New-World-of-Digital-Commons-7] Creators of human produced

 resources can put them in the commons by personal choice. No permission
 from state or market is required. Anyone can participate in the commons
 and determine for themselves the extent to which they want to be
 resources can put them in the commons by personal choice. No permission
 from state or market is required. Anyone can participate in the commons
 and determine for themselves the extent to which they want to be

-involved—as a contributor, user, or manager. The people involved include
-not only those who create and use resources but those affected by
-outcome of use. Who you are affects your say, actions you can take, and
-extent of decision making. In the commons, the community as a whole
+involved---as a contributor, user, or manager. The people involved
+include not only those who create and use resources but those affected
+by outcome of use. Who you are affects your say, actions you can take,
+and extent of decision making. In the commons, the community as a whole

 manages the resources. Resources put into the commons using Creative
 Commons require users to give the original creator credit. Knowing the
 person behind a resource makes the commons less anonymous and more
 personal.
 
 manages the resources. Resources put into the commons using Creative
 Commons require users to give the original creator credit. Knowing the
 person behind a resource makes the commons less anonymous and more
 personal.
 

-![](Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png){width="6.5in"
-height="4.2362in"}
+![How the market, commons and state concieve of resources.](Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png){width="80%"
+}

 
 #### Norms and rules
 
 
 #### Norms and rules
 


@@ -525,19 +525,19 @@ regulations, and laws. But the norms and rules of a commons are largely
 defined by the community. They weigh individual costs and benefits
 against the costs and benefits to the whole community. Consideration is
 given not just to economic efficiency but also to equity and
 defined by the community. They weigh individual costs and benefits
 against the costs and benefits to the whole community. Consideration is
 given not just to economic efficiency but also to equity and

-sustainability.9
+sustainability.[^The-New-World-of-Digital-Commons-9]

 
 #### Goals
 
 
 #### Goals
 

-The combination of the aspects we’ve discussed so far—the resource’s
+The combination of the aspects we've discussed so far---the resource's

 inherent characteristics, people and processes, and norms and
 inherent characteristics, people and processes, and norms and

-rules—shape how resources are used. Use is also influenced by the
+rules---shape how resources are used. Use is also influenced by the

 different goals the state, market, and commons have.
 
 In the market, the focus is on maximizing the utility of a resource.
 What we pay for the goods we consume is seen as an objective measure of
 the utility they provide. The goal then becomes maximizing total
 different goals the state, market, and commons have.
 
 In the market, the focus is on maximizing the utility of a resource.
 What we pay for the goods we consume is seen as an objective measure of
 the utility they provide. The goal then becomes maximizing total

-monetary value in the economy.10 Units consumed translates to sales,
+monetary value in the economy.[^The-New-World-of-Digital-Commons-10] Units consumed translates to sales,

 revenue, profit, and growth, and these are all ways to measure goals of
 the market.
 
 revenue, profit, and growth, and these are all ways to measure goals of
 the market.
 


@@ -572,26 +572,26 @@ reports or speeches about the commons.
 But the more than 1.1 billion resources licensed with Creative Commons
 around the world are indications of a grassroots move toward the
 commons. The commons is making a resurgence. To understand the
 But the more than 1.1 billion resources licensed with Creative Commons
 around the world are indications of a grassroots move toward the
 commons. The commons is making a resurgence. To understand the

-resilience of the commons and its current renewal, it’s helpful to know
+resilience of the commons and its current renewal, it's helpful to know

 something of its history.
 
 For centuries, indigenous people and preindustrialized societies managed
 resources, including water, food, firewood, irrigation, fish, wild game,
 something of its history.
 
 For centuries, indigenous people and preindustrialized societies managed
 resources, including water, food, firewood, irrigation, fish, wild game,

-and many other things collectively as a commons.11 There was no market,
+and many other things collectively as a commons.[^The-New-World-of-Digital-Commons-11] There was no market,

 no global economy. The state in the form of rulers influenced the
 commons but by no means controlled it. Direct social participation in a
 commons was the primary way in which resources were managed and needs
 met. (Fig. 4 illustrates the commons in relation to the state and the
 market.)
 
 no global economy. The state in the form of rulers influenced the
 commons but by no means controlled it. Direct social participation in a
 commons was the primary way in which resources were managed and needs
 met. (Fig. 4 illustrates the commons in relation to the state and the
 market.)
 

-![](Pictures/10000201000009C4000005153EACBD62F00F6BA9.png){width="6.5in"
-height="3.389in"}
+![In preindustrialized society.](Pictures/10000201000009C4000005153EACBD62F00F6BA9.png){width="80%"
+}

 
 This is followed by a long history of the state (a monarchy or ruler)
 taking over the commons for their own purposes. This is called enclosure
 
 This is followed by a long history of the state (a monarchy or ruler)
 taking over the commons for their own purposes. This is called enclosure

-of the commons.12 In olden days, “commoners” were evicted from the land,
+of the commons.[^The-New-World-of-Digital-Commons-12] In olden days, "commoners" were evicted from the land,

 fences and hedges erected, laws passed, and security set up to forbid
 fences and hedges erected, laws passed, and security set up to forbid

-access.13 Gradually, resources became the property of the state and the
+access.[^The-New-World-of-Digital-Commons-13] Gradually, resources became the property of the state and the

 state became the primary means by which resources were managed. (See
 Fig. 5).
 
 state became the primary means by which resources were managed. (See
 Fig. 5).
 


@@ -607,26 +607,26 @@ goods resulted in a rising standard of living, improved health, and
 education. Fig. 6 shows how today the market is the primary means by
 which resources are managed.
 
 education. Fig. 6 shows how today the market is the primary means by
 which resources are managed.
 

-![](Pictures/10000201000009C4000005150F069409C1CC12F0.png){width="6.5in"
-height="3.389in"}
+![The commons is gradually superseded by the state.](Pictures/10000201000009C4000005150F069409C1CC12F0.png){width="80%"
+}

 
 However, the world today is going through turbulent times. The benefits
 of the market have been offset by unequal distribution and
 overexploitation.
 
 
 However, the world today is going through turbulent times. The benefits
 of the market have been offset by unequal distribution and
 overexploitation.
 

-Overexploitation was the topic of Garrett Hardin’s influential essay
-“The Tragedy of the Commons,” published in Science in 1968. Hardin
+Overexploitation was the topic of Garrett Hardin's influential essay
+"The Tragedy of the Commons," published in Science in 1968. Hardin

 argues that everyone in a commons seeks to maximize personal gain and
 will continue to do so even when the limits of the commons are reached.
 The commons is then tragically depleted to the point where it can no
 argues that everyone in a commons seeks to maximize personal gain and
 will continue to do so even when the limits of the commons are reached.
 The commons is then tragically depleted to the point where it can no

-longer support anyone. Hardin’s essay became widely accepted as an
+longer support anyone. Hardin's essay became widely accepted as an

 economic truism and a justification for private property and free
 markets.
 
 economic truism and a justification for private property and free
 markets.
 

-However, there is one serious flaw with Hardin’s “The Tragedy of the
-Commons”—it’s fiction. Hardin did not actually study how real commons
+However, there is one serious flaw with Hardin's "The Tragedy of the
+Commons"---it's fiction. Hardin did not actually study how real commons

 work. Elinor Ostrom won the 2009 Nobel Prize in economics for her work
 work. Elinor Ostrom won the 2009 Nobel Prize in economics for her work

-studying different commons all around the world. Ostrom’s work shows
+studying different commons all around the world. Ostrom's work shows

 that natural resource commons can be successfully managed by local
 communities without any regulation by central authorities or without
 privatization. Government and privatization are not the only two
 that natural resource commons can be successfully managed by local
 communities without any regulation by central authorities or without
 privatization. Government and privatization are not the only two


@@ -635,10 +635,10 @@ that are directly impacted are directly involved. With natural
 resources, there is a regional locality. The people in the region are
 the most familiar with the natural resource, have the most direct
 relationship and history with it, and are therefore best situated to
 resources, there is a regional locality. The people in the region are
 the most familiar with the natural resource, have the most direct
 relationship and history with it, and are therefore best situated to

-manage it. Ostrom’s approach to the governance of natural resources
+manage it. Ostrom's approach to the governance of natural resources

 broke with convention; she recognized the importance of the commons as
 an alternative to the market or state for solving problems of collective
 broke with convention; she recognized the importance of the commons as
 an alternative to the market or state for solving problems of collective

-action.14
+action.[^The-New-World-of-Digital-Commons-14]

 
 Hardin failed to consider the actual social dynamic of the commons. His
 model assumed that people in the commons act autonomously, out of pure
 
 Hardin failed to consider the actual social dynamic of the commons. His
 model assumed that people in the commons act autonomously, out of pure


@@ -646,13 +646,13 @@ self-interest, without interaction or consideration of others. But as
 Ostrom found, in reality, managing common resources together forms a
 community and encourages discourse. This naturally generates norms and
 rules that help people work collectively and ensure a sustainable
 Ostrom found, in reality, managing common resources together forms a
 community and encourages discourse. This naturally generates norms and
 rules that help people work collectively and ensure a sustainable

-commons. Paradoxically, while Hardin’s essay is called The Tragedy of
+commons. Paradoxically, while Hardin's essay is called The Tragedy of

 the Commons it might more accurately be titled The Tragedy of the
 Market.
 
 the Commons it might more accurately be titled The Tragedy of the
 Market.
 

-Hardin’s story is based on the premise of depletable resources.
+Hardin's story is based on the premise of depletable resources.

 Economists have focused almost exclusively on scarcity-based markets.
 Economists have focused almost exclusively on scarcity-based markets.

-Very little is known about how abundance works.15 The emergence of
+Very little is known about how abundance works.[^The-New-World-of-Digital-Commons-15] The emergence of

 information technology and the Internet has led to an explosion in
 digital resources and new means of sharing and distribution. Digital
 resources can never be depleted. An absence of a theory or model for how
 information technology and the Internet has led to an explosion in
 digital resources and new means of sharing and distribution. Digital
 resources can never be depleted. An absence of a theory or model for how


@@ -665,8 +665,8 @@ there is really no justification for artificial scarcity. The norm for
 state funded digital works should be that they are freely and openly
 available to the public that paid for them.
 
 state funded digital works should be that they are freely and openly
 available to the public that paid for them.
 

-![](Pictures/10000201000009C400000515F1CAA15B223F6BAF.png){width="6.5in"
-height="3.389in"}
+![How the market, the state and the commons look today.](Pictures/10000201000009C400000515F1CAA15B223F6BAF.png){width="80%"
+}

 
 ### The Digital Revolution
 
 
 ### The Digital Revolution
 


@@ -680,7 +680,7 @@ codified this practice of sharing into a set of principles and freedoms:
     your computing as you wish.
 -   The freedom to redistribute copies.
 -   The freedom to distribute copies of your modified versions to
     your computing as you wish.
 -   The freedom to redistribute copies.
 -   The freedom to distribute copies of your modified versions to

-    others.16
+    others.[^The-New-World-of-Digital-Commons-16]

 
 These principles and freedoms constitute a set of norms and rules that
 typify a digital commons.
 
 These principles and freedoms constitute a set of norms and rules that
 typify a digital commons.


@@ -688,26 +688,26 @@ typify a digital commons.
 In the late 1990s, to make the sharing of source code and collaboration
 more appealing to companies, the open-source-software initiative
 converted these principles into licenses and standards for managing
 In the late 1990s, to make the sharing of source code and collaboration
 more appealing to companies, the open-source-software initiative
 converted these principles into licenses and standards for managing

-access to and distribution of software. The benefits of open source—such
-as reliability, scalability, and quality verified by independent peer
-review—became widely recognized and accepted. Customers liked the way
-open source gave them control without being locked into a closed,
-proprietary technology. Free and open-source software also generated a
-network effect where the value of a product or service increases with
-the number of people using it.17 The dramatic growth of the Internet
-itself owes much to the fact that nobody has a proprietary lock on core
-Internet protocols.
+access to and distribution of software. The benefits of open
+source---such as reliability, scalability, and quality verified by
+independent peer review---became widely recognized and accepted.
+Customers liked the way open source gave them control without being
+locked into a closed, proprietary technology. Free and open-source
+software also generated a network effect where the value of a product or
+service increases with the number of people using it.[^The-New-World-of-Digital-Commons-17] The dramatic
+growth of the Internet itself owes much to the fact that nobody has a
+proprietary lock on core Internet protocols.

 
 While open-source software functions as a commons, many businesses and
 markets did build up around it. Business models based on the licenses
 and standards of open-source software evolved alongside organizations
 that managed software code on principles of abundance rather than
 
 While open-source software functions as a commons, many businesses and
 markets did build up around it. Business models based on the licenses
 and standards of open-source software evolved alongside organizations
 that managed software code on principles of abundance rather than

-scarcity. Eric Raymond’s essay “The Magic Cauldron” does a great job of
+scarcity. Eric Raymond's essay "The Magic Cauldron" does a great job of

 analyzing the economics and business models associated with open-source
 analyzing the economics and business models associated with open-source

-software.18 These models can provide examples of sustainable approaches
+software.[^The-New-World-of-Digital-Commons-18] These models can provide examples of sustainable approaches

 for those Made with Creative Commons.
 
 for those Made with Creative Commons.
 

-It isn’t just about an abundant availability of digital assets but also
+It isn't just about an abundant availability of digital assets but also

 about abundance of participation. The growth of personal computing,
 information technology, and the Internet made it possible for mass
 participation in producing creative works and distributing them. Photos,
 about abundance of participation. The growth of personal computing,
 information technology, and the Internet made it possible for mass
 participation in producing creative works and distributing them. Photos,


@@ -716,13 +716,13 @@ readily created and distributed by almost anyone. Despite this potential
 for abundance, by default these digital works are governed by copyright
 laws. Under copyright, a digital work is the property of the creator,
 and by law others are excluded from accessing and using it without the
 for abundance, by default these digital works are governed by copyright
 laws. Under copyright, a digital work is the property of the creator,
 and by law others are excluded from accessing and using it without the

-creator’s permission.
+creator's permission.

 
 But people like to share. One of the ways we define ourselves is by
 sharing valuable and entertaining content. Doing so grows and nourishes
 relationships, seeks to change opinions, encourages action, and informs
 others about who we are and what we care about. Sharing lets us feel
 
 But people like to share. One of the ways we define ourselves is by
 sharing valuable and entertaining content. Doing so grows and nourishes
 relationships, seeks to change opinions, encourages action, and informs
 others about who we are and what we care about. Sharing lets us feel

-more involved with the world.19
+more involved with the world.[^The-New-World-of-Digital-Commons-19]

 
 ### The Birth of Creative Commons
 
 
 ### The Birth of Creative Commons
 


@@ -740,9 +740,9 @@ and users are not lawyers, the licenses also have a commons deed,
 expressing the permissions in plain language, which regular people can
 read and quickly understand. It acts as a user-friendly interface to the
 legal-code layer beneath. The third layer is the machine-readable one,
 expressing the permissions in plain language, which regular people can
 read and quickly understand. It acts as a user-friendly interface to the
 legal-code layer beneath. The third layer is the machine-readable one,

-making it easy for the Web to know a work is Creative Commons–licensed
+making it easy for the Web to know a work is Creative Commons--licensed

 by expressing permissions in a way that software systems, search
 by expressing permissions in a way that software systems, search

-engines, and other kinds of technology can understand.20 Taken together,
+engines, and other kinds of technology can understand.[^The-New-World-of-Digital-Commons-20] Taken together,

 these three layers ensure creators, users, and even the Web itself
 understand the norms and rules associated with digital content in a
 commons.
 these three layers ensure creators, users, and even the Web itself
 understand the norms and rules associated with digital content in a
 commons.


@@ -758,7 +758,7 @@ Individual artists, photographers, musicians, and filmmakers use
 Creative Commons, but so do museums, governments, creative industries,
 manufacturers, and publishers. Millions of websites use CC licenses,
 including major platforms like Wikipedia and Flickr and smaller ones
 Creative Commons, but so do museums, governments, creative industries,
 manufacturers, and publishers. Millions of websites use CC licenses,
 including major platforms like Wikipedia and Flickr and smaller ones

-like blogs.21 Users of Creative Commons are diverse and cut across many
+like blogs.[^The-New-World-of-Digital-Commons-21] Users of Creative Commons are diverse and cut across many

 different sectors. (Our case studies were chosen to reflect that
 diversity.)
 
 different sectors. (Our case studies were chosen to reflect that
 diversity.)
 


@@ -782,7 +782,7 @@ The state is increasingly involved in supporting open movements. The
 Open Government Partnership was launched in 2011 to provide an
 international platform for governments to become more open, accountable,
 and responsive to citizens. Since then, it has grown from eight
 Open Government Partnership was launched in 2011 to provide an
 international platform for governments to become more open, accountable,
 and responsive to citizens. Since then, it has grown from eight

-participating countries to seventy.22 In all these countries, government
+participating countries to seventy.[^The-New-World-of-Digital-Commons-22] In all these countries, government

 and civil society are working together to develop and implement
 ambitious open-government reforms. Governments are increasingly adopting
 Creative Commons to ensure works funded with taxpayer dollars are open
 and civil society are working together to develop and implement
 ambitious open-government reforms. Governments are increasingly adopting
 Creative Commons to ensure works funded with taxpayer dollars are open


@@ -790,31 +790,31 @@ and free to the public that paid for them.
 
 ### The Changing Market
 
 
 ### The Changing Market
 

-Today’s market is largely driven by global capitalism. Law and financial
+Today's market is largely driven by global capitalism. Law and financial

 systems are structured to support extraction, privatization, and
 corporate growth. A perception that the market is more efficient than
 the state has led to continual privatization of many public natural
 systems are structured to support extraction, privatization, and
 corporate growth. A perception that the market is more efficient than
 the state has led to continual privatization of many public natural

-resources, utilities, services, and infrastructures.23 While this system
+resources, utilities, services, and infrastructures.[^The-New-World-of-Digital-Commons-23] While this system

 has been highly efficient at generating consumerism and the growth of
 gross domestic product, the impact on human well-being has been mixed.
 Offsetting rising living standards and improvements to health and
 education are ever-increasing wealth inequality, social inequality,
 poverty, deterioration of our natural environment, and breakdowns of
 has been highly efficient at generating consumerism and the growth of
 gross domestic product, the impact on human well-being has been mixed.
 Offsetting rising living standards and improvements to health and
 education are ever-increasing wealth inequality, social inequality,
 poverty, deterioration of our natural environment, and breakdowns of

-democracy.24
+democracy.[^The-New-World-of-Digital-Commons-24]

 
 In light of these challenges there is a growing recognition that GDP
 growth should not be an end in itself, that development needs to be
 socially and economically inclusive, that environmental sustainability
 is a requirement not an option, and that we need to better balance the
 
 In light of these challenges there is a growing recognition that GDP
 growth should not be an end in itself, that development needs to be
 socially and economically inclusive, that environmental sustainability
 is a requirement not an option, and that we need to better balance the

-market, state and community.25
+market, state and community.[^The-New-World-of-Digital-Commons-25]

 
 These realizations have led to a resurgence of interest in the commons
 as a means of enabling that balance. City governments like Bologna,
 Italy, are collaborating with their citizens to put in place regulations
 
 These realizations have led to a resurgence of interest in the commons
 as a means of enabling that balance. City governments like Bologna,
 Italy, are collaborating with their citizens to put in place regulations

-for the care and regeneration of urban commons.26 Seoul and Amsterdam
-call themselves “sharing cities,” looking to make sustainable and more
+for the care and regeneration of urban commons.[^The-New-World-of-Digital-Commons-26] Seoul and Amsterdam
+call themselves "sharing cities," looking to make sustainable and more

 efficient use of scarce resources. They see sharing as a way to improve
 efficient use of scarce resources. They see sharing as a way to improve

-the use of public spaces, mobility, social cohesion, and safety.27
+the use of public spaces, mobility, social cohesion, and safety.[^The-New-World-of-Digital-Commons-27]

 
 The market itself has taken an interest in the sharing economy, with
 businesses like Airbnb providing a peer-to-peer marketplace for
 
 The market itself has taken an interest in the sharing economy, with
 businesses like Airbnb providing a peer-to-peer marketplace for


@@ -823,8 +823,8 @@ However, Airbnb and Uber are still largely operating under the usual
 norms and rules of the market, making them less like a commons and more
 like a traditional business seeking financial gain. Much of the sharing
 economy is not about the commons or building an alternative to a
 norms and rules of the market, making them less like a commons and more
 like a traditional business seeking financial gain. Much of the sharing
 economy is not about the commons or building an alternative to a

-corporate-driven market economy; it’s about extending the deregulated
-free market into new areas of our lives.28 While none of the people we
+corporate-driven market economy; it's about extending the deregulated
+free market into new areas of our lives.[^The-New-World-of-Digital-Commons-28] While none of the people we

 interviewed for our case studies would describe themselves as part of
 the sharing economy, there are in fact some significant parallels. Both
 the sharing economy and the commons make better use of asset capacity.
 interviewed for our case studies would describe themselves as part of
 the sharing economy, there are in fact some significant parallels. Both
 the sharing economy and the commons make better use of asset capacity.


@@ -841,7 +841,7 @@ Computer-processing power, storage, and bandwidth are all rapidly
 increasing, but rather than costs going up, costs are coming down.
 Digital technologies are getting faster, better, and cheaper. The cost
 of anything built on these technologies will always go down until it is
 increasing, but rather than costs going up, costs are coming down.
 Digital technologies are getting faster, better, and cheaper. The cost
 of anything built on these technologies will always go down until it is

-close to zero.29
+close to zero.[^The-New-World-of-Digital-Commons-29]

 
 Those that are Made with Creative Commons are looking to leverage the
 unique inherent characteristics of digital resources, including lowering
 
 Those that are Made with Creative Commons are looking to leverage the
 unique inherent characteristics of digital resources, including lowering


@@ -857,7 +857,7 @@ participation is a common goal. They aim for abundance over scarcity.
 The incremental cost of storing, copying, and distributing digital goods
 is next to zero, making abundance possible. But imagining a market based
 on abundance rather than scarcity is so alien to the way we conceive of
 The incremental cost of storing, copying, and distributing digital goods
 is next to zero, making abundance possible. But imagining a market based
 on abundance rather than scarcity is so alien to the way we conceive of

-economic theory and practice that we struggle to do so.30 Those that are
+economic theory and practice that we struggle to do so.[^The-New-World-of-Digital-Commons-30] Those that are

 Made with Creative Commons are each pioneering in this new landscape,
 devising their own economic models and practice.
 
 Made with Creative Commons are each pioneering in this new landscape,
 devising their own economic models and practice.
 


@@ -868,34 +868,34 @@ others are looking to change the norms and rules by which the market
 operates.
 
 For an ordinary corporation, making social benefit a part of its
 operates.
 
 For an ordinary corporation, making social benefit a part of its

-operations is difficult, as it’s legally required to make decisions that
+operations is difficult, as it's legally required to make decisions that

 financially benefit stockholders. But new forms of business are
 emerging. There are benefit corporations and social enterprises, which
 broaden their business goals from making a profit to making a positive
 financially benefit stockholders. But new forms of business are
 emerging. There are benefit corporations and social enterprises, which
 broaden their business goals from making a profit to making a positive

-impact on society, workers, the community, and the environment.31
+impact on society, workers, the community, and the environment.[^The-New-World-of-Digital-Commons-31]

 Community-owned businesses, worker-owned businesses, cooperatives,
 guilds, and other organizational forms offer alternatives to the
 traditional corporation. Collectively, these alternative market entities
 Community-owned businesses, worker-owned businesses, cooperatives,
 guilds, and other organizational forms offer alternatives to the
 traditional corporation. Collectively, these alternative market entities

-are changing the rules and norms of the market.32
+are changing the rules and norms of the market.[^The-New-World-of-Digital-Commons-32]

 
 

-“A book on open business models” is how we described it in this book’s
+"A book on open business models" is how we described it in this book's

 Kickstarter campaign. We used a handbook called Business Model
 Generation as our reference for defining just what a business model is.
 Kickstarter campaign. We used a handbook called Business Model
 Generation as our reference for defining just what a business model is.

-Developed over nine years using an “open process” involving 470
+Developed over nine years using an "open process" involving 470

 coauthors from forty-five countries, it is useful as a framework for
 coauthors from forty-five countries, it is useful as a framework for

-talking about business models.33
+talking about business models.[^The-New-World-of-Digital-Commons-33]

 
 

-It contains a “business model canvas,” which conceives of a business
-model as having nine building blocks.34 This blank canvas can serve as a
+It contains a "business model canvas," which conceives of a business
+model as having nine building blocks.[^The-New-World-of-Digital-Commons-34] This blank canvas can serve as a

 tool for anyone to design their own business model. We remixed this
 business model canvas into an open business model canvas, adding three
 more building blocks relevant to hybrid market, commons enterprises:
 tool for anyone to design their own business model. We remixed this
 business model canvas into an open business model canvas, adding three
 more building blocks relevant to hybrid market, commons enterprises:

-social good, Creative Commons license, and “type of open environment
-that the business fits in.”35 This enhanced canvas proved useful when we
+social good, Creative Commons license, and "type of open environment
+that the business fits in."[^The-New-World-of-Digital-Commons-35] This enhanced canvas proved useful when we

 analyzed businesses and helped start-ups plan their economic model.
 
 In our case study interviews, many expressed discomfort over describing
 analyzed businesses and helped start-ups plan their economic model.
 
 In our case study interviews, many expressed discomfort over describing

-themselves as an open business model—the term business model suggested
+themselves as an open business model---the term business model suggested

 primarily being situated in the market. Where you sit on the
 commons-to-market spectrum affects the extent to which you see yourself
 as a business in the market. The more central to the mission shared
 primarily being situated in the market. Where you sit on the
 commons-to-market spectrum affects the extent to which you see yourself
 as a business in the market. The more central to the mission shared


@@ -907,11 +907,11 @@ than carefully planned using a predefined model.
 
 The creators, businesses, and organizations we profile all engage with
 the market to generate revenue in some way. The ways in which this is
 
 The creators, businesses, and organizations we profile all engage with
 the market to generate revenue in some way. The ways in which this is

-done vary widely. Donations, pay what you can, memberships, “digital for
-free but physical for a fee,” crowdfunding, matchmaking, value-add
+done vary widely. Donations, pay what you can, memberships, "digital for
+free but physical for a fee," crowdfunding, matchmaking, value-add

 services, patrons . . . the list goes on and on. (Initial description of
 how to earn revenue available through reference note. For latest
 services, patrons . . . the list goes on and on. (Initial description of
 how to earn revenue available through reference note. For latest

-thinking see How to Bring In Money in the next section.) 36 There is no
+thinking see How to Bring In Money in the next section.)[^The-New-World-of-Digital-Commons-36] There is no

 single magic bullet, and each endeavor has devised ways that work for
 them. Most make use of more than one way. Diversifying revenue streams
 lowers risk and provides multiple paths to sustainability.
 single magic bullet, and each endeavor has devised ways that work for
 them. Most make use of more than one way. Diversifying revenue streams
 lowers risk and provides multiple paths to sustainability.


@@ -945,7 +945,7 @@ The commons maximizes participation. Resources in the commons can be
 used and contributed to by everyone. Using the resources of others,
 contributing your own, and mixing yours with others to create new works
 are all dynamic forms of participation made possible by the commons.
 used and contributed to by everyone. Using the resources of others,
 contributing your own, and mixing yours with others to create new works
 are all dynamic forms of participation made possible by the commons.

-Being Made with Creative Commons means you’re engaging as many users
+Being Made with Creative Commons means you're engaging as many users

 with your resources as possible. Users are also authoring, editing,
 remixing, curating, localizing, translating, and distributing. The
 commons makes it possible for people to directly participate in culture,
 with your resources as possible. Users are also authoring, editing,
 remixing, curating, localizing, translating, and distributing. The
 commons makes it possible for people to directly participate in culture,


@@ -959,7 +959,7 @@ imagined by the original creator. Some endeavors that are Made with
 Creative Commons deliberately encourage users to take the resources
 being shared and innovate them. Doing so moves research and development
 (R&D) from being solely inside the organization to being in the
 Creative Commons deliberately encourage users to take the resources
 being shared and innovate them. Doing so moves research and development
 (R&D) from being solely inside the organization to being in the

-community.37 Community-based innovation will keep an organization or
+community.[^The-New-World-of-Digital-Commons-37] Community-based innovation will keep an organization or

 business on its toes. It must continue to contribute new ideas, absorb
 and build on top of the innovations of others, and steward the resources
 and the relationship with the community.
 business on its toes. It must continue to contribute new ideas, absorb
 and build on top of the innovations of others, and steward the resources
 and the relationship with the community.


@@ -1049,11 +1049,11 @@ to a set of beliefs, values, and principles that underlie their actions:
 Give more than you take. Be open and inclusive. Add value. Make visible
 what you are using from the commons, what you are adding, and what you
 are monetizing. Maximize abundance. Give attribution. Express gratitude.
 Give more than you take. Be open and inclusive. Add value. Make visible
 what you are using from the commons, what you are adding, and what you
 are monetizing. Maximize abundance. Give attribution. Express gratitude.

-Develop trust; don’t exploit. Build relationship and community. Be
+Develop trust; don't exploit. Build relationship and community. Be

 transparent. Defend the commons.
 
 The new digital commons is here to stay. Made With Creative Commons case
 transparent. Defend the commons.
 
 The new digital commons is here to stay. Made With Creative Commons case

-studies show how it’s possible to be part of this commons while still
+studies show how it's possible to be part of this commons while still

 functioning within market and state systems. The commons generates
 benefits neither the market nor state can achieve on their own. Rather
 than the market or state dominating as primary means of resource
 functioning within market and state systems. The commons generates
 benefits neither the market nor state can achieve on their own. Rather
 than the market or state dominating as primary means of resource


@@ -1068,105 +1068,105 @@ further guidance and insights on how it works.
 
 ### Notes
 
 
 ### Notes
 

-1.  Jonathan Rowe, Our Common Wealth (San Francisco: Berrett-Koehler,
+[^The-New-World-of-Digital-Commons-1]:  Jonathan Rowe, Our Common Wealth (San Francisco: Berrett-Koehler,

     2013), 14.
     2013), 14.

-2.  David Bollier, Think Like a Commoner: A Short Introduction to the
+[^The-New-World-of-Digital-Commons-2]:  David Bollier, Think Like a Commoner: A Short Introduction to the

     Life of the Commons (Gabriola Island, BC: New Society, 2014), 176.
     Life of the Commons (Gabriola Island, BC: New Society, 2014), 176.

-3.  Ibid., 15.
-4.  Ibid., 145.
-5.  Ibid., 175.
-6.  Daniel H. Cole, “Learning from Lin: Lessons and Cautions from the
-    Natural Commons for the Knowledge Commons,” in Governing Knowledge
+[^The-New-World-of-Digital-Commons-3]:  Ibid., 15.
+[^The-New-World-of-Digital-Commons-4]:  Ibid., 145.
+[^The-New-World-of-Digital-Commons-5]:  Ibid., 175.
+[^The-New-World-of-Digital-Commons-6]:  Daniel H. Cole, "Learning from Lin: Lessons and Cautions from the
+    Natural Commons for the Knowledge Commons," in Governing Knowledge

     Commons, eds. Brett M. Frischmann, Michael J. Madison, and
     Katherine J. Strandburg (New York: Oxford University Press,
     2014), 53.
     Commons, eds. Brett M. Frischmann, Michael J. Madison, and
     Katherine J. Strandburg (New York: Oxford University Press,
     2014), 53.

-7.  Max Haiven, Crises of Imagination, Crises of Power: Capitalism,
+[^The-New-World-of-Digital-Commons-7]:  Max Haiven, Crises of Imagination, Crises of Power: Capitalism,

     Creativity and the Commons (New York: Zed Books, 2014), 93.
     Creativity and the Commons (New York: Zed Books, 2014), 93.

-8.  Cole, “Learning from Lin,” in Frischmann, Madison, and Strandburg,
+[^The-New-World-of-Digital-Commons-8]:  Cole, "Learning from Lin," in Frischmann, Madison, and Strandburg,

     Governing Knowledge Commons, 59.
     Governing Knowledge Commons, 59.

-9.  Bollier, Think Like a Commoner, 175.
-10. Joshua Farley and Ida Kubiszewski, “The Economics of Information in
-    a Post-Carbon Economy,” in Free Knowledge: Confronting the
+[^The-New-World-of-Digital-Commons-9]:  Bollier, Think Like a Commoner, 175.
+[^The-New-World-of-Digital-Commons-10]: Joshua Farley and Ida Kubiszewski, "The Economics of Information in
+    a Post-Carbon Economy," in Free Knowledge: Confronting the

     Commodification of Human Discovery, eds. Patricia W. Elliott and
     Daryl H. Hepting (Regina, SK: University of Regina Press, 2015),
     Commodification of Human Discovery, eds. Patricia W. Elliott and
     Daryl H. Hepting (Regina, SK: University of Regina Press, 2015),

-    201–4.
-11. Rowe, Our Common Wealth, 19; and Heather Menzies, Reclaiming the
+    201--4.
+[^The-New-World-of-Digital-Commons-11]: Rowe, Our Common Wealth, 19; and Heather Menzies, Reclaiming the

     Commons for the Common Good: A Memoir and Manifesto (Gabriola
     Commons for the Common Good: A Memoir and Manifesto (Gabriola

-    Island, BC: New Society, 2014), 42–43.
-12. Bollier, Think Like a Commoner, 55–78.
-13. Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a Legal
+    Island, BC: New Society, 2014), 42--43.
+[^The-New-World-of-Digital-Commons-12]: Bollier, Think Like a Commoner, 55--78.
+[^The-New-World-of-Digital-Commons-13]: Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a Legal

     System in Tune with Nature and Community (Oakland, CA:
     System in Tune with Nature and Community (Oakland, CA:

-    Berrett-Koehler, 2015), 46–57; and Bollier, Think Like a
+    Berrett-Koehler, 2015), 46--57; and Bollier, Think Like a

     Commoner, 88.
     Commoner, 88.

-14. Brett M. Frischmann, Michael J. Madison, and Katherine J.
-    Strandburg, “Governing Knowledge Commons,” in Frischmann, Madison,
+[^The-New-World-of-Digital-Commons-14]: Brett M. Frischmann, Michael J. Madison, and Katherine J.
+    Strandburg, "Governing Knowledge Commons," in Frischmann, Madison,

     and Strandburg Governing Knowledge Commons, 12.
     and Strandburg Governing Knowledge Commons, 12.

-15. Farley and Kubiszewski, “Economics of Information,” in Elliott and
+[^The-New-World-of-Digital-Commons-15]: Farley and Kubiszewski, "Economics of Information," in Elliott and

     Hepting, Free Knowledge, 203.
     Hepting, Free Knowledge, 203.

-16. “What Is Free Software?” GNU Operating System, the Free Software
-    Foundation’s Licensing and Compliance Lab, accessed December 30,
-    2016, www.gnu.org/philosophy/free-sw.
-17. Wikipedia, s.v. “Open-source software,” last modified November
+[^The-New-World-of-Digital-Commons-16]: "What Is Free Software?" GNU Operating System, the Free Software
+    Foundation's Licensing and Compliance Lab, accessed December 30,
+    2016, [](http://www.gnu.org/philosophy/free-sw).
+[^The-New-World-of-Digital-Commons-17]: Wikipedia, s.v. "Open-source software," last modified November

     22, 2016.
     22, 2016.

-18. Eric S. Raymond, “The Magic Cauldron,” in The Cathedral and the
+[^The-New-World-of-Digital-Commons-18]: Eric S. Raymond, "The Magic Cauldron," in The Cathedral and the

     Bazaar: Musings on Linux and Open Source by an Accidental
     Bazaar: Musings on Linux and Open Source by an Accidental

-    Revolutionary, rev. ed. (Sebastopol, CA: O’Reilly Media, 2001),
-    www.catb.org/esr/writings/cathedral-bazaar/.
-19. New York Times Customer Insight Group, The Psychology of Sharing:
+    Revolutionary, rev. ed. (Sebastopol, CA: O'Reilly Media, 2001),
+    [](http://www.catb.org/esr/writings/cathedral-bazaar/).
+[^The-New-World-of-Digital-Commons-19]: New York Times Customer Insight Group, The Psychology of Sharing:

     Why Do People Share Online? (New York: New York Times Customer
     Why Do People Share Online? (New York: New York Times Customer

-    Insight Group, 2011), www.iab.net/media/file/POSWhitePaper.pdf.
-20. “Licensing Considerations,” Creative Commons, accessed December 30,
-    2016, creativecommons.org/share-your-work/licensing-considerations/.
-21. Creative Commons, 2015 State of the Commons (Mountain View, CA:
-    Creative Commons, 2015), stateof.creativecommons.org/2015/.
-22. Wikipedia, s.v. “Open Government Partnership,” last modified
+    Insight Group, 2011), [](http://www.iab.net/media/file/POSWhitePaper.pdf).
+[^The-New-World-of-Digital-Commons-20]: "Licensing Considerations," Creative Commons, accessed December 30,
+    2016, [](http://creativecommons.org/share-your-work/licensing-considerations/).
+[^The-New-World-of-Digital-Commons-21]: Creative Commons, 2015 State of the Commons (Mountain View, CA:
+    Creative Commons, 2015), [](http://stateof.creativecommons.org/2015/).
+[^The-New-World-of-Digital-Commons-22]: Wikipedia, s.v. "Open Government Partnership," last modified

     September 24, 2016,
     September 24, 2016,

-    en.wikipedia.org/wiki/Open\_Government\_Partnership.
-23. Capra and Mattei, Ecology of Law, 114.
-24. Ibid., 116.
-25. The Swedish International Development Cooperation Agency, “Stockholm
-    Statement” accessed February 15, 2017,
-    sida.se/globalassets/sida/eng/press/stockholm-statement.pdf
-26. City of Bologna, Regulation on Collaboration between Citizens and
+    [](http://en.wikipedia.org/wiki/Open\_Government\_Partnership).
+[^The-New-World-of-Digital-Commons-23]: Capra and Mattei, Ecology of Law, 114.
+[^The-New-World-of-Digital-Commons-24]: Ibid., 116.
+[^The-New-World-of-Digital-Commons-25]: The Swedish International Development Cooperation Agency, "Stockholm
+    Statement" accessed February 15, 2017,
+    [](http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf)
+[^The-New-World-of-Digital-Commons-26]: City of Bologna, Regulation on Collaboration between Citizens and

     the City for the Care and Regeneration of Urban Commons, trans.
     LabGov (LABoratory for the GOVernance of Commons) (Bologna, Italy:
     City of Bologna, 2014),
     the City for the Care and Regeneration of Urban Commons, trans.
     LabGov (LABoratory for the GOVernance of Commons) (Bologna, Italy:
     City of Bologna, 2014),

-    www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf.
-27. The Seoul Sharing City website is english.sharehub.kr; for Amsterdam
-    Sharing City, go to www.sharenl.nl/amsterdam-sharing-city/.
-28. Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New
+    [](http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf).
+[^The-New-World-of-Digital-Commons-27]: The Seoul Sharing City website is [](http://english.sharehub.kr); for Amsterdam
+    Sharing City, go to [](http://www.sharenl.nl/amsterdam-sharing-city/).
+[^The-New-World-of-Digital-Commons-28]: Tom Slee, What's Yours Is Mine: Against the Sharing Economy (New

     York: OR Books, 2015), 42.
     York: OR Books, 2015), 42.

-29. Chris Anderson, Free: How Today’s Smartest Businesses Profit by
+[^The-New-World-of-Digital-Commons-29]: Chris Anderson, Free: How Today's Smartest Businesses Profit by

     Giving Something for Nothing, Reprint with new preface. (New York:
     Hyperion, 2010), 78.
     Giving Something for Nothing, Reprint with new preface. (New York:
     Hyperion, 2010), 78.

-30. Jeremy Rifkin, The Zero Marginal Cost Society: The Internet of
+[^The-New-World-of-Digital-Commons-30]: Jeremy Rifkin, The Zero Marginal Cost Society: The Internet of

     Things, the Collaborative Commons, and the Eclipse of Capitalism
     (New York: Palgrave Macmillan, 2014), 273.
     Things, the Collaborative Commons, and the Eclipse of Capitalism
     (New York: Palgrave Macmillan, 2014), 273.

-31. Gar Alperovitz, What Then Must We Do? Straight Talk about the Next
+[^The-New-World-of-Digital-Commons-31]: Gar Alperovitz, What Then Must We Do? Straight Talk about the Next

     American Revolution: Democratizing Wealth and Building a
     Community-Sustaining Economy from the Ground Up (White River
     Junction, VT: Chelsea Green, 2013), 39.
     American Revolution: Democratizing Wealth and Building a
     Community-Sustaining Economy from the Ground Up (White River
     Junction, VT: Chelsea Green, 2013), 39.

-32. Marjorie Kelly, Owning Our Future: The Emerging Ownership
+[^The-New-World-of-Digital-Commons-32]: Marjorie Kelly, Owning Our Future: The Emerging Ownership

     Revolution; Journeys to a Generative Economy (San Francisco:
     Revolution; Journeys to a Generative Economy (San Francisco:

-    Berrett-Koehler, 2012), 8–9.
-33. Alex Osterwalder and Yves Pigneur, Business Model Generation
+    Berrett-Koehler, 2012), 8--9.
+[^The-New-World-of-Digital-Commons-33]: Alex Osterwalder and Yves Pigneur, Business Model Generation

     (Hoboken, NJ: John Wiley and Sons, 2010). A preview of the book is
     (Hoboken, NJ: John Wiley and Sons, 2010). A preview of the book is

-    available at strategyzer.com/books/business-model-generation.
-34. This business model canvas is available to download at
-    strategyzer.com/canvas/business-model-canvas.
-35. We’ve made the “Open Business Model Canvas,” designed by the
+    available at [](http://strategyzer.com/books/business-model-generation).
+[^The-New-World-of-Digital-Commons-34]: This business model canvas is available to download at
+    [](http://strategyzer.com/canvas/business-model-canvas).
+[^The-New-World-of-Digital-Commons-35]: We've made the "Open Business Model Canvas," designed by the

     coauthor Paul Stacey, available online at
     coauthor Paul Stacey, available online at

-    docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit.
+    [](http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit).

     You can also find the accompanying Open Business Model Canvas
     Questions at
     You can also find the accompanying Open Business Model Canvas
     Questions at

-    docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit.
-36. A more comprehensive list of revenue streams is available in this
-    post I wrote on Medium on March 6, 2016. “What Is an Open Business
-    Model and How Can You Generate Revenue?”, available at
-    medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15.
-37. Henry Chesbrough, Open Innovation: The New Imperative for Creating
+    [](http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit).
+[^The-New-World-of-Digital-Commons-36]: A more comprehensive list of revenue streams is available in this
+    post I wrote on Medium on March 6, 2016. "What Is an Open Business
+    Model and How Can You Generate Revenue?", available at
+    [](http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15).
+[^The-New-World-of-Digital-Commons-37]: Henry Chesbrough, Open Innovation: The New Imperative for Creating

     and Profiting from Technology (Boston: Harvard Business Review
     and Profiting from Technology (Boston: Harvard Business Review

-    Press, 2006), 31–44.
+    Press, 2006), 31--44.

 
 ## How to Be Made with Creative Commons
 
 
 ## How to Be Made with Creative Commons
 


@@ -1174,17 +1174,17 @@ Sarah Hinchliff Pearson
 
 When we began this project in August 2015, we set out to write a book
 about business models that involve Creative Commons licenses in some
 
 When we began this project in August 2015, we set out to write a book
 about business models that involve Creative Commons licenses in some

-significant way—what we call being Made with Creative Commons. With the
-help of our Kickstarter backers, we chose twenty-four endeavors from all
-around the world that are Made with Creative Commons. The mix is
+significant way---what we call being Made with Creative Commons. With
+the help of our Kickstarter backers, we chose twenty-four endeavors from
+all around the world that are Made with Creative Commons. The mix is

 diverse, from an individual musician to a university-textbook publisher
 to an electronics manufacturer. Some make their own content and share
 under Creative Commons licensing. Others are platforms for CC-licensed
 creative work made by others. Many sit somewhere in between, both using
 diverse, from an individual musician to a university-textbook publisher
 to an electronics manufacturer. Some make their own content and share
 under Creative Commons licensing. Others are platforms for CC-licensed
 creative work made by others. Many sit somewhere in between, both using

-and contributing creative work that’s shared with the public. Like all
-who use the licenses, these endeavors share their work—whether it’s open
-data or furniture designs—in a way that enables the public not only to
-access it but also to make use of it.
+and contributing creative work that's shared with the public. Like all
+who use the licenses, these endeavors share their work---whether it's
+open data or furniture designs---in a way that enables the public not
+only to access it but also to make use of it.

 
 We analyzed the revenue models, customer segments, and value
 propositions of each endeavor. We searched for ways that putting their
 
 We analyzed the revenue models, customer segments, and value
 propositions of each endeavor. We searched for ways that putting their


@@ -1199,21 +1199,21 @@ In fairly short order, we realized the book we set out to write was
 quite different from the one that was revealing itself in our interviews
 and research.
 
 quite different from the one that was revealing itself in our interviews
 and research.
 

-It isn’t that we were wrong to think you can make money while using
+It isn't that we were wrong to think you can make money while using

 Creative Commons licenses. In many instances, CC can help make you more
 money. Nor were we wrong that there are business models out there that
 others who want to use CC licensing as part of their livelihood or
 Creative Commons licenses. In many instances, CC can help make you more
 money. Nor were we wrong that there are business models out there that
 others who want to use CC licensing as part of their livelihood or

-business could replicate. What we didn’t realize was just how misguided
+business could replicate. What we didn't realize was just how misguided

 it would be to write a book about being Made with Creative Commons using
 only a business lens.
 
 According to the seminal handbook Business Model Generation, a business
 it would be to write a book about being Made with Creative Commons using
 only a business lens.
 
 According to the seminal handbook Business Model Generation, a business

-model “describes the rationale of how an organization creates, delivers,
-and captures value.”1 Thinking about sharing in terms of creating and
+model "describes the rationale of how an organization creates, delivers,
+and captures value."[^How-to-Be-Made-with-Creative-Commons-1] Thinking about sharing in terms of creating and

 capturing value always felt inappropriately transactional and out of
 place, something we heard time and time again in our interviews. And as
 capturing value always felt inappropriately transactional and out of
 place, something we heard time and time again in our interviews. And as

-Cory Doctorow told us in our interview with him, “Business model can
-mean anything you want it to mean.”
+Cory Doctorow told us in our interview with him, "Business model can
+mean anything you want it to mean."

 
 Eventually, we got it. Being Made with Creative Commons is more than a
 business model. While we will talk about specific revenue models as one
 
 Eventually, we got it. Being Made with Creative Commons is more than a
 business model. While we will talk about specific revenue models as one


@@ -1225,7 +1225,7 @@ up our writing after finishing the research, my charge was to distill
 everything we learned from the case studies and write up the practical
 lessons and takeaways. I spent months trying to jam what we learned into
 the business-model box, convinced there must be some formula for the way
 everything we learned from the case studies and write up the practical
 lessons and takeaways. I spent months trying to jam what we learned into
 the business-model box, convinced there must be some formula for the way

-things interacted. But there is no formula. You’ll probably have to
+things interacted. But there is no formula. You'll probably have to

 discard that way of thinking before you read any further.
 
 In every interview, we started from the same simple questions. Amid all
 discard that way of thinking before you read any further.
 
 In every interview, we started from the same simple questions. Amid all


@@ -1258,10 +1258,10 @@ shared culture. They reflect a belief in the promise of sharing.
 Whether the public makes use of the opportunity to copy and adapt your
 work, sharing with a Creative Commons license is a symbol of how you
 want to interact with the people who consume your work. Whenever you
 Whether the public makes use of the opportunity to copy and adapt your
 work, sharing with a Creative Commons license is a symbol of how you
 want to interact with the people who consume your work. Whenever you

-create something, “all rights reserved” under copyright is automatic, so
+create something, "all rights reserved" under copyright is automatic, so

 the copyright symbol (©) on the work does not necessarily come across as
 a marker of distrust or excessive protectionism. But using a CC license
 the copyright symbol (©) on the work does not necessarily come across as
 a marker of distrust or excessive protectionism. But using a CC license

-can be a symbol of the opposite—of wanting a real human relationship,
+can be a symbol of the opposite---of wanting a real human relationship,

 rather than an impersonal market transaction. It leaves open the
 possibility of connection.
 
 rather than an impersonal market transaction. It leaves open the
 possibility of connection.
 


@@ -1273,21 +1273,21 @@ Most have a deeper purpose and a different vision of success.
 
 The driving motivation varies depending on the type of endeavor. For
 individual creators, it is most often about personal inspiration. In
 
 The driving motivation varies depending on the type of endeavor. For
 individual creators, it is most often about personal inspiration. In

-some ways, this is nothing new. As Doctorow has written, “Creators
-usually start doing what they do for love.”2 But when you share your
+some ways, this is nothing new. As Doctorow has written, "Creators
+usually start doing what they do for love."[^How-to-Be-Made-with-Creative-Commons-2] But when you share your

 creative work under a CC license, that dynamic is even more pronounced.
 Similarly, for technological innovators, it is often less about creating
 a specific new thing that will make you rich and more about solving a
 specific problem you have. The creators of Arduino told us that the key
 creative work under a CC license, that dynamic is even more pronounced.
 Similarly, for technological innovators, it is often less about creating
 a specific new thing that will make you rich and more about solving a
 specific problem you have. The creators of Arduino told us that the key

-question when creating something is “Do you as the creator want to use
-it? It has to have personal use and meaning.”
+question when creating something is "Do you as the creator want to use
+it? It has to have personal use and meaning."

 
 Many that are Made with Creative Commons have an express social mission
 that underpins everything they do. In many cases, sharing with Creative
 Commons expressly advances that social mission, and using the licenses
 can be the difference between legitimacy and hypocrisy. Noun Project
 co-founder Edward Boatman told us they could not have stated their
 
 Many that are Made with Creative Commons have an express social mission
 that underpins everything they do. In many cases, sharing with Creative
 Commons expressly advances that social mission, and using the licenses
 can be the difference between legitimacy and hypocrisy. Noun Project
 co-founder Edward Boatman told us they could not have stated their

-social mission of sharing with a straight face if they weren’t willing
+social mission of sharing with a straight face if they weren't willing

 to show the world that it was OK to share their content using a Creative
 Commons license.
 
 to show the world that it was OK to share their content using a Creative
 Commons license.
 


@@ -1299,7 +1299,7 @@ itself. Being Made with Creative Commons is a different vision of a
 business or livelihood, where profit is not paramount, and producing
 social good and human connection are integral to success.
 
 business or livelihood, where profit is not paramount, and producing
 social good and human connection are integral to success.
 

-Even if profit isn’t the end goal, you have to bring in money to be
+Even if profit isn't the end goal, you have to bring in money to be

 successfully Made with Creative Commons. At a bare minimum, you have to
 make enough money to keep the lights on.
 
 successfully Made with Creative Commons. At a bare minimum, you have to
 make enough money to keep the lights on.
 


@@ -1307,26 +1307,26 @@ The costs of doing business vary widely for those made with CC, but
 there is generally a much lower threshold for sustainability than there
 used to be for any creative endeavor. Digital technology has made it
 easier than ever to create, and easier than ever to distribute. As
 there is generally a much lower threshold for sustainability than there
 used to be for any creative endeavor. Digital technology has made it
 easier than ever to create, and easier than ever to distribute. As

-Doctorow put it in his book Information Doesn’t Want to Be Free, “If
+Doctorow put it in his book Information Doesn't Want to Be Free, "If

 analog dollars have turned into digital dimes (as the critics of
 analog dollars have turned into digital dimes (as the critics of

-ad-supported media have it), there is the fact that it’s possible to run
+ad-supported media have it), there is the fact that it's possible to run

 a business that gets the same amount of advertising as its forebears at
 a business that gets the same amount of advertising as its forebears at

-a fraction of the price.”
+a fraction of the price."

 
 Some creation costs are the same as they always were. It takes the same
 amount of time and money to write a peer-reviewed journal article or
 
 Some creation costs are the same as they always were. It takes the same
 amount of time and money to write a peer-reviewed journal article or

-paint a painting. Technology can’t change that. But other costs are
+paint a painting. Technology can't change that. But other costs are

 dramatically reduced by technology, particularly in production-heavy
 dramatically reduced by technology, particularly in production-heavy

-domains like filmmaking.3 CC-licensed content and content in the public
+domains like filmmaking.[^How-to-Be-Made-with-Creative-Commons-3] CC-licensed content and content in the public

 domain, as well as the work of volunteer collaborators, can also
 domain, as well as the work of volunteer collaborators, can also

-dramatically reduce costs if they’re being used as resources to create
+dramatically reduce costs if they're being used as resources to create

 something new. And, of course, there is the reality that some content
 would be created whether or not the creator is paid because it is a
 labor of love.
 
 Distributing content is almost universally cheaper than ever. Once
 content is created, the costs to distribute copies digitally are
 something new. And, of course, there is the reality that some content
 would be created whether or not the creator is paid because it is a
 labor of love.
 
 Distributing content is almost universally cheaper than ever. Once
 content is created, the costs to distribute copies digitally are

-essentially zero.4 The costs to distribute physical copies are still
+essentially zero.[^How-to-Be-Made-with-Creative-Commons-4] The costs to distribute physical copies are still

 significant, but lower than they have been historically. And it is now
 much easier to print and distribute physical copies on-demand, which
 also reduces costs. Depending on the endeavor, there can be a whole host
 significant, but lower than they have been historically. And it is now
 much easier to print and distribute physical copies on-demand, which
 also reduces costs. Depending on the endeavor, there can be a whole host


@@ -1334,29 +1334,29 @@ of other possible expenses like marketing and promotion, and even
 expenses associated with the various ways money is being made, like
 touring or custom training.
 
 expenses associated with the various ways money is being made, like
 touring or custom training.
 

-It’s important to recognize that the biggest impact of technology on
+It's important to recognize that the biggest impact of technology on

 creative endeavors is that creators can now foot the costs of creation
 and distribution themselves. People now often have a direct route to
 their potential public without necessarily needing intermediaries like
 creative endeavors is that creators can now foot the costs of creation
 and distribution themselves. People now often have a direct route to
 their potential public without necessarily needing intermediaries like

-record labels and book publishers. Doctorow wrote, “If you’re a creator
+record labels and book publishers. Doctorow wrote, "If you're a creator

 who never got the time of day from one of the great imperial powers,
 this is your time. Where once you had no means of reaching an audience
 without the assistance of the industry-dominating megacompanies, now you
 who never got the time of day from one of the great imperial powers,
 this is your time. Where once you had no means of reaching an audience
 without the assistance of the industry-dominating megacompanies, now you

-have hundreds of ways to do it without them.”5 Previously, distribution
+have hundreds of ways to do it without them."[^How-to-Be-Made-with-Creative-Commons-5] Previously, distribution

 of creative work involved the costs associated with sustaining a
 monolithic entity, now creators can do the work themselves. That means
 the financial needs of creative endeavors can be a lot more modest.
 
 of creative work involved the costs associated with sustaining a
 monolithic entity, now creators can do the work themselves. That means
 the financial needs of creative endeavors can be a lot more modest.
 

-Whether for an individual creator or a larger endeavor, it usually isn’t
-enough to break even if you want to make what you’re doing a livelihood.
+Whether for an individual creator or a larger endeavor, it usually isn't
+enough to break even if you want to make what you're doing a livelihood.

 You need to build in some support for the general operation. This extra
 bit looks different for everyone, but importantly, in nearly all cases
 You need to build in some support for the general operation. This extra
 bit looks different for everyone, but importantly, in nearly all cases

-for those Made with Creative Commons, the definition of “enough money”
+for those Made with Creative Commons, the definition of "enough money"

 looks a lot different than it does in the world of venture capital and
 stock options. It is more about sustainability and less about unlimited
 looks a lot different than it does in the world of venture capital and
 stock options. It is more about sustainability and less about unlimited

-growth and profit. SparkFun founder Nathan Seidle told us, “Business
+growth and profit. SparkFun founder Nathan Seidle told us, "Business

 model is a really grandiose word for it. It is really just about keeping
 model is a really grandiose word for it. It is really just about keeping

-the operation going day to day.”
+the operation going day to day."

 
 This book is a testament to the notion that it is possible to make money
 while using CC licenses and CC-licensed content, but we are still very
 
 This book is a testament to the notion that it is possible to make money
 while using CC licenses and CC-licensed content, but we are still very


@@ -1366,54 +1366,55 @@ real time as they pursue this new way of operating.
 
 There are, however, plenty of ways in which CC licensing can be good for
 business in fairly predictable ways. The first is how it helps solve
 
 There are, however, plenty of ways in which CC licensing can be good for
 business in fairly predictable ways. The first is how it helps solve

-“problem zero.”
+"problem zero."

 
 ### Problem Zero: Getting Discovered
 
 Once you create or collect your content, the next step is finding users,
 
 ### Problem Zero: Getting Discovered
 
 Once you create or collect your content, the next step is finding users,

-customers, fans—in other words, your people. As Amanda Palmer wrote, “It
-has to start with the art. The songs had to touch people initially, and
-mean something, for anything to work at all.”6 There isn’t any magic to
-finding your people, and there is certainly no formula. Your work has to
-connect with people and offer them some artistic and/or utilitarian
+customers, fans---in other words, your people. As Amanda Palmer wrote,
+"It has to start with the art. The songs had to touch people initially,
+and mean something, for anything to work at all."[^How-to-Be-Made-with-Creative-Commons-6] There isn't any magic
+to finding your people, and there is certainly no formula. Your work has
+to connect with people and offer them some artistic and/or utilitarian

 value. In some ways, this is easier than ever. Online we are not limited
 by shelf space, so there is room for every obscure interest, taste, and
 need imaginable. This is what Chris Anderson dubbed the Long Tail, where
 value. In some ways, this is easier than ever. Online we are not limited
 by shelf space, so there is room for every obscure interest, taste, and
 need imaginable. This is what Chris Anderson dubbed the Long Tail, where

-consumption becomes less about mainstream mass “hits” and more about
-micromarkets for every particular niche. As Anderson wrote, “We are all
+consumption becomes less about mainstream mass "hits" and more about
+micromarkets for every particular niche. As Anderson wrote, "We are all

 different, with different wants and needs, and the Internet now has a
 different, with different wants and needs, and the Internet now has a

-place for all of them in the way that physical markets did not.”7 We are
+place for all of them in the way that physical markets did not."[^How-to-Be-Made-with-Creative-Commons-7] We are

 no longer limited to what appeals to the masses.
 
 no longer limited to what appeals to the masses.
 

-While finding “your people” online is theoretically easier than in the
+While finding "your people" online is theoretically easier than in the

 analog world, as a practical matter it can still be difficult to
 actually get noticed. The Internet is a firehose of content, one that
 only grows larger by the minute. As a content creator, not only are you
 competing for attention against more content creators than ever before,
 you are competing against creativity generated outside the market as
 analog world, as a practical matter it can still be difficult to
 actually get noticed. The Internet is a firehose of content, one that
 only grows larger by the minute. As a content creator, not only are you
 competing for attention against more content creators than ever before,
 you are competing against creativity generated outside the market as

-well.8 Anderson wrote, “The greatest change of the past decade has been
+well.[^How-to-Be-Made-with-Creative-Commons-8] Anderson wrote, "The greatest change of the past decade has been

 the shift in time people spend consuming amateur content instead of
 the shift in time people spend consuming amateur content instead of

-professional content.”9 To top it all off, you have to compete against
-the rest of their lives, too—“friends, family, music playlists, soccer
-games, and nights on the town.”10 Somehow, some way, you have to get
+professional content."[^How-to-Be-Made-with-Creative-Commons-9] To top it all off, you have to compete against
+the rest of their lives, too---"friends, family, music playlists, soccer
+games, and nights on the town."[^How-to-Be-Made-with-Creative-Commons-10] Somehow, some way, you have to get

 noticed by the right people.
 
 When you come to the Internet armed with an all-rights-reserved
 mentality from the start, you are often restricting access to your work
 before there is even any demand for it. In many cases, requiring payment
 for your work is part of the traditional copyright system. Even a tiny
 noticed by the right people.
 
 When you come to the Internet armed with an all-rights-reserved
 mentality from the start, you are often restricting access to your work
 before there is even any demand for it. In many cases, requiring payment
 for your work is part of the traditional copyright system. Even a tiny

-cost has a big effect on demand. It’s called the penny gap—the large
+cost has a big effect on demand. It's called the penny gap---the large

 difference in demand between something that is available at the price of
 difference in demand between something that is available at the price of

-one cent versus the price of zero.11 That doesn’t mean it is wrong to
+one cent versus the price of zero.[^How-to-Be-Made-with-Creative-Commons-11] That doesn't mean it is wrong to

 charge money for your content. It simply means you need to recognize the
 effect that doing so will have on demand. The same principle applies to
 restricting access to copy the work. If your problem is how to get
 charge money for your content. It simply means you need to recognize the
 effect that doing so will have on demand. The same principle applies to
 restricting access to copy the work. If your problem is how to get

-discovered and find “your people,” prohibiting people from copying your
+discovered and find "your people," prohibiting people from copying your

 work and sharing it with others is counterproductive.
 
 work and sharing it with others is counterproductive.
 

-Of course, it’s not that being discovered by people who like your work
-will make you rich—far from it. But as Cory Doctorow says, “Recognition
-is one of many necessary preconditions for artistic success.”12
+Of course, it's not that being discovered by people who like your work
+will make you rich---far from it. But as Cory Doctorow says,
+"Recognition is one of many necessary preconditions for artistic
+success."[^How-to-Be-Made-with-Creative-Commons-12]

 
 Choosing not to spend time and energy restricting access to your work
 and policing infringement also builds goodwill. Lumen Learning, a
 
 Choosing not to spend time and energy restricting access to your work
 and policing infringement also builds goodwill. Lumen Learning, a


@@ -1427,24 +1428,24 @@ of goodwill within the community.
 It is not just that restricting access to your work may undermine your
 social mission. It also may alienate the people who most value your
 creative work. If people like your work, their natural instinct will be
 It is not just that restricting access to your work may undermine your
 social mission. It also may alienate the people who most value your
 creative work. If people like your work, their natural instinct will be

-to share it with others. But as David Bollier wrote, “Our natural human
-impulses to imitate and share—the essence of culture—have been
-criminalized.”13
+to share it with others. But as David Bollier wrote, "Our natural human
+impulses to imitate and share---the essence of culture---have been
+criminalized."[^How-to-Be-Made-with-Creative-Commons-13]

 
 The fact that copying can carry criminal penalties undoubtedly deters
 copying it, but copying with the click of a button is too easy and
 convenient to ever fully stop it. Try as the copyright industry might to
 
 The fact that copying can carry criminal penalties undoubtedly deters
 copying it, but copying with the click of a button is too easy and
 convenient to ever fully stop it. Try as the copyright industry might to

-persuade us otherwise, copying a copyrighted work just doesn’t feel like
-stealing a loaf of bread. And, of course, that’s because it isn’t.
-Sharing a creative work has no impact on anyone else’s ability to make
+persuade us otherwise, copying a copyrighted work just doesn't feel like
+stealing a loaf of bread. And, of course, that's because it isn't.
+Sharing a creative work has no impact on anyone else's ability to make

 use of it.
 
 If you take some amount of copying and sharing your work as a given, you
 can invest your time and resources elsewhere, rather than wasting them
 on playing a cat and mouse game with people who want to copy and share
 use of it.
 
 If you take some amount of copying and sharing your work as a given, you
 can invest your time and resources elsewhere, rather than wasting them
 on playing a cat and mouse game with people who want to copy and share

-your work. Lizzy Jongma from the Rijksmuseum said, “We could spend a lot
+your work. Lizzy Jongma from the Rijksmuseum said, "We could spend a lot

 of money trying to protect works, but people are going to do it anyway.
 of money trying to protect works, but people are going to do it anyway.

-And they will use bad-quality versions.” Instead, they started releasing
+And they will use bad-quality versions." Instead, they started releasing

 high-resolution digital copies of their collection into the public
 domain and making them available for free on their website. For them,
 sharing was a form of quality control over the copies that were
 high-resolution digital copies of their collection into the public
 domain and making them available for free on their website. For them,
 sharing was a form of quality control over the copies that were


@@ -1455,15 +1456,15 @@ for them.
 
 Being Made with Creative Commons means you stop thinking about ways to
 artificially make your content scarce, and instead leverage it as the
 
 Being Made with Creative Commons means you stop thinking about ways to
 artificially make your content scarce, and instead leverage it as the

-potentially abundant resource it is.14 When you see information
+potentially abundant resource it is.[^How-to-Be-Made-with-Creative-Commons-14] When you see information

 abundance as a feature, not a bug, you start thinking about the ways to
 use the idling capacity of your content to your advantage. As my friend
 abundance as a feature, not a bug, you start thinking about the ways to
 use the idling capacity of your content to your advantage. As my friend

-and colleague Eric Steuer once said, “Using CC licenses shows you get
-the Internet.”
+and colleague Eric Steuer once said, "Using CC licenses shows you get
+the Internet."

 
 Cory Doctorow says it costs him nothing when other people make copies of
 his work, and it opens the possibility that he might get something in
 
 Cory Doctorow says it costs him nothing when other people make copies of
 his work, and it opens the possibility that he might get something in

-return.15 Similarly, the makers of the Arduino boards knew it was
+return.[^How-to-Be-Made-with-Creative-Commons-15] Similarly, the makers of the Arduino boards knew it was

 impossible to stop people from copying their hardware, so they decided
 not to even try and instead look for the benefits of being open. For
 them, the result is one of the most ubiquitous pieces of hardware in the
 impossible to stop people from copying their hardware, so they decided
 not to even try and instead look for the benefits of being open. For
 them, the result is one of the most ubiquitous pieces of hardware in the


@@ -1475,14 +1476,14 @@ your benefit. Here are a few.
 
 #### Use CC to grow a larger audience
 
 
 #### Use CC to grow a larger audience
 

-Putting a Creative Commons license on your content won’t make it
+Putting a Creative Commons license on your content won't make it

 automatically go viral, but eliminating legal barriers to copying the
 automatically go viral, but eliminating legal barriers to copying the

-work certainly can’t hurt the chances that your work will be shared. The
+work certainly can't hurt the chances that your work will be shared. The

 CC license symbolizes that sharing is welcome. It can act as a little
 CC license symbolizes that sharing is welcome. It can act as a little

-tap on the shoulder to those who come across the work—a nudge to copy
+tap on the shoulder to those who come across the work---a nudge to copy

 the work if they have any inkling of doing so. All things being equal,
 if one piece of content has a sign that says Share and the other says
 the work if they have any inkling of doing so. All things being equal,
 if one piece of content has a sign that says Share and the other says

-Don’t Share (which is what “©” means), which do you think people are
+Don't Share (which is what "©" means), which do you think people are

 more likely to share?
 
 The Conversation is an online news site with in-depth articles written
 more likely to share?
 
 The Conversation is an online news site with in-depth articles written


@@ -1494,10 +1495,10 @@ as possible.
 
 The idea that more eyeballs equates with more success is a form of the
 max strategy, adopted by Google and other technology companies.
 
 The idea that more eyeballs equates with more success is a form of the
 max strategy, adopted by Google and other technology companies.

-According to Google’s Eric Schmidt, the idea is simple: “Take whatever
+According to Google's Eric Schmidt, the idea is simple: "Take whatever

 it is you are doing and do it at the max in terms of distribution. The
 other way of saying this is that since marginal cost of distribution is
 it is you are doing and do it at the max in terms of distribution. The
 other way of saying this is that since marginal cost of distribution is

-free, you might as well put things everywhere.”16 This strategy is what
+free, you might as well put things everywhere."[^How-to-Be-Made-with-Creative-Commons-16] This strategy is what

 often motivates companies to make their products and services free
 (i.e., no cost), but the same logic applies to making content freely
 shareable. Because CC-licensed content is free (as in cost) and can be
 often motivates companies to make their products and services free
 (i.e., no cost), but the same logic applies to making content freely
 shareable. Because CC-licensed content is free (as in cost) and can be


@@ -1507,10 +1508,10 @@ spread.
 If you are successful in reaching more users, readers, listeners, or
 other consumers of your work, you can start to benefit from the
 bandwagon effect. The simple fact that there are other people consuming
 If you are successful in reaching more users, readers, listeners, or
 other consumers of your work, you can start to benefit from the
 bandwagon effect. The simple fact that there are other people consuming

-or following your work spurs others to want to do the same.17 This is,
+or following your work spurs others to want to do the same.[^How-to-Be-Made-with-Creative-Commons-17] This is,

 in part, because we simply have a tendency to engage in herd behavior,
 but it is also because a large following is at least a partial indicator
 in part, because we simply have a tendency to engage in herd behavior,
 but it is also because a large following is at least a partial indicator

-of quality or usefulness.18
+of quality or usefulness.[^How-to-Be-Made-with-Creative-Commons-18]

 
 #### Use CC to get attribution and name recognition
 
 
 #### Use CC to get attribution and name recognition
 


@@ -1523,7 +1524,7 @@ norms. In fact, it is social norms, rather than the threat of legal
 enforcement, that most often motivate people to provide attribution and
 otherwise comply with the CC license terms anyway. This is the mark of
 any well-functioning community, within both the marketplace and the
 enforcement, that most often motivate people to provide attribution and
 otherwise comply with the CC license terms anyway. This is the mark of
 any well-functioning community, within both the marketplace and the

-society at large.19 CC licenses reflect a set of wishes on the part of
+society at large.[^How-to-Be-Made-with-Creative-Commons-19] CC licenses reflect a set of wishes on the part of

 creators, and in the vast majority of circumstances, people are
 naturally inclined to follow those wishes. This is particularly the case
 for something as straightforward and consistent with basic notions of
 creators, and in the vast majority of circumstances, people are
 naturally inclined to follow those wishes. This is particularly the case
 for something as straightforward and consistent with basic notions of


@@ -1542,15 +1543,15 @@ with CC is a way of having the most people see and cite your work.
 
 Attribution can be about more than just receiving credit. It can also be
 about establishing provenance. People naturally want to know where
 
 Attribution can be about more than just receiving credit. It can also be
 about establishing provenance. People naturally want to know where

-content came from—the source of a work is sometimes just as interesting
-as the work itself. Opendesk is a platform for furniture designers to
-share their designs. Consumers who like those designs can then get
-matched with local makers who turn the designs into real-life furniture.
-The fact that I, sitting in the middle of the United States, can pick
-out a design created by a designer in Tokyo and then use a maker within
-my own community to transform the design into something tangible is part
-of the power of their platform. The provenance of the design is a
-special part of the product.
+content came from---the source of a work is sometimes just as
+interesting as the work itself. Opendesk is a platform for furniture
+designers to share their designs. Consumers who like those designs can
+then get matched with local makers who turn the designs into real-life
+furniture. The fact that I, sitting in the middle of the United States,
+can pick out a design created by a designer in Tokyo and then use a
+maker within my own community to transform the design into something
+tangible is part of the power of their platform. The provenance of the
+design is a special part of the product.

 
 Knowing the source of a work is also critical to ensuring its
 credibility. Just as a trademark is designed to give consumers a way to
 
 Knowing the source of a work is also critical to ensuring its
 credibility. Just as a trademark is designed to give consumers a way to


@@ -1565,12 +1566,12 @@ ever.
 As we will cover in more detail later, many endeavors that are Made with
 Creative Commons make money by providing a product or service other than
 the CC-licensed work. Sometimes that other product or service is
 As we will cover in more detail later, many endeavors that are Made with
 Creative Commons make money by providing a product or service other than
 the CC-licensed work. Sometimes that other product or service is

-completely unrelated to the CC content. Other times it’s a physical copy
+completely unrelated to the CC content. Other times it's a physical copy

 or live performance of the CC content. In all cases, the CC content can
 attract people to your other product or service.
 
 or live performance of the CC content. In all cases, the CC content can
 attract people to your other product or service.
 

-Knowledge Unlatched’s Pinter told us she has seen time and again how
-offering CC-licensed content—that is, digitally for free—actually
+Knowledge Unlatched's Pinter told us she has seen time and again how
+offering CC-licensed content---that is, digitally for free---actually

 increases sales of the printed goods because it functions as a marketing
 tool. We see this phenomenon regularly with famous artwork. The Mona
 Lisa is likely the most recognizable painting on the planet. Its
 increases sales of the printed goods because it functions as a marketing
 tool. We see this phenomenon regularly with famous artwork. The Mona
 Lisa is likely the most recognizable painting on the planet. Its


@@ -1579,7 +1580,7 @@ person, and in owning physical goods with the image. Abundant copies of
 the content often entice more demand, not blunt it. Another example came
 with the advent of the radio. Although the music industry did not see it
 coming (and fought it!), free music on the radio functioned as
 the content often entice more demand, not blunt it. Another example came
 with the advent of the radio. Although the music industry did not see it
 coming (and fought it!), free music on the radio functioned as

-advertising for the paid version people bought in music stores.20 Free
+advertising for the paid version people bought in music stores.[^How-to-Be-Made-with-Creative-Commons-20] Free

 can be a form of promotion.
 
 In some cases, endeavors that are Made with Creative Commons do not even
 can be a form of promotion.
 
 In some cases, endeavors that are Made with Creative Commons do not even


@@ -1605,32 +1606,32 @@ for public participation in creative work.
 
 Four of the six CC licenses enable reusers to take apart, build upon, or
 otherwise adapt the work. Depending on the context, adaptation can mean
 
 Four of the six CC licenses enable reusers to take apart, build upon, or
 otherwise adapt the work. Depending on the context, adaptation can mean

-wildly different things—translating, updating, localizing, improving,
+wildly different things---translating, updating, localizing, improving,

 transforming. It enables a work to be customized for particular needs,
 uses, people, and communities, which is another distinct value to offer
 transforming. It enables a work to be customized for particular needs,
 uses, people, and communities, which is another distinct value to offer

-the public.21 Adaptation is more game changing in some contexts than
+the public.[^How-to-Be-Made-with-Creative-Commons-21] Adaptation is more game changing in some contexts than

 others. With educational materials, the ability to customize and update
 the content is critically important for its usefulness. For photography,
 the ability to adapt a photo is less important.
 
 This is a way to counteract a potential downside of the abundance of
 free and open content described above. As Anderson wrote in Free,
 others. With educational materials, the ability to customize and update
 the content is critically important for its usefulness. For photography,
 the ability to adapt a photo is less important.
 
 This is a way to counteract a potential downside of the abundance of
 free and open content described above. As Anderson wrote in Free,

-“People often don’t care as much about things they don’t pay for, and as
-a result they don’t think as much about how they consume them.”22 If
+"People often don't care as much about things they don't pay for, and as
+a result they don't think as much about how they consume them."[^How-to-Be-Made-with-Creative-Commons-22] If

 even the tiny act of volition of paying one penny for something changes
 our perception of that thing, then surely the act of remixing it
 even the tiny act of volition of paying one penny for something changes
 our perception of that thing, then surely the act of remixing it

-enhances our perception exponentially.23 We know that people will pay
-more for products they had a part in creating.24 And we know that
+enhances our perception exponentially.[^How-to-Be-Made-with-Creative-Commons-23] We know that people will pay
+more for products they had a part in creating.[^How-to-Be-Made-with-Creative-Commons-24] And we know that

 creating something, no matter what quality, brings with it a type of
 creative satisfaction that can never be replaced by consuming something
 creating something, no matter what quality, brings with it a type of
 creative satisfaction that can never be replaced by consuming something

-created by someone else.25
+created by someone else.[^How-to-Be-Made-with-Creative-Commons-25]

 
 Actively engaging with the content helps us avoid the type of aimless
 consumption that anyone who has absentmindedly scrolled through their
 social-media feeds for an hour knows all too well. In his book,
 
 Actively engaging with the content helps us avoid the type of aimless
 consumption that anyone who has absentmindedly scrolled through their
 social-media feeds for an hour knows all too well. In his book,

-Cognitive Surplus, Clay Shirky says, “To participate is to act as if
+Cognitive Surplus, Clay Shirky says, "To participate is to act as if

 your presence matters, as if, when you see something or hear something,
 your presence matters, as if, when you see something or hear something,

-your response is part of the event.”26 Opening the door to your content
+your response is part of the event."[^How-to-Be-Made-with-Creative-Commons-26] Opening the door to your content

 can get people more deeply tied to your work.
 
 #### Use CC to differentiate yourself
 can get people more deeply tied to your work.
 
 #### Use CC to differentiate yourself


@@ -1639,13 +1640,13 @@ Operating under a traditional copyright regime usually means operating
 under the rules of establishment players in the media. Business
 strategies that are embedded in the traditional copyright system, like
 using digital rights management (DRM) and signing exclusivity contracts,
 under the rules of establishment players in the media. Business
 strategies that are embedded in the traditional copyright system, like
 using digital rights management (DRM) and signing exclusivity contracts,

-can tie the hands of creators, often at the expense of the creator’s
-best interest.27 Being Made with Creative Commons means you can function
+can tie the hands of creators, often at the expense of the creator's
+best interest.[^How-to-Be-Made-with-Creative-Commons-27] Being Made with Creative Commons means you can function

 without those barriers and, in many cases, use the increased openness as
 a competitive advantage. David Harris from OpenStax said they
 specifically pursue strategies they know that traditional publishers
 without those barriers and, in many cases, use the increased openness as
 a competitive advantage. David Harris from OpenStax said they
 specifically pursue strategies they know that traditional publishers

-cannot. “Don’t go into a market and play by the incumbent rules,” David
-said. “Change the rules of engagement.”
+cannot. "Don't go into a market and play by the incumbent rules," David
+said. "Change the rules of engagement."

 
 ### Making Money
 
 
 ### Making Money
 


@@ -1655,7 +1656,7 @@ Sometimes that value is subsidized by funders who are not actually
 beneficiaries of that value. Funders, whether philanthropic
 institutions, governments, or concerned individuals, provide money to
 the organization out of a sense of pure altruism. This is the way
 beneficiaries of that value. Funders, whether philanthropic
 institutions, governments, or concerned individuals, provide money to
 the organization out of a sense of pure altruism. This is the way

-traditional nonprofit funding operates.28 But in many cases, the revenue
+traditional nonprofit funding operates.[^How-to-Be-Made-with-Creative-Commons-28] But in many cases, the revenue

 streams used by endeavors that are Made with Creative Commons are
 directly tied to the value they generate, where the recipient is paying
 for the value they receive like any standard market transaction. In
 streams used by endeavors that are Made with Creative Commons are
 directly tied to the value they generate, where the recipient is paying
 for the value they receive like any standard market transaction. In


@@ -1668,9 +1669,9 @@ Most who are Made with Creative Commons use a variety of methods to
 bring in revenue, some market-based and some not. One common strategy is
 using grant funding for content creation when research-and-development
 costs are particularly high, and then finding a different revenue stream
 bring in revenue, some market-based and some not. One common strategy is
 using grant funding for content creation when research-and-development
 costs are particularly high, and then finding a different revenue stream

-(or streams) for ongoing expenses. As Shirky wrote, “The trick is in
+(or streams) for ongoing expenses. As Shirky wrote, "The trick is in

 knowing when markets are an optimal way of organizing interactions and
 knowing when markets are an optimal way of organizing interactions and

-when they are not.”29
+when they are not."[^How-to-Be-Made-with-Creative-Commons-29]

 
 Our case studies explore in more detail the various revenue-generating
 mechanisms used by the creators, organizations, and businesses we
 
 Our case studies explore in more detail the various revenue-generating
 mechanisms used by the creators, organizations, and businesses we


@@ -1682,11 +1683,11 @@ higher level of abstraction can be instructive.
 #### Market-based revenue streams
 
 In the market, the central question when determining how to bring in
 #### Market-based revenue streams
 
 In the market, the central question when determining how to bring in

-revenue is what value people are willing to pay for.30 By definition, if
+revenue is what value people are willing to pay for.[^How-to-Be-Made-with-Creative-Commons-30] By definition, if

 you are Made with Creative Commons, the content you provide is available
 for free and not a market commodity. Like the ubiquitous freemium
 business model, any possible market transaction with a consumer of your
 you are Made with Creative Commons, the content you provide is available
 for free and not a market commodity. Like the ubiquitous freemium
 business model, any possible market transaction with a consumer of your

-content has to be based on some added value you provide.31
+content has to be based on some added value you provide.[^How-to-Be-Made-with-Creative-Commons-31]

 
 In many ways, this is the way of the future for all content-driven
 endeavors. In the market, value lives in things that are scarce. Because
 
 In many ways, this is the way of the future for all content-driven
 endeavors. In the market, value lives in things that are scarce. Because


@@ -1695,21 +1696,21 @@ free, it is difficult to get people to pay for content online. The
 struggling newspaper industry is a testament to this fact. This is
 compounded by the fact that at least some amount of copying is probably
 inevitable. That means you may end up competing with free versions of
 struggling newspaper industry is a testament to this fact. This is
 compounded by the fact that at least some amount of copying is probably
 inevitable. That means you may end up competing with free versions of

-your own content, whether you condone it or not.32 If people can easily
+your own content, whether you condone it or not.[^How-to-Be-Made-with-Creative-Commons-32] If people can easily

 find your content for free, getting people to buy it will be difficult,
 particularly in a context where access to content is more important than
 find your content for free, getting people to buy it will be difficult,
 particularly in a context where access to content is more important than

-owning it. In Free, Anderson wrote, “Copyright protection schemes,
+owning it. In Free, Anderson wrote, "Copyright protection schemes,

 whether coded into either law or software, are simply holding up a price
 whether coded into either law or software, are simply holding up a price

-against the force of gravity.”
+against the force of gravity."

 
 

-Of course, this doesn’t mean that content-driven endeavors have no
+Of course, this doesn't mean that content-driven endeavors have no

 future in the traditional marketplace. In Free, Anderson explains how
 when one product or service becomes free, as information and content
 largely have in the digital age, other things become more valuable.
 future in the traditional marketplace. In Free, Anderson explains how
 when one product or service becomes free, as information and content
 largely have in the digital age, other things become more valuable.

-“Every abundance creates a new scarcity,” he wrote. You just have to
+"Every abundance creates a new scarcity," he wrote. You just have to

 find some way other than the content to provide value to your audience
 find some way other than the content to provide value to your audience

-or customers. As Anderson says, “It’s easy to compete with Free: simply
-offer something better or at least different from the free version.”33
+or customers. As Anderson says, "It's easy to compete with Free: simply
+offer something better or at least different from the free version."[^How-to-Be-Made-with-Creative-Commons-33]

 
 In light of this reality, in some ways endeavors that are Made with
 Creative Commons are at a level playing field with all content-based
 
 In light of this reality, in some ways endeavors that are Made with
 Creative Commons are at a level playing field with all content-based


@@ -1726,26 +1727,26 @@ service.
 
 Here are the most common high-level categories.
 
 
 Here are the most common high-level categories.
 

-#### Providing a custom service to consumers of your work * \[MARKET-BASED\]*
+#### Providing a custom service to consumers of your work *\[MARKET-BASED\]*

 
 

-In this age of information abundance, we don’t lack for content. The
+In this age of information abundance, we don't lack for content. The

 trick is finding content that matches our needs and wants, so customized
 trick is finding content that matches our needs and wants, so customized

-services are particularly valuable. As Anderson wrote, “Commodity
+services are particularly valuable. As Anderson wrote, "Commodity

 information (everybody gets the same version) wants to be free.
 Customized information (you get something unique and meaningful to you)
 information (everybody gets the same version) wants to be free.
 Customized information (you get something unique and meaningful to you)

-wants to be expensive.”34 This can be anything from the artistic and
+wants to be expensive."[^How-to-Be-Made-with-Creative-Commons-34] This can be anything from the artistic and

 cultural consulting services provided by Ártica to the custom-song
 cultural consulting services provided by Ártica to the custom-song

-business of Jonathan “Song-A-Day” Mann.
+business of Jonathan "Song-A-Day" Mann.

 
 

-#### Charging for the physical copy * \[MARKET-BASED\]*
+#### Charging for the physical copy *\[MARKET-BASED\]*

 
 In his book about maker culture, Anderson characterizes this model as
 giving away the bits and selling the atoms (where bits refers to digital
 
 In his book about maker culture, Anderson characterizes this model as
 giving away the bits and selling the atoms (where bits refers to digital

-content and atoms refer to a physical object).35 This is particularly
-successful in domains where the digital version of the content isn’t as
+content and atoms refer to a physical object).[^How-to-Be-Made-with-Creative-Commons-35] This is particularly
+successful in domains where the digital version of the content isn't as

 valuable as the analog version, like book publishing where a significant
 subset of people still prefer reading something they can hold in their
 valuable as the analog version, like book publishing where a significant
 subset of people still prefer reading something they can hold in their

-hands. Or in domains where the content isn’t useful until it is in
+hands. Or in domains where the content isn't useful until it is in

 physical form, like furniture designs. In those situations, a
 significant portion of consumers will pay for the convenience of having
 someone else put the physical version together for them. Some endeavors
 physical form, like furniture designs. In those situations, a
 significant portion of consumers will pay for the convenience of having
 someone else put the physical version together for them. Some endeavors


@@ -1760,7 +1761,7 @@ furniture or electronics, the provider of the physical goods can compete
 with other providers of the same works based on quality, service, or
 other traditional business principles.
 
 with other providers of the same works based on quality, service, or
 other traditional business principles.
 

-#### Charging for the in-person version * \[MARKET-BASED\]*
+#### Charging for the in-person version *\[MARKET-BASED\]*

 
 As anyone who has ever gone to a concert will tell you, experiencing
 creativity in person is a completely different experience from consuming
 
 As anyone who has ever gone to a concert will tell you, experiencing
 creativity in person is a completely different experience from consuming


@@ -1770,7 +1771,7 @@ for the in-person version of experience. You can see this effect when
 people go view original art in person or pay to attend a talk or
 training course.
 
 people go view original art in person or pay to attend a talk or
 training course.
 

-#### Selling merchandise * \[MARKET-BASED\]*
+#### Selling merchandise *\[MARKET-BASED\]*

 
 In many cases, people who like your work will pay for products
 demonstrating a connection to your work. As a child of the 1980s, I can
 
 In many cases, people who like your work will pay for products
 demonstrating a connection to your work. As a child of the 1980s, I can


@@ -1785,38 +1786,38 @@ or businesses are paying to access your main audience. The fact that the
 content is free increases the size of the audience, which in turn makes
 the offer more valuable to the paying customers. This is a variation of
 a traditional business model built on free called multi-sided
 content is free increases the size of the audience, which in turn makes
 the offer more valuable to the paying customers. This is a variation of
 a traditional business model built on free called multi-sided

-platforms.36 Access to your audience isn’t the only thing people are
-willing to pay for—there are other services you can provide as well.
+platforms.[^How-to-Be-Made-with-Creative-Commons-36] Access to your audience isn't the only thing people are
+willing to pay for---there are other services you can provide as well.

 
 

-#### Charging advertisers or sponsors * \[MARKET-BASED\]*
+#### Charging advertisers or sponsors *\[MARKET-BASED\]*

 
 The traditional model of subsidizing free content is advertising. In
 this version of multi-sided platforms, advertisers pay for the
 opportunity to reach the set of eyeballs the content creators provide in
 
 The traditional model of subsidizing free content is advertising. In
 this version of multi-sided platforms, advertisers pay for the
 opportunity to reach the set of eyeballs the content creators provide in

-the form of their audience.37 The Internet has made this model more
+the form of their audience.[^How-to-Be-Made-with-Creative-Commons-37] The Internet has made this model more

 difficult because the number of potential channels available to reach
 difficult because the number of potential channels available to reach

-those eyeballs has become essentially infinite.38 Nonetheless, it
+those eyeballs has become essentially infinite.[^How-to-Be-Made-with-Creative-Commons-38] Nonetheless, it

 remains a viable revenue stream for many content creators, including
 those who are Made with Creative Commons. Often, instead of paying to
 display advertising, the advertiser pays to be an official sponsor of
 particular content or projects, or of the overall endeavor.
 
 remains a viable revenue stream for many content creators, including
 those who are Made with Creative Commons. Often, instead of paying to
 display advertising, the advertiser pays to be an official sponsor of
 particular content or projects, or of the overall endeavor.
 

-#### Charging your content creators * \[MARKET-BASED\]*
+#### Charging your content creators *\[MARKET-BASED\]*

 
 Another type of multisided platform is where the content creators
 themselves pay to be featured on the platform. Obviously, this revenue
 stream is only available to those who rely on work created, at least in
 part, by others. The most well-known version of this model is the
 
 Another type of multisided platform is where the content creators
 themselves pay to be featured on the platform. Obviously, this revenue
 stream is only available to those who rely on work created, at least in
 part, by others. The most well-known version of this model is the

-“author-processing charge” of open-access journals like those published
+"author-processing charge" of open-access journals like those published

 by the Public Library of Science, but there are other variations. The
 Conversation is primarily funded by a university-membership model, where
 universities pay to have their faculties participate as writers of the
 content on the Conversation website.
 
 by the Public Library of Science, but there are other variations. The
 Conversation is primarily funded by a university-membership model, where
 universities pay to have their faculties participate as writers of the
 content on the Conversation website.
 

-#### Charging a transaction fee * \[MARKET-BASED\]*
+#### Charging a transaction fee *\[MARKET-BASED\]*

 
 This is a version of a traditional business model based on brokering
 
 This is a version of a traditional business model based on brokering

-transactions between parties.39 Curation is an important element of this
+transactions between parties.[^How-to-Be-Made-with-Creative-Commons-39] Curation is an important element of this

 model. Platforms like the Noun Project add value by wading through
 CC-licensed content to curate a high-quality set and then derive revenue
 when creators of that content make transactions with customers. Other
 model. Platforms like the Noun Project add value by wading through
 CC-licensed content to curate a high-quality set and then derive revenue
 when creators of that content make transactions with customers. Other


@@ -1825,7 +1826,7 @@ customers; for example, Opendesk makes money every time someone on their
 site pays a maker to make furniture based on one of the designs on the
 platform.
 
 site pays a maker to make furniture based on one of the designs on the
 platform.
 

-#### Providing a service to your creators* \[MARKET-BASED\]*
+#### Providing a service to your creators *\[MARKET-BASED\]*

 
 As mentioned above, endeavors can make money by providing customized
 services to their users. Platforms can undertake a variation of this
 
 As mentioned above, endeavors can make money by providing customized
 services to their users. Platforms can undertake a variation of this


@@ -1834,7 +1835,7 @@ feature. The data platforms Figure.NZ and Figshare both capitalize on
 this model by providing paid tools to help their users make the data
 they contribute to the platform more discoverable and reusable.
 
 this model by providing paid tools to help their users make the data
 they contribute to the platform more discoverable and reusable.
 

-#### Licensing a trademark* \[MARKET-BASED\]*
+#### Licensing a trademark *\[MARKET-BASED\]*

 
 Finally, some that are Made with Creative Commons make money by selling
 use of their trademarks. Well known brands that consumers associate with
 
 Finally, some that are Made with Creative Commons make money by selling
 use of their trademarks. Well known brands that consumers associate with


@@ -1856,22 +1857,22 @@ Rather than devising a scheme to get people to pay money in exchange for
 some direct value provided to them, many of the revenue streams were
 more about providing value, building a relationship, and then eventually
 finding some money that flows back out of a sense of reciprocity. While
 some direct value provided to them, many of the revenue streams were
 more about providing value, building a relationship, and then eventually
 finding some money that flows back out of a sense of reciprocity. While

-some look like traditional nonprofit funding models, they aren’t
+some look like traditional nonprofit funding models, they aren't

 charity. The endeavor exchange value with people, just not necessarily
 synchronously or in a way that requires that those values be equal. As
 charity. The endeavor exchange value with people, just not necessarily
 synchronously or in a way that requires that those values be equal. As

-David Bollier wrote in Think Like a Commoner, “There is no self-serving
-calculation of whether the value given and received is strictly equal.”
+David Bollier wrote in Think Like a Commoner, "There is no self-serving
+calculation of whether the value given and received is strictly equal."

 
 

-This should be a familiar dynamic—it is the way you deal with your
+This should be a familiar dynamic---it is the way you deal with your

 friends and family. We give without regard for what and when we will get
 friends and family. We give without regard for what and when we will get

-back. David Bollier wrote, “Reciprocal social exchange lies at the heart
+back. David Bollier wrote, "Reciprocal social exchange lies at the heart

 of human identity, community and culture. It is a vital brain function
 of human identity, community and culture. It is a vital brain function

-that helps the human species survive and evolve.”
+that helps the human species survive and evolve."

 
 What is rare is to incorporate this sort of relationship into an
 
 What is rare is to incorporate this sort of relationship into an

-endeavor that also engages with the market.40 We almost can’t help but
+endeavor that also engages with the market.[^How-to-Be-Made-with-Creative-Commons-40] We almost can't help but

 think of relationships in the market as being centered on an even-steven
 think of relationships in the market as being centered on an even-steven

-exchange of value.41
+exchange of value.[^How-to-Be-Made-with-Creative-Commons-41]

 
 #### Memberships and individual donations *\[RECIPROCITY-BASED\]*
 
 
 #### Memberships and individual donations *\[RECIPROCITY-BASED\]*
 


@@ -1890,10 +1891,10 @@ the more likely this strategy is to succeed.
 #### The pay-what-you-want model *\[RECIPROCITY-BASED\]*
 
 In the pay-what-you-want model, the beneficiary of Creative Commons
 #### The pay-what-you-want model *\[RECIPROCITY-BASED\]*
 
 In the pay-what-you-want model, the beneficiary of Creative Commons

-content is invited to give—at any amount they can and feel is
+content is invited to give---at any amount they can and feel is

 appropriate, based on the public and personal value they feel is
 generated by the open content. Critically, these models are not touted
 appropriate, based on the public and personal value they feel is
 generated by the open content. Critically, these models are not touted

-as “buying” something free. They are similar to a tip jar. People make
+as "buying" something free. They are similar to a tip jar. People make

 financial contributions as an act of gratitude. These models capitalize
 on the fact that we are naturally inclined to give money for things we
 value in the marketplace, even in situations where we could find a way
 financial contributions as an act of gratitude. These models capitalize
 on the fact that we are naturally inclined to give money for things we
 value in the marketplace, even in situations where we could find a way


@@ -1904,17 +1905,17 @@ to get it for free.
 Crowdfunding models are based on recouping the costs of creating and
 distributing content before the content is created. If the endeavor is
 Made with Creative Commons, anyone who wants the work in question could
 Crowdfunding models are based on recouping the costs of creating and
 distributing content before the content is created. If the endeavor is
 Made with Creative Commons, anyone who wants the work in question could

-simply wait until it’s created and then access it for free. That means,
+simply wait until it's created and then access it for free. That means,

 for this model to work, people have to care about more than just
 receiving the work. They have to want you to succeed. Amanda Palmer
 credits the success of her crowdfunding on Kickstarter and Patreon to
 the years she spent building her community and creating a connection
 for this model to work, people have to care about more than just
 receiving the work. They have to want you to succeed. Amanda Palmer
 credits the success of her crowdfunding on Kickstarter and Patreon to
 the years she spent building her community and creating a connection

-with her fans. She wrote in The Art of Asking, “Good art is made, good
+with her fans. She wrote in The Art of Asking, "Good art is made, good

 art is shared, help is offered, ears are bent, emotions are exchanged,
 the compost of real, deep connection is sprayed all over the fields.
 Then one day, the artist steps up and asks for something. And if the
 ground has been fertilized enough, the audience says, without
 art is shared, help is offered, ears are bent, emotions are exchanged,
 the compost of real, deep connection is sprayed all over the fields.
 Then one day, the artist steps up and asks for something. And if the
 ground has been fertilized enough, the audience says, without

-hesitation: of course.”
+hesitation: of course."

 
 Other types of crowdfunding rely on a sense of responsibility that a
 particular community may feel. Knowledge Unlatched pools funds from
 
 Other types of crowdfunding rely on a sense of responsibility that a
 particular community may feel. Knowledge Unlatched pools funds from


@@ -1926,21 +1927,21 @@ community and to the idea of open access generally.
 ### Making Human Connections
 
 Regardless of how they made money, in our interviews, we repeatedly
 ### Making Human Connections
 
 Regardless of how they made money, in our interviews, we repeatedly

-heard language like “persuading people to buy” and “inviting people to
-pay.” We heard it even in connection with revenue streams that sit
-squarely within the market. Cory Doctorow told us, “I have to convince
-my readers that the right thing to do is to pay me.” The founders of the
+heard language like "persuading people to buy" and "inviting people to
+pay." We heard it even in connection with revenue streams that sit
+squarely within the market. Cory Doctorow told us, "I have to convince
+my readers that the right thing to do is to pay me." The founders of the

 for-profit company Lumen Learning showed us the letter they send to
 those who opt not to pay for the services they provide in connection
 for-profit company Lumen Learning showed us the letter they send to
 those who opt not to pay for the services they provide in connection

-with their CC-licensed educational content. It isn’t a cease-and-desist
-letter; it’s an invitation to pay because it’s the right thing to do.
+with their CC-licensed educational content. It isn't a cease-and-desist
+letter; it's an invitation to pay because it's the right thing to do.

 This sort of behavior toward what could be considered nonpaying
 customers is largely unheard of in the traditional marketplace. But it
 seems to be part of the fabric of being Made with Creative Commons.
 
 Nearly every endeavor we profiled relied, at least in part, on people
 being invested in what they do. The closer the Creative Commons content
 This sort of behavior toward what could be considered nonpaying
 customers is largely unheard of in the traditional marketplace. But it
 seems to be part of the fabric of being Made with Creative Commons.
 
 Nearly every endeavor we profiled relied, at least in part, on people
 being invested in what they do. The closer the Creative Commons content

-is to being “the product,” the more pronounced this dynamic has to be.
+is to being "the product," the more pronounced this dynamic has to be.

 Rather than simply selling a product or service, they are making
 ideological, personal, and creative connections with the people who
 value what they do.
 Rather than simply selling a product or service, they are making
 ideological, personal, and creative connections with the people who
 value what they do.


@@ -1967,12 +1968,12 @@ licensing a copyrighted work under a set of standardized terms, but also
 about community, social good, contributing ideas, expressing a value
 system, working together. These components of sharing are hard to
 cultivate if you think about what you do in purely market terms. Decent
 about community, social good, contributing ideas, expressing a value
 system, working together. These components of sharing are hard to
 cultivate if you think about what you do in purely market terms. Decent

-social behavior isn’t as intuitive when we are doing something that
+social behavior isn't as intuitive when we are doing something that

 involves monetary exchange. It takes a conscious effort to foster the
 context for real sharing, based not strictly on impersonal market
 exchange, but on connections with the people with whom you
 involves monetary exchange. It takes a conscious effort to foster the
 context for real sharing, based not strictly on impersonal market
 exchange, but on connections with the people with whom you

-share—connections with you, with your work, with your values, with each
-other.
+share---connections with you, with your work, with your values, with
+each other.

 
 The rest of this section will explore some of the common strategies that
 creators, companies, and organizations use to remind us that there are
 
 The rest of this section will explore some of the common strategies that
 creators, companies, and organizations use to remind us that there are


@@ -1982,7 +1983,7 @@ to each other. To remind us what sharing really looks like.
 #### Be human
 
 Humans are social animals, which means we are naturally inclined to
 #### Be human
 
 Humans are social animals, which means we are naturally inclined to

-treat each other well.42 But the further removed we are from the person
+treat each other well.[^How-to-Be-Made-with-Creative-Commons-42] But the further removed we are from the person

 with whom we are interacting, the less caring our behavior will be.
 While the Internet has democratized cultural production, increased
 access to knowledge, and connected us in extraordinary ways, it can also
 with whom we are interacting, the less caring our behavior will be.
 While the Internet has democratized cultural production, increased
 access to knowledge, and connected us in extraordinary ways, it can also


@@ -1993,21 +1994,21 @@ online, individual creators and corporations who use Creative Commons
 licenses work to demonstrate their humanity. For some, this means
 pouring their lives out on the page. For others, it means showing their
 creative process, giving a glimpse into how they do what they do. As
 licenses work to demonstrate their humanity. For some, this means
 pouring their lives out on the page. For others, it means showing their
 creative process, giving a glimpse into how they do what they do. As

-writer Austin Kleon wrote, “Our work doesn’t speak for itself. Human
+writer Austin Kleon wrote, "Our work doesn't speak for itself. Human

 beings want to know where things came from, how they were made, and who
 made them. The stories you tell about the work you do have a huge effect
 on how people feel and what they understand about your work, and how
 people feel and what they understand about your work affects how they
 beings want to know where things came from, how they were made, and who
 made them. The stories you tell about the work you do have a huge effect
 on how people feel and what they understand about your work, and how
 people feel and what they understand about your work affects how they

-value it.”43
+value it."[^How-to-Be-Made-with-Creative-Commons-43]

 
 A critical component to doing this effectively is not worrying about
 
 A critical component to doing this effectively is not worrying about

-being a “brand.” That means not being afraid to be vulnerable. Amanda
-Palmer says, “When you’re afraid of someone’s judgment, you can’t
-connect with them. You’re too preoccupied with the task of impressing
-them.” Not everyone is suited to live life as an open book like Palmer,
-and that’s OK. There are a lot of ways to be human. The trick is just
+being a "brand." That means not being afraid to be vulnerable. Amanda
+Palmer says, "When you're afraid of someone's judgment, you can't
+connect with them. You're too preoccupied with the task of impressing
+them." Not everyone is suited to live life as an open book like Palmer,
+and that's OK. There are a lot of ways to be human. The trick is just

 avoiding pretense and the temptation to artificially craft an image.
 avoiding pretense and the temptation to artificially craft an image.

-People don’t just want the glossy version of you. They can’t relate to
+People don't just want the glossy version of you. They can't relate to

 it, at least not in a meaningful way.
 
 This advice is probably even more important for businesses and
 it, at least not in a meaningful way.
 
 This advice is probably even more important for businesses and


@@ -2016,30 +2017,30 @@ organizations because we instinctively conceive of them as nonhuman
 corporations and organizations make the people behind them more
 apparent, it reminds people that they are dealing with something other
 than an anonymous corporate entity. In business-speak, this is about
 corporations and organizations make the people behind them more
 apparent, it reminds people that they are dealing with something other
 than an anonymous corporate entity. In business-speak, this is about

-“humanizing your interactions” with the public.44 But it can’t be a
-gimmick. You can’t fake being human.
+"humanizing your interactions" with the public.[^How-to-Be-Made-with-Creative-Commons-44] But it can't be a
+gimmick. You can't fake being human.

 
 #### Be open and accountable
 
 Transparency helps people understand who you are and why you do what you
 do, but it also inspires trust. Max Temkin of Cards Against Humanity
 
 #### Be open and accountable
 
 Transparency helps people understand who you are and why you do what you
 do, but it also inspires trust. Max Temkin of Cards Against Humanity

-told us, “One of the most surprising things you can do in capitalism is
-just be honest with people.” That means sharing the good and the bad. As
-Amanda Palmer wrote, “You can fix almost anything by authentically
-communicating.”45 It isn’t about trying to satisfy everyone or trying to
+told us, "One of the most surprising things you can do in capitalism is
+just be honest with people." That means sharing the good and the bad. As
+Amanda Palmer wrote, "You can fix almost anything by authentically
+communicating."[^How-to-Be-Made-with-Creative-Commons-45] It isn't about trying to satisfy everyone or trying to

 sugarcoat mistakes or bad news, but instead about explaining your
 rationale and then being prepared to defend it when people are
 sugarcoat mistakes or bad news, but instead about explaining your
 rationale and then being prepared to defend it when people are

-critical.46
+critical.[^How-to-Be-Made-with-Creative-Commons-46]

 
 Being accountable does not mean operating on consensus. According to
 James Surowiecki, consensus-driven groups tend to resort to
 lowest-common-denominator solutions and
 avoid the sort of candid exchange of ideas that cultivates healthy
 
 Being accountable does not mean operating on consensus. According to
 James Surowiecki, consensus-driven groups tend to resort to
 lowest-common-denominator solutions and
 avoid the sort of candid exchange of ideas that cultivates healthy

-collaboration.47 Instead, it can be as simple as asking for input and
+collaboration.[^How-to-Be-Made-with-Creative-Commons-47] Instead, it can be as simple as asking for input and

 then giving context and explanation about decisions you make, even if
 soliciting feedback and inviting discourse is time-consuming. If you
 then giving context and explanation about decisions you make, even if
 soliciting feedback and inviting discourse is time-consuming. If you

-don’t go through the effort to actually respond to the input you
-receive, it can be worse than not inviting input in the first place.48
+don't go through the effort to actually respond to the input you
+receive, it can be worse than not inviting input in the first place.[^How-to-Be-Made-with-Creative-Commons-48]

 But when you get it right, it can guarantee the type of diversity of
 thought that helps endeavors excel. And it is another way to get people
 involved and invested in what you do.
 But when you get it right, it can guarantee the type of diversity of
 thought that helps endeavors excel. And it is another way to get people
 involved and invested in what you do.


@@ -2047,47 +2048,48 @@ involved and invested in what you do.
 #### Design for the good actors
 
 Traditional economics assumes people make decisions based solely on
 #### Design for the good actors
 
 Traditional economics assumes people make decisions based solely on

-their own economic self-interest.49 Any relatively introspective human
-knows this is a fiction—we are much more complicated beings with a whole
-range of needs, emotions, and motivations. In fact, we are hardwired to
-work together and ensure fairness.50 Being Made with Creative Commons
-requires an assumption that people will largely act on those social
-motivations, motivations that would be considered “irrational” in an
-economic sense. As Knowledge Unlatched’s Pinter told us, “It is best to
-ignore people who try to scare you about free riding. That fear is based
-on a very shallow view of what motivates human behavior.” There will
-always be people who will act in purely selfish ways, but endeavors that
-are Made with Creative Commons design for the good actors.
+their own economic self-interest.[^How-to-Be-Made-with-Creative-Commons-49] Any relatively introspective human
+knows this is a fiction---we are much more complicated beings with a
+whole range of needs, emotions, and motivations. In fact, we are
+hardwired to work together and ensure fairness.[^How-to-Be-Made-with-Creative-Commons-50] Being Made with
+Creative Commons requires an assumption that people will largely act on
+those social motivations, motivations that would be considered
+"irrational" in an economic sense. As Knowledge Unlatched's Pinter told
+us, "It is best to ignore people who try to scare you about free riding.
+That fear is based on a very shallow view of what motivates human
+behavior." There will always be people who will act in purely selfish
+ways, but endeavors that are Made with Creative Commons design for the
+good actors.

 
 The assumption that people will largely do the right thing can be a
 
 The assumption that people will largely do the right thing can be a

-self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, “Systems
+self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, "Systems

 that assume people will act in ways that create public goods, and that
 give them opportunities and rewards for doing so, often let them work
 that assume people will act in ways that create public goods, and that
 give them opportunities and rewards for doing so, often let them work

-together better than neoclassical economics would predict.”51 When we
+together better than neoclassical economics would predict."[^How-to-Be-Made-with-Creative-Commons-51] When we

 acknowledge that people are often motivated by something other than
 financial self-interest, we design our endeavors in ways that encourage
 and accentuate our social instincts.
 
 acknowledge that people are often motivated by something other than
 financial self-interest, we design our endeavors in ways that encourage
 and accentuate our social instincts.
 

-Rather than trying to exert control over people’s behavior, this mode of
+Rather than trying to exert control over people's behavior, this mode of

 operating requires a certain level of trust. We might not realize it,
 but our daily lives are already built on trust. As Surowiecki wrote in
 operating requires a certain level of trust. We might not realize it,
 but our daily lives are already built on trust. As Surowiecki wrote in

-The Wisdom of Crowds, “It’s impossible for a society to rely on law
-alone to make sure citizens act honestly and responsibly. And it’s
+The Wisdom of Crowds, "It's impossible for a society to rely on law
+alone to make sure citizens act honestly and responsibly. And it's

 impossible for any organization to rely on contracts alone to make sure
 impossible for any organization to rely on contracts alone to make sure

-that its managers and workers live up to their obligation.” Instead, we
-largely trust that people—mostly strangers—will do what they are
-supposed to do.52 And most often, they do.
+that its managers and workers live up to their obligation." Instead, we
+largely trust that people---mostly strangers---will do what they are
+supposed to do.[^How-to-Be-Made-with-Creative-Commons-52] And most often, they do.

 
 #### Treat humans like, well, humans
 
 For creators, treating people as humans means not treating them like
 
 #### Treat humans like, well, humans
 
 For creators, treating people as humans means not treating them like

-fans. As Kleon says, “If you want fans, you have to be a fan first.”53
+fans. As Kleon says, "If you want fans, you have to be a fan first."[^How-to-Be-Made-with-Creative-Commons-53]

 Even if you happen to be one of the few to reach celebrity levels of
 fame, you are better off remembering that the people who follow your
 work are human, too. Cory Doctorow makes a point to answer every single
 email someone sends him. Amanda Palmer spends vast quantities of time
 going online to communicate with her public, making a point to listen
 Even if you happen to be one of the few to reach celebrity levels of
 fame, you are better off remembering that the people who follow your
 work are human, too. Cory Doctorow makes a point to answer every single
 email someone sends him. Amanda Palmer spends vast quantities of time
 going online to communicate with her public, making a point to listen

-just as much as she talks.54
+just as much as she talks.[^How-to-Be-Made-with-Creative-Commons-54]

 
 The same idea goes for businesses and organizations. Rather than
 automating its customer service, the music platform Tribe of Noise makes
 
 The same idea goes for businesses and organizations. Rather than
 automating its customer service, the music platform Tribe of Noise makes


@@ -2095,16 +2097,16 @@ a point to ensure its employees have personal, one-on-one interaction
 with users.
 
 When we treat people like humans, they typically return the gift in
 with users.
 
 When we treat people like humans, they typically return the gift in

-kind. It’s called karma. But social relationships are fragile. It is all
+kind. It's called karma. But social relationships are fragile. It is all

 too easy to destroy them if you make the mistake of treating people as
 too easy to destroy them if you make the mistake of treating people as

-anonymous customers or free labor.55 Platforms that rely on content from
+anonymous customers or free labor.[^How-to-Be-Made-with-Creative-Commons-55] Platforms that rely on content from

 contributors are especially at risk of creating an exploitative dynamic.
 It is important to find ways to acknowledge and pay back the value that
 contributors generate. That does not mean you can solve this problem by
 simply paying contributors for their time or contributions. As soon as
 contributors are especially at risk of creating an exploitative dynamic.
 It is important to find ways to acknowledge and pay back the value that
 contributors generate. That does not mean you can solve this problem by
 simply paying contributors for their time or contributions. As soon as

-we introduce money into a relationship—at least when it takes a form of
-paying monetary value in exchange for other value—it can dramatically
-change the dynamic.56
+we introduce money into a relationship---at least when it takes a form
+of paying monetary value in exchange for other value---it can
+dramatically change the dynamic.[^How-to-Be-Made-with-Creative-Commons-56]

 
 #### State your principles and stick to them
 
 
 #### State your principles and stick to them
 


@@ -2115,10 +2117,10 @@ goodwill and connects like-minded people to your work. Sometimes people
 will be drawn to endeavors that are Made with Creative Commons as a way
 of demonstrating their own commitment to the Creative Commons value
 system, akin to a political statement. Other times people will identify
 will be drawn to endeavors that are Made with Creative Commons as a way
 of demonstrating their own commitment to the Creative Commons value
 system, akin to a political statement. Other times people will identify

-and feel connected with an endeavor’s separate social mission. Often
+and feel connected with an endeavor's separate social mission. Often

 both.
 
 both.
 

-The expression of your values doesn’t have to be implicit. In fact, many
+The expression of your values doesn't have to be implicit. In fact, many

 of the people we interviewed talked about how important it is to state
 your guiding principles up front. Lumen Learning attributes a lot of
 their success to having been outspoken about the fundamental values that
 of the people we interviewed talked about how important it is to state
 your guiding principles up front. Lumen Learning attributes a lot of
 their success to having been outspoken about the fundamental values that


@@ -2128,9 +2130,9 @@ to their credibility in the OER (open educational resources) community
 in which they operate.
 
 When your end goal is not about making a profit, people trust that you
 in which they operate.
 
 When your end goal is not about making a profit, people trust that you

-aren’t just trying to extract value for your own gain. People notice
+aren't just trying to extract value for your own gain. People notice

 when you have a sense of purpose that transcends your own
 when you have a sense of purpose that transcends your own

-self-interest.57 It attracts committed employees, motivates
+self-interest.[^How-to-Be-Made-with-Creative-Commons-57] It attracts committed employees, motivates

 contributors, and builds trust.
 
 #### Build a community
 contributors, and builds trust.
 
 #### Build a community


@@ -2139,34 +2141,34 @@ Endeavors that are Made with Creative Commons thrive when community is
 built around what they do. This may mean a community collaborating
 together to create something new, or it may simply be a collection of
 like-minded people who get to know each other and rally around common
 built around what they do. This may mean a community collaborating
 together to create something new, or it may simply be a collection of
 like-minded people who get to know each other and rally around common

-interests or beliefs.58 To a certain extent, simply being Made with
+interests or beliefs.[^How-to-Be-Made-with-Creative-Commons-58] To a certain extent, simply being Made with

 Creative Commons automatically brings with it some element of community,
 by helping connect you to like-minded others who recognize and are drawn
 to the values symbolized by
 using CC.
 
 To be sustainable, though, you have to work to nurture community. People
 Creative Commons automatically brings with it some element of community,
 by helping connect you to like-minded others who recognize and are drawn
 to the values symbolized by
 using CC.
 
 To be sustainable, though, you have to work to nurture community. People

-have to care—about you and each other. One critical piece to this is
+have to care---about you and each other. One critical piece to this is

 fostering a sense of belonging. As Jono Bacon writes in The Art of
 fostering a sense of belonging. As Jono Bacon writes in The Art of

-Community, “If there is no belonging, there is no community.” For Amanda
+Community, "If there is no belonging, there is no community." For Amanda

 Palmer and her band, that meant creating an accepting and inclusive
 Palmer and her band, that meant creating an accepting and inclusive

-environment where people felt a part of their “weird little family.”59
+environment where people felt a part of their "weird little family."[^How-to-Be-Made-with-Creative-Commons-59]

 For organizations like Red Hat, that means connecting around common
 beliefs or goals. As the CEO Jim Whitehurst wrote in The Open
 For organizations like Red Hat, that means connecting around common
 beliefs or goals. As the CEO Jim Whitehurst wrote in The Open

-Organization, “Tapping into passion is especially important in building
+Organization, "Tapping into passion is especially important in building

 the kinds of participative communities that drive open
 the kinds of participative communities that drive open

-organizations.”60
+organizations."[^How-to-Be-Made-with-Creative-Commons-60]

 
 Communities that collaborate together take deliberate planning.
 
 Communities that collaborate together take deliberate planning.

-Surowiecki wrote, “It takes a lot of work to put the group together.
-It’s difficult to ensure that people are working in the group’s interest
-and not in their own. And when there’s a lack of trust between the
-members of the group (which isn’t surprising given that they don’t
+Surowiecki wrote, "It takes a lot of work to put the group together.
+It's difficult to ensure that people are working in the group's interest
+and not in their own. And when there's a lack of trust between the
+members of the group (which isn't surprising given that they don't

 really know each other), considerable energy is wasted trying to
 really know each other), considerable energy is wasted trying to

-determine each other’s bona fides.”61 Building true community requires
+determine each other's bona fides."[^How-to-Be-Made-with-Creative-Commons-61] Building true community requires

 giving people within the community the power to create or influence the
 giving people within the community the power to create or influence the

-rules that govern the community.62 If the rules are created and imposed
-in a top-down manner, people feel like they don’t have a voice, which in
+rules that govern the community.[^How-to-Be-Made-with-Creative-Commons-62] If the rules are created and imposed
+in a top-down manner, people feel like they don't have a voice, which in

 turn leads to disengagement.
 
 Community takes work, but working together, or even simply being
 turn leads to disengagement.
 
 Community takes work, but working together, or even simply being


@@ -2178,23 +2180,23 @@ sharing is about.
 Conventional wisdom in the marketplace dictates that people should try
 to extract as much money as possible from resources. This is essentially
 what defines so much of the so-called sharing economy. In an article on
 Conventional wisdom in the marketplace dictates that people should try
 to extract as much money as possible from resources. This is essentially
 what defines so much of the so-called sharing economy. In an article on

-the Harvard Business Review website called “The Sharing Economy Isn’t
-about Sharing at All,” authors Giana Eckhardt and Fleura Bardhi
+the Harvard Business Review website called "The Sharing Economy Isn't
+about Sharing at All," authors Giana Eckhardt and Fleura Bardhi

 explained how the anonymous market-driven trans-actions in most
 explained how the anonymous market-driven trans-actions in most

-sharing-economy businesses are purely about monetizing access.63 As Lisa
+sharing-economy businesses are purely about monetizing access.[^How-to-Be-Made-with-Creative-Commons-63] As Lisa

 Gansky put it in her book The Mesh, the primary strategy of the sharing
 economy is to sell the same product multiple times, by selling access
 Gansky put it in her book The Mesh, the primary strategy of the sharing
 economy is to sell the same product multiple times, by selling access

-rather than ownership.64 That is not sharing.
+rather than ownership.[^How-to-Be-Made-with-Creative-Commons-64] That is not sharing.

 
 Sharing requires adding as much or more value to the ecosystem than you
 
 Sharing requires adding as much or more value to the ecosystem than you

-take. You can’t simply treat open content as a free pool of resources
+take. You can't simply treat open content as a free pool of resources

 from which to extract value. Part of giving back to the ecosystem is
 contributing content back to the public under CC licenses. But it
 from which to extract value. Part of giving back to the ecosystem is
 contributing content back to the public under CC licenses. But it

-doesn’t have to just be about creating content; it can be about adding
+doesn't have to just be about creating content; it can be about adding

 value in other ways. The social blogging platform Medium provides value
 to its community by incentivizing good behavior, and the result is an
 online space with remarkably high-quality user-generated content and
 value in other ways. The social blogging platform Medium provides value
 to its community by incentivizing good behavior, and the result is an
 online space with remarkably high-quality user-generated content and

-limited trolling.65 Opendesk contributes to its community by committing
+limited trolling.[^How-to-Be-Made-with-Creative-Commons-65] Opendesk contributes to its community by committing

 to help its designers make money, in part by actively curating and
 displaying their work on its platform effectively.
 
 to help its designers make money, in part by actively curating and
 displaying their work on its platform effectively.
 


@@ -2210,15 +2212,15 @@ when the value they add outweighs the value provided by you.
 
 Thanks to the Internet, we can tap into the talents and expertise of
 people around the globe. Chris Anderson calls it the Long Tail of
 
 Thanks to the Internet, we can tap into the talents and expertise of
 people around the globe. Chris Anderson calls it the Long Tail of

-talent.66 But to make collaboration work, the group has to be effective
+talent.[^How-to-Be-Made-with-Creative-Commons-66] But to make collaboration work, the group has to be effective

 at what it is doing, and the people within the group have to find
 at what it is doing, and the people within the group have to find

-satisfaction from being involved.67 This is easier to facilitate for
+satisfaction from being involved.[^How-to-Be-Made-with-Creative-Commons-67] This is easier to facilitate for

 some types of creative work than it is for others. Groups tied together
 online collaborate best when people can work independently and
 asynchronously, and particularly for larger groups with loose ties, when
 contributors can make simple improvements without a particularly heavy
 time
 some types of creative work than it is for others. Groups tied together
 online collaborate best when people can work independently and
 asynchronously, and particularly for larger groups with loose ties, when
 contributors can make simple improvements without a particularly heavy
 time

-commitment.68
+commitment.[^How-to-Be-Made-with-Creative-Commons-68]

 
 As the success of Wikipedia demonstrates, editing an online encyclopedia
 is exactly the sort of activity that is perfect for massive co-creation
 
 As the success of Wikipedia demonstrates, editing an online encyclopedia
 is exactly the sort of activity that is perfect for massive co-creation


@@ -2226,16 +2228,16 @@ because small, incremental edits made by a diverse range of people
 acting on their own are immensely valuable in the aggregate. Those same
 sorts of small contributions would be less useful for many other types
 of creative work, and people are inherently less motivated to contribute
 acting on their own are immensely valuable in the aggregate. Those same
 sorts of small contributions would be less useful for many other types
 of creative work, and people are inherently less motivated to contribute

-when it doesn’t appear that their efforts will make much of a
-difference.69
+when it doesn't appear that their efforts will make much of a
+difference.[^How-to-Be-Made-with-Creative-Commons-69]

 
 It is easy to romanticize the opportunities for global cocreation made
 possible by the Internet, and, indeed, the successful examples of it are
 truly incredible and inspiring. But in a wide range of
 
 It is easy to romanticize the opportunities for global cocreation made
 possible by the Internet, and, indeed, the successful examples of it are
 truly incredible and inspiring. But in a wide range of

-circumstances—perhaps more often than not—community cocreation is not
-part of the equation, even within endeavors built on CC content. Shirky
-wrote, “Sometimes the value of professional work trumps the value of
-amateur sharing or a feeling of belonging.70 The textbook publisher
+circumstances---perhaps more often than not---community cocreation is
+not part of the equation, even within endeavors built on CC content.
+Shirky wrote, "Sometimes the value of professional work trumps the value
+of amateur sharing or a feeling of belonging.[^How-to-Be-Made-with-Creative-Commons-70] The textbook publisher

 OpenStax, which distributes all of its material for free under CC
 licensing, is an example of this dynamic. Rather than tapping the
 community to help cocreate their college textbooks, they invest a
 OpenStax, which distributes all of its material for free under CC
 licensing, is an example of this dynamic. Rather than tapping the
 community to help cocreate their college textbooks, they invest a


@@ -2243,130 +2245,130 @@ significant amount of time and money to develop professional content.
 For individual creators, where the creative work is the basis for what
 they do, community cocreation is only rarely a part of the picture. Even
 musician Amanda Palmer, who is famous for her openness and involvement
 For individual creators, where the creative work is the basis for what
 they do, community cocreation is only rarely a part of the picture. Even
 musician Amanda Palmer, who is famous for her openness and involvement

-with her fans, said, “The only department where I wasn’t open to input
-was the writing, the music itself.”71
+with her fans, said, "The only department where I wasn't open to input
+was the writing, the music itself."[^How-to-Be-Made-with-Creative-Commons-71]

 
 While we tend to immediately think of cocreation and remixing when we
 hear the word collaboration, you can also involve others in your
 creative process in more informal ways, by sharing half-baked ideas and
 early drafts, and interacting with the public to incubate ideas and get
 
 While we tend to immediately think of cocreation and remixing when we
 hear the word collaboration, you can also involve others in your
 creative process in more informal ways, by sharing half-baked ideas and
 early drafts, and interacting with the public to incubate ideas and get

-feedback. So-called “making in public” opens the door to letting people
-feel more invested in your creative work.72 And it shows a
+feedback. So-called "making in public" opens the door to letting people
+feel more invested in your creative work.[^How-to-Be-Made-with-Creative-Commons-72] And it shows a

 nonterritorial approach to ideas and information. Stephen Covey (of The
 7 Habits of Highly Effective People fame) calls this the abundance
 nonterritorial approach to ideas and information. Stephen Covey (of The
 7 Habits of Highly Effective People fame) calls this the abundance

-mentality—treating ideas like something plentiful—and it can create an
-environment where collaboration flourishes.73
+mentality---treating ideas like something plentiful---and it can create
+an environment where collaboration flourishes.[^How-to-Be-Made-with-Creative-Commons-73]

 
 There is no one way to involve people in what you do. They key is
 finding a way for people to contribute on their terms, compelled by
 
 There is no one way to involve people in what you do. They key is
 finding a way for people to contribute on their terms, compelled by

-their own motivations.74 What that looks like varies wildly depending on
+their own motivations.[^How-to-Be-Made-with-Creative-Commons-74] What that looks like varies wildly depending on

 the project. Not every endeavor that is Made with Creative Commons can
 be Wikipedia, but every endeavor can find ways to invite the public into
 what they do. The goal for any form of collaboration is to move away
 from thinking of consumers as passive recipients of your content and
 the project. Not every endeavor that is Made with Creative Commons can
 be Wikipedia, but every endeavor can find ways to invite the public into
 what they do. The goal for any form of collaboration is to move away
 from thinking of consumers as passive recipients of your content and

-transition them into active participants.75
+transition them into active participants.[^How-to-Be-Made-with-Creative-Commons-75]

 
 

-#### Notes
+### Notes

 
 

-1.  Alex Osterwalder and Yves Pigneur, Business Model Generation
+[^How-to-Be-Made-with-Creative-Commons-1]:  Alex Osterwalder and Yves Pigneur, Business Model Generation

     (Hoboken, NJ: John Wiley and Sons, 2010), 14. A preview of the book
     (Hoboken, NJ: John Wiley and Sons, 2010), 14. A preview of the book

-    is available at strategyzer.com/books/business-model-generation.
-2.  Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the
-    Internet Age (San Francisco, CA: McSweeney’s, 2014) 68.
-3.  Ibid., 55.
-4.  Chris Anderson, Free: How Today’s Smartest Businesses Profit by
+    is available at [](http://strategyzer.com/books/business-model-generation).
+[^How-to-Be-Made-with-Creative-Commons-2]:  Cory Doctorow, Information Doesn't Want to Be Free: Laws for the
+    Internet Age (San Francisco, CA: McSweeney's, 2014) 68.
+[^How-to-Be-Made-with-Creative-Commons-3]:  Ibid., 55.
+[^How-to-Be-Made-with-Creative-Commons-4]:  Chris Anderson, Free: How Today's Smartest Businesses Profit by

     Giving Something for Nothing, reprint with new preface (New York:
     Hyperion, 2010), 224.
     Giving Something for Nothing, reprint with new preface (New York:
     Hyperion, 2010), 224.

-5.  Doctorow, Information Doesn’t Want to Be Free, 44.
-6.  Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying
+[^How-to-Be-Made-with-Creative-Commons-5]:  Doctorow, Information Doesn't Want to Be Free, 44.
+[^How-to-Be-Made-with-Creative-Commons-6]:  Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying

     and Let People Help (New York: Grand Central, 2014), 121.
     and Let People Help (New York: Grand Central, 2014), 121.

-7.  Chris Anderson, Makers: The New Industrial Revolution (New York:
+[^How-to-Be-Made-with-Creative-Commons-7]:  Chris Anderson, Makers: The New Industrial Revolution (New York:

     Signal, 2012), 64.
     Signal, 2012), 64.

-8.  David Bollier, Think Like a Commoner: A Short Introduction to the
+[^How-to-Be-Made-with-Creative-Commons-8]:  David Bollier, Think Like a Commoner: A Short Introduction to the

     Life of the Commons (Gabriola Island, BC: New Society, 2014), 70.
     Life of the Commons (Gabriola Island, BC: New Society, 2014), 70.

-9.  Anderson, Makers, 66.
-10. Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy
+[^How-to-Be-Made-with-Creative-Commons-9]:  Anderson, Makers, 66.
+[^How-to-Be-Made-with-Creative-Commons-10]: Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy

     (New York: Morgan James, 2016), 10.
     (New York: Morgan James, 2016), 10.

-11. Anderson, Free, 62.
-12. Doctorow, Information Doesn’t Want to Be Free, 38.
-13. Bollier, Think Like a Commoner, 68.
-14. Anderson, Free, 86.
-15. Doctorow, Information Doesn’t Want to Be Free, 144.
-16. Anderson, Free, 123.
-17. Ibid., 132.
-18. Ibid., 70.
-19. James Surowiecki, The Wisdom of Crowds (New York: Anchor Books,
-    2005), 124. Surowiecki says, “The measure of success of laws and
-    contracts is how rarely they are invoked.”
-20. Anderson, Free, 44.
-21. Osterwalder and Pigneur, Business Model Generation, 23.
-22. Anderson, Free, 67.
-23. Ibid., 58.
-24. Anderson, Makers, 71.
-25. Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into
+[^How-to-Be-Made-with-Creative-Commons-11]: Anderson, Free, 62.
+[^How-to-Be-Made-with-Creative-Commons-12]: Doctorow, Information Doesn't Want to Be Free, 38.
+[^How-to-Be-Made-with-Creative-Commons-13]: Bollier, Think Like a Commoner, 68.
+[^How-to-Be-Made-with-Creative-Commons-14]: Anderson, Free, 86.
+[^How-to-Be-Made-with-Creative-Commons-15]: Doctorow, Information Doesn't Want to Be Free, 144.
+[^How-to-Be-Made-with-Creative-Commons-16]: Anderson, Free, 123.
+[^How-to-Be-Made-with-Creative-Commons-17]: Ibid., 132.
+[^How-to-Be-Made-with-Creative-Commons-18]: Ibid., 70.
+[^How-to-Be-Made-with-Creative-Commons-19]: James Surowiecki, The Wisdom of Crowds (New York: Anchor Books,
+    2005), 124. Surowiecki says, "The measure of success of laws and
+    contracts is how rarely they are invoked."
+[^How-to-Be-Made-with-Creative-Commons-20]: Anderson, Free, 44.
+[^How-to-Be-Made-with-Creative-Commons-21]: Osterwalder and Pigneur, Business Model Generation, 23.
+[^How-to-Be-Made-with-Creative-Commons-22]: Anderson, Free, 67.
+[^How-to-Be-Made-with-Creative-Commons-23]: Ibid., 58.
+[^How-to-Be-Made-with-Creative-Commons-24]: Anderson, Makers, 71.
+[^How-to-Be-Made-with-Creative-Commons-25]: Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into

     Collaborators (London: Penguin Books, 2010), 78.
     Collaborators (London: Penguin Books, 2010), 78.

-26. Ibid., 21.
-27. Doctorow, Information Doesn’t Want to Be Free, 43.
-28. William Landes Foster, Peter Kim, and Barbara Christiansen, “Ten
-    Nonprofit Funding Models,” Stanford Social Innovation Review, Spring
-    2009, ssir.org/articles/entry/ten\_nonprofit\_funding\_models.
-29. Shirky, Cognitive Surplus, 111.
-30. Osterwalder and Pigneur, Business Model Generation, 30.
-31. Jim Whitehurst, The Open Organization: Igniting Passion and
+[^How-to-Be-Made-with-Creative-Commons-26]: Ibid., 21.
+[^How-to-Be-Made-with-Creative-Commons-27]: Doctorow, Information Doesn't Want to Be Free, 43.
+[^How-to-Be-Made-with-Creative-Commons-28]: William Landes Foster, Peter Kim, and Barbara Christiansen, "Ten
+    Nonprofit Funding Models," Stanford Social Innovation Review, Spring
+    2009, [](http://ssir.org/articles/entry/ten\_nonprofit\_funding\_models).
+[^How-to-Be-Made-with-Creative-Commons-29]: Shirky, Cognitive Surplus, 111.
+[^How-to-Be-Made-with-Creative-Commons-30]: Osterwalder and Pigneur, Business Model Generation, 30.
+[^How-to-Be-Made-with-Creative-Commons-31]: Jim Whitehurst, The Open Organization: Igniting Passion and

     Performance (Boston: Harvard Business Review Press, 2015), 202.
     Performance (Boston: Harvard Business Review Press, 2015), 202.

-32. Anderson, Free, 71.
-33. Ibid., 231.
-34. Ibid., 97.
-35. Anderson, Makers, 107.
-36. Osterwalder and Pigneur, Business Model Generation, 89.
-37. Ibid., 92.
-38. Anderson, Free, 142.
-39. Osterwalder and Pigneur, Business Model Generation, 32.
-40. Bollier, Think Like a Commoner, 150.
-41. Ibid., 134.
-42. Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our
+[^How-to-Be-Made-with-Creative-Commons-32]: Anderson, Free, 71.
+[^How-to-Be-Made-with-Creative-Commons-33]: Ibid., 231.
+[^How-to-Be-Made-with-Creative-Commons-34]: Ibid., 97.
+[^How-to-Be-Made-with-Creative-Commons-35]: Anderson, Makers, 107.
+[^How-to-Be-Made-with-Creative-Commons-36]: Osterwalder and Pigneur, Business Model Generation, 89.
+[^How-to-Be-Made-with-Creative-Commons-37]: Ibid., 92.
+[^How-to-Be-Made-with-Creative-Commons-38]: Anderson, Free, 142.
+[^How-to-Be-Made-with-Creative-Commons-39]: Osterwalder and Pigneur, Business Model Generation, 32.
+[^How-to-Be-Made-with-Creative-Commons-40]: Bollier, Think Like a Commoner, 150.
+[^How-to-Be-Made-with-Creative-Commons-41]: Ibid., 134.
+[^How-to-Be-Made-with-Creative-Commons-42]: Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our

     Decisions, rev. ed. (New York: Harper Perennial, 2010), 109.
     Decisions, rev. ed. (New York: Harper Perennial, 2010), 109.

-43. Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and
+[^How-to-Be-Made-with-Creative-Commons-43]: Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and

     Get Discovered (New York: Workman, 2014), 93.
     Get Discovered (New York: Workman, 2014), 93.

-44. Kramer, Shareology, 76.
-45. Palmer, Art of Asking, 252.
-46. Whitehurst, Open Organization, 145.
-47. Surowiecki, Wisdom of Crowds, 203.
-48. Whitehurst, Open Organization, 80.
-49. Bollier, Think Like a Commoner, 25.
-50. Ibid., 31.
-51. Shirky, Cognitive Surplus, 112.
-52. Surowiecki, Wisdom of Crowds, 124.
-53. Kleon, Show Your Work, 127.
-54. Palmer, Art of Asking, 121.
-55. Ariely, Predictably Irrational, 87.
-56. Ibid., 105.
-57. Ibid., 36.
-58. Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly
+[^How-to-Be-Made-with-Creative-Commons-44]: Kramer, Shareology, 76.
+[^How-to-Be-Made-with-Creative-Commons-45]: Palmer, Art of Asking, 252.
+[^How-to-Be-Made-with-Creative-Commons-46]: Whitehurst, Open Organization, 145.
+[^How-to-Be-Made-with-Creative-Commons-47]: Surowiecki, Wisdom of Crowds, 203.
+[^How-to-Be-Made-with-Creative-Commons-48]: Whitehurst, Open Organization, 80.
+[^How-to-Be-Made-with-Creative-Commons-49]: Bollier, Think Like a Commoner, 25.
+[^How-to-Be-Made-with-Creative-Commons-50]: Ibid., 31.
+[^How-to-Be-Made-with-Creative-Commons-51]: Shirky, Cognitive Surplus, 112.
+[^How-to-Be-Made-with-Creative-Commons-52]: Surowiecki, Wisdom of Crowds, 124.
+[^How-to-Be-Made-with-Creative-Commons-53]: Kleon, Show Your Work, 127.
+[^How-to-Be-Made-with-Creative-Commons-54]: Palmer, Art of Asking, 121.
+[^How-to-Be-Made-with-Creative-Commons-55]: Ariely, Predictably Irrational, 87.
+[^How-to-Be-Made-with-Creative-Commons-56]: Ibid., 105.
+[^How-to-Be-Made-with-Creative-Commons-57]: Ibid., 36.
+[^How-to-Be-Made-with-Creative-Commons-58]: Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O'Reilly

     Media, 2012), 36.
     Media, 2012), 36.

-59. Palmer, Art of Asking, 98.
-60. Whitehurst, Open Organization, 34.
-61. Surowiecki, Wisdom of Crowds, 200.
-62. Bollier, Think Like a Commoner, 29.
-63. Giana Eckhardt and Fleura Bardhi, “The Sharing Economy Isn’t about
-    Sharing at All,” Harvard Business Review (website), January 28,
-    2015, hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all.
-64. Lisa Gansky, The Mesh: Why the Future of Business Is Sharing,
+[^How-to-Be-Made-with-Creative-Commons-59]: Palmer, Art of Asking, 98.
+[^How-to-Be-Made-with-Creative-Commons-60]: Whitehurst, Open Organization, 34.
+[^How-to-Be-Made-with-Creative-Commons-61]: Surowiecki, Wisdom of Crowds, 200.
+[^How-to-Be-Made-with-Creative-Commons-62]: Bollier, Think Like a Commoner, 29.
+[^How-to-Be-Made-with-Creative-Commons-63]: Giana Eckhardt and Fleura Bardhi, "The Sharing Economy Isn't about
+    Sharing at All," Harvard Business Review (website), January 28,
+    2015, [](http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all).
+[^How-to-Be-Made-with-Creative-Commons-64]: Lisa Gansky, The Mesh: Why the Future of Business Is Sharing,

     reprint with new epilogue (New York: Portfolio, 2012).
     reprint with new epilogue (New York: Portfolio, 2012).

-65. David Lee, “Inside Medium: An Attempt to Bring Civility to the
-    Internet,” BBC News, March 3, 2016,
-    www.bbc.com/news/technology-35709680.
-66. Anderson, Makers, 148.
-67. Shirky, Cognitive Surplus, 164.
-68. Whitehurst, foreword to Open Organization.
-69. Shirky, Cognitive Surplus, 144.
-70. Ibid., 154.
-71. Palmer, Art of Asking, 163.
-72. Anderson, Makers, 173.
-73. Tom Kelley and David Kelley, Creative Confidence: Unleashing the
+[^How-to-Be-Made-with-Creative-Commons-65]: David Lee, "Inside Medium: An Attempt to Bring Civility to the
+    Internet," BBC News, March 3, 2016,
+    [](http://www.bbc.com/news/technology-35709680).
+[^How-to-Be-Made-with-Creative-Commons-66]: Anderson, Makers, 148.
+[^How-to-Be-Made-with-Creative-Commons-67]: Shirky, Cognitive Surplus, 164.
+[^How-to-Be-Made-with-Creative-Commons-68]: Whitehurst, foreword to Open Organization.
+[^How-to-Be-Made-with-Creative-Commons-69]: Shirky, Cognitive Surplus, 144.
+[^How-to-Be-Made-with-Creative-Commons-70]: Ibid., 154.
+[^How-to-Be-Made-with-Creative-Commons-71]: Palmer, Art of Asking, 163.
+[^How-to-Be-Made-with-Creative-Commons-72]: Anderson, Makers, 173.
+[^How-to-Be-Made-with-Creative-Commons-73]: Tom Kelley and David Kelley, Creative Confidence: Unleashing the

     Potential within Us All (New York: Crown, 2013), 82.
     Potential within Us All (New York: Crown, 2013), 82.

-74. Whitehurst, foreword to Open Organization.
-75. Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
+[^How-to-Be-Made-with-Creative-Commons-74]: Whitehurst, foreword to Open Organization.
+[^How-to-Be-Made-with-Creative-Commons-75]: Rachel Botsman and Roo Rogers, What's Mine Is Yours: The Rise of

     Collaborative Consumption (New York: Harper Business, 2010), 188.
 
 ## The Creative Commons Licenses
     Collaborative Consumption (New York: Harper Business, 2010), 188.
 
 ## The Creative Commons Licenses


@@ -2386,8 +2388,8 @@ trademarks.
 
 Here are the six licenses:
 
 
 Here are the six licenses:
 

-![](Pictures/10000201000001930000008D83BF99FC0821C489.png){width="4.198in"
-height="1.4689in"}
+![](Pictures/10000201000001930000008D83BF99FC0821C489.png){width="40%"
+}

 
 The Attribution license (CC BY) lets others distribute, remix, tweak,
 and build upon your work, even commercially, as long as they credit you
 
 The Attribution license (CC BY) lets others distribute, remix, tweak,
 and build upon your work, even commercially, as long as they credit you


@@ -2395,59 +2397,59 @@ for the original creation. This is the most accommodating of licenses
 offered. Recommended for maximum dissemination and use of licensed
 materials.
 
 offered. Recommended for maximum dissemination and use of licensed
 materials.
 

-![](Pictures/10000201000001930000008DFD3592CB17C4EC38.png){width="4.198in"
-height="1.4689in"}
+![](Pictures/10000201000001930000008DFD3592CB17C4EC38.png){width="40%"
+}

 
 The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak,
 and build upon your work, even for commercial purposes, as long as they
 credit you and license their new creations under identical terms. This
 
 The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak,
 and build upon your work, even for commercial purposes, as long as they
 credit you and license their new creations under identical terms. This

-license is often compared to “copyleft” free and open source software
+license is often compared to "copyleft" free and open source software

 licenses. All new works based on yours will carry the same license, so
 any derivatives will also allow commercial use.
 
 licenses. All new works based on yours will carry the same license, so
 any derivatives will also allow commercial use.
 

-![](Pictures/10000201000001930000008D254882DE24793FEA.png){width="4.198in"
-height="1.4689in"}
+![](Pictures/10000201000001930000008D254882DE24793FEA.png){width="40%"
+}

 
 The Attribution-NoDerivs license (CC BY-ND) allows for redistribution,
 commercial and noncommercial, as long as it is passed along unchanged
 with credit to you.
 
 
 The Attribution-NoDerivs license (CC BY-ND) allows for redistribution,
 commercial and noncommercial, as long as it is passed along unchanged
 with credit to you.
 

-![](Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png){width="4.198in"
-height="1.4689in"}
+![](Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png){width="40%"
+}

 
 The Attribution-NonCommercial license (CC BY-NC) lets others remix,
 tweak, and build upon your work noncommercially. Although their new
 
 The Attribution-NonCommercial license (CC BY-NC) lets others remix,
 tweak, and build upon your work noncommercially. Although their new

-works must also acknowledge you, they don’t have to license their
+works must also acknowledge you, they don't have to license their

 derivative works on the same terms.
 
 derivative works on the same terms.
 

-![](Pictures/10000201000001930000008D16DA603376395620.png){width="4.198in"
-height="1.4689in"}
+![](Pictures/10000201000001930000008D16DA603376395620.png){width="40%"
+}

 
 The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA) lets
 others remix, tweak, and build upon your work noncommercially, as long
 as they credit you and license their new creations under the same terms.
 
 
 The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA) lets
 others remix, tweak, and build upon your work noncommercially, as long
 as they credit you and license their new creations under the same terms.
 

-![](Pictures/10000201000001930000008DC3FEF92B21310965.png){width="4.198in"
-height="1.4689in"}
+![](Pictures/10000201000001930000008DC3FEF92B21310965.png){width="40%"
+}

 
 The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
 restrictive of our six main licenses, only allowing others to download
 your works and share them with others as long as they credit you, but
 
 The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
 restrictive of our six main licenses, only allowing others to download
 your works and share them with others as long as they credit you, but

-they can’t change them or use them commercially.
+they can't change them or use them commercially.

 
 In addition to these six licenses, Creative Commons has two
 
 In addition to these six licenses, Creative Commons has two

-public-domain tools—one for creators and the other for those who manage
-collections of existing works by authors whose terms of copyright have
-expired:
+public-domain tools---one for creators and the other for those who
+manage collections of existing works by authors whose terms of copyright
+have expired:

 
 

-![](Pictures/10000201000001900000008DBE3414994CD27786.png){width="4.1665in"
-height="1.4689in"}
+![](Pictures/10000201000001900000008DBE3414994CD27786.png){width="40%"
+}

 
 CC0 enables authors and copyright owners to dedicate their works to the
 
 CC0 enables authors and copyright owners to dedicate their works to the

-worldwide public domain (“no rights reserved”).
+worldwide public domain ("no rights reserved").

 
 

-![](Pictures/10000201000001900000008D36DCD649C5B1411F.png){width="4.1665in"
-height="1.4689in"}
+![](Pictures/10000201000001900000008D36DCD649C5B1411F.png){width="40%"
+}

 
 The Creative Commons Public Domain Mark facilitates the labeling and
 discovery of works that are already free of known copyright
 
 The Creative Commons Public Domain Mark facilitates the labeling and
 discovery of works that are already free of known copyright


@@ -2470,7 +2472,7 @@ Reserving commercial rights is only one of those ways. It is certainly
 true that a license that allows others to make commercial use of your
 work (CC BY, CC BY-SA, and CC BY-ND) forecloses some traditional revenue
 streams. If you apply an Attribution (CC BY) license to your book, you
 true that a license that allows others to make commercial use of your
 work (CC BY, CC BY-SA, and CC BY-ND) forecloses some traditional revenue
 streams. If you apply an Attribution (CC BY) license to your book, you

-can’t force a film company to pay you royalties if they turn your book
+can't force a film company to pay you royalties if they turn your book

 into a feature-length film, or prevent another company from selling
 physical copies of your work.
 
 into a feature-length film, or prevent another company from selling
 physical copies of your work.
 


@@ -2480,7 +2482,7 @@ NonCommercial and NoDerivs licenses are ways of reserving some
 significant portion of the exclusive bundle of rights that copyright
 grants to creators. In some cases, reserving those rights is important
 to how you bring in revenue. In other cases, creators use a
 significant portion of the exclusive bundle of rights that copyright
 grants to creators. In some cases, reserving those rights is important
 to how you bring in revenue. In other cases, creators use a

-NonCommercial or NoDerivs license because they can’t give up on the
+NonCommercial or NoDerivs license because they can't give up on the

 dream of hitting the creative jackpot. The music platform Tribe of Noise
 told us the NonCommercial licenses were popular among their users
 because people still held out the dream of having a major record label
 dream of hitting the creative jackpot. The music platform Tribe of Noise
 told us the NonCommercial licenses were popular among their users
 because people still held out the dream of having a major record label


@@ -2505,11 +2507,9 @@ Note
 
 For more about the licenses including examples and tips on sharing your
 work in the digital commons, start with the Creative Commons page called
 
 For more about the licenses including examples and tips on sharing your
 work in the digital commons, start with the Creative Commons page called

-“Share Your Work” at
-
-creativecommons.org/share-your-work/.
+"Share Your Work" at
+[](http://creativecommons.org/share-your-work/).

 
 

-# Part 2

 
 # The Case Studies
 
 
 # The Case Studies
 


@@ -2528,26 +2528,26 @@ sharing plays within it, largely the way in which it was told to us by
 those we interviewed.
 
 ## Arduino
 those we interviewed.
 
 ## Arduino

-
-Arduino is a for-profit open-source electronics platform and computer
-hardware and software company. Founded in 2005 in Italy.
-
-www.arduino.cc
-
-Revenue model: charging for physical copies (sales of boards, modules,
-shields, and kits), licensing a trademark (fees paid by those who want
-to sell Arduino products using their name)
-
-Interview date: February 4, 2016
-
-Interviewees: David Cuartielles and Tom Igoe, cofounders
-
-Profile written by Paul Stacey
+> 
+> Arduino is a for-profit open-source electronics platform and computer
+> hardware and software company. Founded in 2005 in Italy.
+> 
+> [](http://www.arduino.cc)
+> 
+> **Revenue model**: charging for physical copies (sales of boards, modules,
+> shields, and kits), licensing a trademark (fees paid by those who want
+> to sell Arduino products using their name)
+> 
+> **Interview date**: February 4, 2016
+> 
+> **Interviewees**: David Cuartielles and Tom Igoe, cofounders
+> 
+> Profile written by Paul Stacey

 
 In 2005, at the Interaction Design Institute Ivrea in northern Italy,
 teachers and students needed an easy way to use electronics and
 programming to quickly prototype design ideas. As musicians, artists,
 
 In 2005, at the Interaction Design Institute Ivrea in northern Italy,
 teachers and students needed an easy way to use electronics and
 programming to quickly prototype design ideas. As musicians, artists,

-and designers, they needed a platform that didn’t require engineering
+and designers, they needed a platform that didn't require engineering

 expertise. A group of teachers and students, including Massimo Banzi,
 David Cuartielles, Tom Igoe, Gianluca Martino, and David Mellis, built a
 platform that combined different open technologies. They called it
 expertise. A group of teachers and students, including Massimo Banzi,
 David Cuartielles, Tom Igoe, Gianluca Martino, and David Mellis, built a
 platform that combined different open technologies. They called it


@@ -2556,29 +2556,29 @@ and electronics. All aspects of the platform were openly licensed:
 hardware designs and documentation with the Attribution-Share-Alike
 license (CC BY-SA), and software with the GNU General Public License.
 
 hardware designs and documentation with the Attribution-Share-Alike
 license (CC BY-SA), and software with the GNU General Public License.
 

-Arduino boards are able to read inputs—light on a sensor, a finger on a
-button, or a Twitter message—and turn it into outputs—activating a
+Arduino boards are able to read inputs---light on a sensor, a finger on
+a button, or a Twitter message---and turn it into outputs---activating a

 motor, turning on an LED, publishing something online. You send a set of
 instructions to the microcontroller on the board by using the Arduino
 programming language and Arduino software (based on a piece of
 open-source software called Processing, a programming tool used to make
 visual art).
 
 motor, turning on an LED, publishing something online. You send a set of
 instructions to the microcontroller on the board by using the Arduino
 programming language and Arduino software (based on a piece of
 open-source software called Processing, a programming tool used to make
 visual art).
 

-“The reasons for making Arduino open source are complicated,” Tom says.
+"The reasons for making Arduino open source are complicated," Tom says.

 Partly it was about supporting flexibility. The open-source nature of
 Arduino empowers users to modify it and create a lot of different
 variations, adding on top of what the founders build. David says this
 Partly it was about supporting flexibility. The open-source nature of
 Arduino empowers users to modify it and create a lot of different
 variations, adding on top of what the founders build. David says this

-“ended up strengthening the platform far beyond what we had even thought
-of building.”
+"ended up strengthening the platform far beyond what we had even thought
+of building."

 
 For Tom another factor was the impending closure of the Ivrea design
 
 For Tom another factor was the impending closure of the Ivrea design

-school. He’d seen other organizations close their doors and all their
+school. He'd seen other organizations close their doors and all their

 work and research just disappear. Open-sourcing ensured that Arduino
 would outlive the Ivrea closure. Persistence is one thing Tom really
 likes about open source. If key people leave, or a company shuts down,
 work and research just disappear. Open-sourcing ensured that Arduino
 would outlive the Ivrea closure. Persistence is one thing Tom really
 likes about open source. If key people leave, or a company shuts down,

-an open-source product lives on. In Tom’s view, “Open sourcing makes it
+an open-source product lives on. In Tom's view, "Open sourcing makes it

 easier to trust a
 easier to trust a

-product.”
+product."

 
 With the school closing, David and some of the other Arduino founders
 started a consulting firm and multidisciplinary design studio they
 
 With the school closing, David and some of the other Arduino founders
 started a consulting firm and multidisciplinary design studio they


@@ -2587,14 +2587,14 @@ bridged the digital and the physical, and they taught people how to use
 new technologies in creative ways. Revenue from Tinker was invested in
 sustaining and enhancing Arduino.
 
 new technologies in creative ways. Revenue from Tinker was invested in
 sustaining and enhancing Arduino.
 

-For Tom, part of Arduino’s success is because the founders made
+For Tom, part of Arduino's success is because the founders made

 themselves the first customer of their product. They made products they
 themselves the first customer of their product. They made products they

-themselves personally wanted. It was a matter of “I need this thing,”
-not “If we make this, we’ll make a lot of money.” Tom notes that being
+themselves personally wanted. It was a matter of "I need this thing,"
+not "If we make this, we'll make a lot of money." Tom notes that being

 your own first customer makes you more confident and convincing at
 selling your product.
 
 your own first customer makes you more confident and convincing at
 selling your product.
 

-Arduino’s business model has evolved over time—and Tom says model is a
+Arduino's business model has evolved over time---and Tom says model is a

 grandiose term for it. Originally, they just wanted to make a few boards
 and get them out into the world. They started out with two hundred
 boards, sold them, and made a little profit. They used that to make
 grandiose term for it. Originally, they just wanted to make a few boards
 and get them out into the world. They started out with two hundred
 boards, sold them, and made a little profit. They used that to make


@@ -2603,15 +2603,15 @@ In the early days, they simply tried to generate enough funding to keep
 the venture going day to day. When they hit the ten thousand mark, they
 started to think about Arduino as a company. By then it was clear you
 can open-source the design but still manufacture the physical product.
 the venture going day to day. When they hit the ten thousand mark, they
 started to think about Arduino as a company. By then it was clear you
 can open-source the design but still manufacture the physical product.

-As long as it’s a quality product and sold at a reasonable price, people
+As long as it's a quality product and sold at a reasonable price, people

 will buy it.
 
 will buy it.
 

-Arduino now has a worldwide community of makers—students, hobbyists,
+Arduino now has a worldwide community of makers---students, hobbyists,

 artists, programmers, and professionals. Arduino provides a wiki called
 Playground (a wiki is where all users can edit and add pages,
 contributing to and benefiting from collective research). People share
 code, circuit diagrams, tutorials, DIY instructions, and tips and
 artists, programmers, and professionals. Arduino provides a wiki called
 Playground (a wiki is where all users can edit and add pages,
 contributing to and benefiting from collective research). People share
 code, circuit diagrams, tutorials, DIY instructions, and tips and

-tricks, and show off their projects. In addition, there’s a
+tricks, and show off their projects. In addition, there's a

 multilanguage discussion forum where users can get help using Arduino,
 discuss topics like robotics, and make suggestions for new Arduino
 product designs. As of January 2017, 324,928 members had made 2,989,489
 multilanguage discussion forum where users can get help using Arduino,
 discuss topics like robotics, and make suggestions for new Arduino
 product designs. As of January 2017, 324,928 members had made 2,989,489


@@ -2629,14 +2629,14 @@ to sustain the business.
 For a business, getting to the end of the year and not being in the red
 is a success. Arduino may have an open-licensing strategy, but they are
 still a business, and all the things needed to successfully run one
 For a business, getting to the end of the year and not being in the red
 is a success. Arduino may have an open-licensing strategy, but they are
 still a business, and all the things needed to successfully run one

-still apply. David says, “If you do those other things well, sharing
-things in an open-source way can only help you.”
+still apply. David says, "If you do those other things well, sharing
+things in an open-source way can only help you."

 
 While openly licensing the designs, documentation, and software ensures
 
 While openly licensing the designs, documentation, and software ensures

-longevity, it does have risks. There’s a possibility that others will
+longevity, it does have risks. There's a possibility that others will

 create knockoffs, clones, and copies. The CC BY-SA license means anyone
 can produce copies of their boards, redesign them, and even sell boards
 create knockoffs, clones, and copies. The CC BY-SA license means anyone
 can produce copies of their boards, redesign them, and even sell boards

-that copy the design. They don’t have to pay a license fee to Arduino or
+that copy the design. They don't have to pay a license fee to Arduino or

 even ask permission. However, if they republish the design of the board,
 they have to give attribution to Arduino. If they change the design,
 they must release the new design using the same Creative Commons license
 even ask permission. However, if they republish the design of the board,
 they have to give attribution to Arduino. If they change the design,
 they must release the new design using the same Creative Commons license


@@ -2659,17 +2659,17 @@ provide advanced functionality and faster performance, to boards for
 creating Internet of Things applications, wearables, and 3-D printing.
 The full range of official Arduino products includes boards, modules (a
 smaller form-factor of classic boards), shields (elements that can be
 creating Internet of Things applications, wearables, and 3-D printing.
 The full range of official Arduino products includes boards, modules (a
 smaller form-factor of classic boards), shields (elements that can be

-plugged onto a board to give it extra features), and kits.1
+plugged onto a board to give it extra features), and kits.[^Arduino-1]

 
 

-Arduino’s focus is on high-quality boards, well-designed support
+Arduino's focus is on high-quality boards, well-designed support

 materials, and the building of community; this focus is one of the keys
 to their success. And being open lets you build a real community. David
 materials, and the building of community; this focus is one of the keys
 to their success. And being open lets you build a real community. David

-says Arduino’s community is a big strength and something that really
-does matter—in his words, “It’s good business.” When they started, the
+says Arduino's community is a big strength and something that really
+does matter---in his words, "It's good business." When they started, the

 Arduino team had almost entirely no idea how to build a community. They
 started by conducting numerous workshops, working directly with people
 using the platform to make sure the hardware and software worked the way
 Arduino team had almost entirely no idea how to build a community. They
 started by conducting numerous workshops, working directly with people
 using the platform to make sure the hardware and software worked the way

-it was meant to work and solved people’s problems. The community grew
+it was meant to work and solved people's problems. The community grew

 organically from there.
 
 A key decision for Arduino was trademarking the name. The founders
 organically from there.
 
 A key decision for Arduino was trademarking the name. The founders


@@ -2680,17 +2680,17 @@ and helps customers easily identify their products, and the products
 sanctioned by them. If others want to sell boards using the Arduino name
 and logo, they have to pay a small fee to Arduino. This allows Arduino
 to scale up manufacturing and distribution while at the same time
 sanctioned by them. If others want to sell boards using the Arduino name
 and logo, they have to pay a small fee to Arduino. This allows Arduino
 to scale up manufacturing and distribution while at the same time

-ensuring the Arduino brand isn’t hurt by low-quality copies.
+ensuring the Arduino brand isn't hurt by low-quality copies.

 
 Current official manufacturers are Smart Projects in Italy, SparkFun in
 the United States, and Dog Hunter in Taiwan/China. These are the only
 manufacturers that are allowed to use the Arduino logo on their boards.
 Trademarking their brand provided the founders with a way to protect
 Arduino, build it out further, and fund software and tutorial
 
 Current official manufacturers are Smart Projects in Italy, SparkFun in
 the United States, and Dog Hunter in Taiwan/China. These are the only
 manufacturers that are allowed to use the Arduino logo on their boards.
 Trademarking their brand provided the founders with a way to protect
 Arduino, build it out further, and fund software and tutorial

-development. The trademark-licensing fee for the brand became Arduino’s
+development. The trademark-licensing fee for the brand became Arduino's

 revenue-generating model.
 
 revenue-generating model.
 

-How far to open things up wasn’t always something the founders perfectly
+How far to open things up wasn't always something the founders perfectly

 agreed on. David, who was always one to advocate for opening things up
 more, had some fears about protecting the Arduino name, thinking people
 would be mad if they policed their brand. There was some early backlash
 agreed on. David, who was always one to advocate for opening things up
 more, had some fears about protecting the Arduino name, thinking people
 would be mad if they policed their brand. There was some early backlash


@@ -2701,58 +2701,58 @@ David encourages people and businesses to start by sharing everything as
 a default strategy, and then think about whether there is anything that
 really needs to be protected and why. There are lots of good reasons to
 not open up certain elements. This strategy of sharing everything is
 a default strategy, and then think about whether there is anything that
 really needs to be protected and why. There are lots of good reasons to
 not open up certain elements. This strategy of sharing everything is

-certainly the complete opposite of how today’s world operates, where
+certainly the complete opposite of how today's world operates, where

 nothing is shared. Tom suggests a business formalize which elements are
 based on open sharing and which are closed. An Arduino blog post from
 nothing is shared. Tom suggests a business formalize which elements are
 based on open sharing and which are closed. An Arduino blog post from

-2013 entitled “Send In the Clones,” by one of the founders Massimo
+2013 entitled "Send In the Clones," by one of the founders Massimo

 Banzi, does a great job of explaining the full complexities of how
 trademarking their brand has played out, distinguishing between official
 boards and those that are clones, derivatives, compatibles, and
 Banzi, does a great job of explaining the full complexities of how
 trademarking their brand has played out, distinguishing between official
 boards and those that are clones, derivatives, compatibles, and

-counterfeits.2
+counterfeits.[^Arduino-2]

 
 For David, an exciting aspect of Arduino is the way lots of people can
 use it to adapt technology in many different ways. Technology is always
 
 For David, an exciting aspect of Arduino is the way lots of people can
 use it to adapt technology in many different ways. Technology is always

-making more things possible but doesn’t always focus on making it easy
-to use and adapt. This is where Arduino steps in. Arduino’s goal is
-“making things that help other people make things.”
+making more things possible but doesn't always focus on making it easy
+to use and adapt. This is where Arduino steps in. Arduino's goal is
+"making things that help other people make things."

 
 Arduino has been hugely successful in making technology and electronics
 
 Arduino has been hugely successful in making technology and electronics

-reach a larger audience. For Tom, Arduino has been about “the
-democratization of technology.” Tom sees Arduino’s open-source strategy
+reach a larger audience. For Tom, Arduino has been about "the
+democratization of technology." Tom sees Arduino's open-source strategy

 as helping the world get over the idea that technology has to be
 as helping the world get over the idea that technology has to be

-protected. Tom says, “Technology is a literacy everyone should learn.”
+protected. Tom says, "Technology is a literacy everyone should learn."

 
 

-Ultimately, for Arduino, going open has been good business—good for
+Ultimately, for Arduino, going open has been good business---good for

 product development, good for distribution, good for pricing, and good
 for manufacturing.
 
 product development, good for distribution, good for pricing, and good
 for manufacturing.
 

-Web links
+### Web links

 
 

-1.  www.arduino.cc/en/Main/Products
-2.  blog.arduino.cc/2013/07/10/send-in-the-clones/
+[^Arduino-1]:  [](http://www.arduino.cc/en/Main/Products)
+[^Arduino-2]:  [](http://blog.arduino.cc/2013/07/10/send-in-the-clones/)

 
 ## Ártica
 
 ## Ártica

-
-Ártica provides online courses and consulting services focused on how to
-use digital technology to share knowledge and enable collaboration in
-arts and culture. Founded in 2011 in Uruguay.
-
-www.articaonline.com
-
-Revenue model: charging for custom services
-
-Interview date: March 9, 2016
-
-Interviewees: Mariana Fossatti and Jorge Gemetto, cofounders
-
-Profile written by Sarah Hinchliff Pearson
-
-The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is
+> 
+> Ártica provides online courses and consulting services focused on how to
+> use digital technology to share knowledge and enable collaboration in
+> arts and culture. Founded in 2011 in Uruguay.
+> 
+> [](http://www.articaonline.com)
+> 
+> **Revenue model**: charging for custom services
+> 
+> **Interview date**: March 9, 2016
+> 
+> **Interviewees**: Mariana Fossatti and Jorge Gemetto, cofounders
+> 
+> Profile written by Sarah Hinchliff Pearson
+
+The story of Mariana Fossatti and Jorge Gemetto's business, Ártica, is

 the ultimate example of DIY. Not only are they successful entrepreneurs,
 the niche in which their small business operates is essentially one they
 built themselves.
 
 the ultimate example of DIY. Not only are they successful entrepreneurs,
 the niche in which their small business operates is essentially one they
 built themselves.
 

-Their dream jobs didn’t exist, so they created them.
+Their dream jobs didn't exist, so they created them.

 
 In 2011, Mariana was a sociologist working for an international
 organization to develop research and online education about
 
 In 2011, Mariana was a sociologist working for an international
 organization to develop research and online education about


@@ -2777,16 +2777,16 @@ gatekeepers or intermediaries.
 
 Ártica offers personalized education and consulting services, and helps
 clients implement projects. All of these services are customized. They
 
 Ártica offers personalized education and consulting services, and helps
 clients implement projects. All of these services are customized. They

-call it an “artisan” process because of the time and effort it takes to
-adapt their work for the particular needs of students and clients. “Each
+call it an "artisan" process because of the time and effort it takes to
+adapt their work for the particular needs of students and clients. "Each

 student or client is paying for a specific solution to his or her
 student or client is paying for a specific solution to his or her

-problems and questions,” Mariana said. Rather than sell access to their
+problems and questions," Mariana said. Rather than sell access to their

 content, they provide it for free and charge for the personalized
 services.
 
 When they started, they offered a smaller number of courses designed to
 content, they provide it for free and charge for the personalized
 services.
 
 When they started, they offered a smaller number of courses designed to

-attract large audiences. “Over the years, we realized that online
-communities are more specific than we thought,” Mariana said. Ártica now
+attract large audiences. "Over the years, we realized that online
+communities are more specific than we thought," Mariana said. Ártica now

 provides more options for classes and has lower enrollment in each
 course. This means they can provide more attention to individual
 students and offer classes on more specialized topics.
 provides more options for classes and has lower enrollment in each
 course. This means they can provide more attention to individual
 students and offer classes on more specialized topics.


@@ -2803,19 +2803,19 @@ new course or e-book, they will go ahead because they believe in it.
 They take the stance that every new project leads them to something new,
 every new resource they create opens new doors.
 
 They take the stance that every new project leads them to something new,
 every new resource they create opens new doors.
 

-Ártica relies heavily on their free Creative Commons–licensed content to
-attract new students and clients. Everything they create—online
-education, blog posts, videos—is published under an
-Attribution-ShareAlike license (CC BY-SA). “We use a ShareAlike license
+Ártica relies heavily on their free Creative Commons--licensed content
+to attract new students and clients. Everything they create---online
+education, blog posts, videos---is published under an
+Attribution-ShareAlike license (CC BY-SA). "We use a ShareAlike license

 because we want to give the greatest freedom to our students and
 because we want to give the greatest freedom to our students and

-readers, and we also want that freedom to be viral,” Jorge said. For
+readers, and we also want that freedom to be viral," Jorge said. For

 them, giving others the right to reuse and remix their content is a
 them, giving others the right to reuse and remix their content is a

-fundamental value. “How can you offer an online educational service
+fundamental value. "How can you offer an online educational service

 without giving permission to download, make and keep copies, or print
 without giving permission to download, make and keep copies, or print

-the educational resources?” Jorge said. “If we want to do the best for
-our students—those who trust in us to the point that they are willing to
-pay online without face-to-face contact—we have to offer them a fair and
-ethical agreement.”
+the educational resources?" Jorge said. "If we want to do the best for
+our students---those who trust in us to the point that they are willing
+to pay online without face-to-face contact---we have to offer them a
+fair and ethical agreement."

 
 They also believe sharing their ideas and expertise openly helps them
 build their reputation and visibility. People often share and cite their
 
 They also believe sharing their ideas and expertise openly helps them
 build their reputation and visibility. People often share and cite their


@@ -2824,35 +2824,35 @@ and distributed printed copies. Ártica views reuse of their work as a
 way to open up new opportunities for their business.
 
 This belief that openness creates new opportunities reflects another
 way to open up new opportunities for their business.
 
 This belief that openness creates new opportunities reflects another

-belief—in serendipity. When describing their process for creating
+belief---in serendipity. When describing their process for creating

 content, they spoke of all of the spontaneous and organic ways they find
 content, they spoke of all of the spontaneous and organic ways they find

-inspiration. “Sometimes, the collaborative process starts with a
-conversation between us, or with friends from other projects,” Jorge
-said. “That can be the first step for a new blog post or another simple
+inspiration. "Sometimes, the collaborative process starts with a
+conversation between us, or with friends from other projects," Jorge
+said. "That can be the first step for a new blog post or another simple

 piece of content, which can evolve to a more complex product in the
 piece of content, which can evolve to a more complex product in the

-future, like a course or a book.”
+future, like a course or a book."

 
 Rather than planning their work in advance, they let their creative
 
 Rather than planning their work in advance, they let their creative

-process be dynamic. “This doesn’t mean that we don’t need to work hard
+process be dynamic. "This doesn't mean that we don't need to work hard

 in order to get good professional results, but the design process is
 in order to get good professional results, but the design process is

-more flexible,” Jorge said. They share early and often, and they adjust
+more flexible," Jorge said. They share early and often, and they adjust

 based on what they learn, always exploring and testing new ideas and
 ways of operating. In many ways, for them, the process is just as
 important as the final product.
 
 based on what they learn, always exploring and testing new ideas and
 ways of operating. In many ways, for them, the process is just as
 important as the final product.
 

-People and relationships are also just as important, sometimes more. “In
+People and relationships are also just as important, sometimes more. "In

 the educational and cultural business, it is more important to pay
 attention to people and process, rather than content or specific formats
 the educational and cultural business, it is more important to pay
 attention to people and process, rather than content or specific formats

-or materials,” Mariana said. “Materials and content are fluid. The
-important thing is the relationships.”
+or materials," Mariana said. "Materials and content are fluid. The
+important thing is the relationships."

 
 Ártica believes in the power of the network. They seek to make
 connections with people and institutions across the globe so they can
 learn from them and share their knowledge.
 
 
 Ártica believes in the power of the network. They seek to make
 connections with people and institutions across the globe so they can
 learn from them and share their knowledge.
 

-At the core of everything Ártica does is a set of values. “Good content
-is not enough,” Jorge said. “We also think that it is very important to
-take a stand for some things in the cultural sector.” Mariana and Jorge
+At the core of everything Ártica does is a set of values. "Good content
+is not enough," Jorge said. "We also think that it is very important to
+take a stand for some things in the cultural sector." Mariana and Jorge

 are activists. They defend free culture (the movement promoting the
 freedom to modify and distribute creative work) and work to demonstrate
 the intersection between free culture and other social-justice
 are activists. They defend free culture (the movement promoting the
 freedom to modify and distribute creative work) and work to demonstrate
 the intersection between free culture and other social-justice


@@ -2869,33 +2869,33 @@ cultural resources in the commons, and they rely on free software. Their
 operation is small, efficient, and sustainable, and because of that, it
 is a success.
 
 operation is small, efficient, and sustainable, and because of that, it
 is a success.
 

-“There are lots of people offering online courses,” Jorge said. “But it
+"There are lots of people offering online courses," Jorge said. "But it

 is easy to differentiate us. We have an approach that is very specific
 is easy to differentiate us. We have an approach that is very specific

-and personal.” Ártica’s model is rooted in the personal at every level.
+and personal." Ártica's model is rooted in the personal at every level.

 For Mariana and Jorge, success means doing what brings them personal
 meaning and purpose, and doing it sustainably and collaboratively.
 
 In their work with younger artists, Mariana and Jorge try to emphasize
 that this model of success is just as valuable as the picture of success
 For Mariana and Jorge, success means doing what brings them personal
 meaning and purpose, and doing it sustainably and collaboratively.
 
 In their work with younger artists, Mariana and Jorge try to emphasize
 that this model of success is just as valuable as the picture of success

-we get from the media. “If they seek only the traditional type of
-success, they will get frustrated,” Mariana said. “We try to show them
-another image of what it looks like.”
+we get from the media. "If they seek only the traditional type of
+success, they will get frustrated," Mariana said. "We try to show them
+another image of what it looks like."

 
 ## Blender Institute
 
 ## Blender Institute

-
-The Blender Institute is an animation studio that creates 3-D films
-using Blender software. Founded in 2006 in the Netherlands.
-
-www.blender.org
-
-Revenue model: crowdfunding (subscription-based), charging for physical
-copies, selling merchandise
-
-Interview date: March 8, 2016
-
-Interviewee: Francesco Siddi, production coordinator
-
-Profile written by Sarah Hinchliff Pearson
+> 
+> The Blender Institute is an animation studio that creates 3-D films
+> using Blender software. Founded in 2006 in the Netherlands.
+> 
+> [](http://www.blender.org)
+> 
+> **Revenue model**: crowdfunding (subscription-based), charging for physical
+> copies, selling merchandise
+> 
+> **Interview date**: March 8, 2016
+> 
+> **Interviewee**: Francesco Siddi, production coordinator
+> 
+> Profile written by Sarah Hinchliff Pearson

 
 For Ton Roosendaal, the creator of Blender software and its related
 entities, sharing is practical. Making their 3-D content creation
 
 For Ton Roosendaal, the creator of Blender software and its related
 entities, sharing is practical. Making their 3-D content creation


@@ -2917,18 +2917,18 @@ together.
 
 Rather than just talking about the theoretical benefits of sharing and
 free culture, Ton is very much about doing and making free culture.
 
 Rather than just talking about the theoretical benefits of sharing and
 free culture, Ton is very much about doing and making free culture.

-Blender’s production coordinator Francesco Siddi told us, “Ton believes
-if you don’t make content using your tools, then you’re not doing
-anything.”
+Blender's production coordinator Francesco Siddi told us, "Ton believes
+if you don't make content using your tools, then you're not doing
+anything."

 
 

-Blender’s history begins in the late 1990s, when Ton created the Blender
+Blender's history begins in the late 1990s, when Ton created the Blender

 software. Originally, the software was an in-house resource for his
 animation studio based in the Netherlands. Investors became interested
 in the software, so he began marketing the software to the public,
 offering a free version in addition to a paid version. Sales were
 disappointing, and his investors gave up on the endeavor in the early
 software. Originally, the software was an in-house resource for his
 animation studio based in the Netherlands. Investors became interested
 in the software, so he began marketing the software to the public,
 offering a free version in addition to a paid version. Sales were
 disappointing, and his investors gave up on the endeavor in the early

-2000s. He made a deal with investors—if he could raise enough money, he
-could then make the Blender software available under the GNU General
+2000s. He made a deal with investors---if he could raise enough money,
+he could then make the Blender software available under the GNU General

 Public License.
 
 This was long before Kickstarter and other online crowdfunding sites
 Public License.
 
 This was long before Kickstarter and other online crowdfunding sites


@@ -2936,16 +2936,16 @@ existed, but Ton ran his own version of a crowdfunding campaign and
 quickly raised the money he needed. The Blender software became freely
 available for anyone to use. Simply applying the General Public License
 to the software, however, was not enough to create a thriving community
 quickly raised the money he needed. The Blender software became freely
 available for anyone to use. Simply applying the General Public License
 to the software, however, was not enough to create a thriving community

-around it. Francesco told us, “Software of this complexity relies on
+around it. Francesco told us, "Software of this complexity relies on

 people and their vision of how people work together. Ton is a fantastic
 community builder and manager, and he put a lot of work into fostering a
 people and their vision of how people work together. Ton is a fantastic
 community builder and manager, and he put a lot of work into fostering a

-community of developers so that the project could live.”
+community of developers so that the project could live."

 
 Like any successful free and open-source software project, Blender
 developed quickly because the community could make fixes and
 
 Like any successful free and open-source software project, Blender
 developed quickly because the community could make fixes and

-improvements. “Software should be free and open to hack,” Francesco
-said. “Otherwise, everyone is doing the same thing in the dark for ten
-years.” Ton set up the Blender Foundation to oversee and steward the
+improvements. "Software should be free and open to hack," Francesco
+said. "Otherwise, everyone is doing the same thing in the dark for ten
+years." Ton set up the Blender Foundation to oversee and steward the

 software development and maintenance.
 
 After a few years, Ton began looking for new ways to push development of
 software development and maintenance.
 
 After a few years, Ton began looking for new ways to push development of


@@ -2960,13 +2960,13 @@ process.
 They turned to crowdfunding to subsidize the costs of the project. They
 had about twenty people working full-time for six to ten months, so the
 costs were significant. Francesco said that when their crowdfunding
 They turned to crowdfunding to subsidize the costs of the project. They
 had about twenty people working full-time for six to ten months, so the
 costs were significant. Francesco said that when their crowdfunding

-campaign succeeded, people were astounded. “The idea that making money
+campaign succeeded, people were astounded. "The idea that making money

 was possible by producing CC-licensed material was mind-blowing to
 was possible by producing CC-licensed material was mind-blowing to

-people,” he said. “They were like, ‘I have to see it to believe it.’”
+people," he said. "They were like, 'I have to see it to believe it.'"

 
 The first film, which was released in 2006, was an experiment. It was so
 successful that Ton decided to set up the Blender Institute, an entity
 
 The first film, which was released in 2006, was an experiment. It was so
 successful that Ton decided to set up the Blender Institute, an entity

-dedicated to hosting open-movie projects. The Blender Institute’s next
+dedicated to hosting open-movie projects. The Blender Institute's next

 project was an even bigger success. The film, Big Buck Bunny, went
 viral, and its animated characters were picked up by marketers.
 
 project was an even bigger success. The film, Big Buck Bunny, went
 viral, and its animated characters were picked up by marketers.
 


@@ -2976,35 +2976,35 @@ become more complex, combining technical experts and artists who focus
 on storytelling. Francesco says the process is almost on an industrial
 scale because of the number of moving parts. This requires a lot of
 specialized assistance, but the Blender Institute has no problem finding
 on storytelling. Francesco says the process is almost on an industrial
 scale because of the number of moving parts. This requires a lot of
 specialized assistance, but the Blender Institute has no problem finding

-the talent it needs to help on projects. “Blender hardly does any
-recruiting for film projects because the talent emerges naturally,”
-Francesco said. “So many people want to work with us, and we can’t
-always hire them because of budget constraints.”
+the talent it needs to help on projects. "Blender hardly does any
+recruiting for film projects because the talent emerges naturally,"
+Francesco said. "So many people want to work with us, and we can't
+always hire them because of budget constraints."

 
 Blender has had a lot of success raising money from its community over
 the years. In many ways, the pitch has gotten easier to make. Not only
 is crowdfunding simply more familiar to the public, but people know and
 trust Blender to deliver, and Ton has developed a reputation as an
 
 Blender has had a lot of success raising money from its community over
 the years. In many ways, the pitch has gotten easier to make. Not only
 is crowdfunding simply more familiar to the public, but people know and
 trust Blender to deliver, and Ton has developed a reputation as an

-effective community leader and visionary for their work. “There is a
-whole community who sees and understands the benefit of these projects,”
+effective community leader and visionary for their work. "There is a
+whole community who sees and understands the benefit of these projects,"

 Francesco said.
 
 While these benefits of each open-movie project make a compelling pitch
 for crowdfunding campaigns, Francesco told us the Blender Institute has
 found some limitations in the standard crowdfunding model where you
 Francesco said.
 
 While these benefits of each open-movie project make a compelling pitch
 for crowdfunding campaigns, Francesco told us the Blender Institute has
 found some limitations in the standard crowdfunding model where you

-propose a specific project and ask for funding. “Once a project is over,
-everyone goes home,” he said. “It is great fun, but then it ends. That
-is a problem.”
+propose a specific project and ask for funding. "Once a project is over,
+everyone goes home," he said. "It is great fun, but then it ends. That
+is a problem."

 
 To make their work more sustainable, they needed a way to receive
 ongoing support rather than on a project-by-project basis. Their
 solution is Blender Cloud, a subscription-style crowdfunding model akin
 to the online crowdfunding platform, Patreon. For about ten euros each
 month, subscribers get access to download everything the Blender
 
 To make their work more sustainable, they needed a way to receive
 ongoing support rather than on a project-by-project basis. Their
 solution is Blender Cloud, a subscription-style crowdfunding model akin
 to the online crowdfunding platform, Patreon. For about ten euros each
 month, subscribers get access to download everything the Blender

-Institute produces—software, art, training, and more. All of the assets
-are available under an Attribution license (CC BY) or placed in the
-public domain (CC0), but they are initially made available only to
-subscribers. Blender Cloud enables subscribers to follow Blender’s movie
+Institute produces---software, art, training, and more. All of the
+assets are available under an Attribution license (CC BY) or placed in
+the public domain (CC0), but they are initially made available only to
+subscribers. Blender Cloud enables subscribers to follow Blender's movie

 projects as they develop, sharing detailed information and content used
 in the creative process. Blender Cloud also has extensive training
 materials and libraries of characters and other assets used in various
 projects as they develop, sharing detailed information and content used
 in the creative process. Blender Cloud also has extensive training
 materials and libraries of characters and other assets used in various


@@ -3012,8 +3012,8 @@ projects.
 
 The continuous financial support provided by Blender Cloud subsidizes
 five to six full-time employees at the Blender Institute. Francesco says
 
 The continuous financial support provided by Blender Cloud subsidizes
 five to six full-time employees at the Blender Institute. Francesco says

-their goal is to grow their subscriber base. “This is our freedom,” he
-told us, “and for artists, freedom is everything.”
+their goal is to grow their subscriber base. "This is our freedom," he
+told us, "and for artists, freedom is everything."

 
 Blender Cloud is the primary revenue stream of the Blender Institute.
 The Blender Foundation is funded primarily by donations, and that money
 
 Blender Cloud is the primary revenue stream of the Blender Institute.
 The Blender Foundation is funded primarily by donations, and that money


@@ -3029,32 +3029,32 @@ open. Selling a license has never been part of the business model.
 
 Since 2006, he has been making films available along with all of their
 source material. He says he has hardly ever seen people stepping into
 
 Since 2006, he has been making films available along with all of their
 source material. He says he has hardly ever seen people stepping into

-Blender’s shoes and trying to make money off of their content. Ton
+Blender's shoes and trying to make money off of their content. Ton

 believes this is because the true value of what they do is in the
 believes this is because the true value of what they do is in the

-creative and production process. “Even when you share everything, all
+creative and production process. "Even when you share everything, all

 your original sources, it still takes a lot of talent, skills, time, and
 your original sources, it still takes a lot of talent, skills, time, and

-budget to reproduce what you did,” Ton said.
+budget to reproduce what you did," Ton said.

 
 For Ton and Blender, it all comes back to doing.
 
 ## Cards Against Humanity
 
 For Ton and Blender, it all comes back to doing.
 
 ## Cards Against Humanity

-
-Cards Against Humanity is a private, for-profit company that makes a
-popular party game by the same name. Founded in 2011 in the U.S.
-
-www.cardsagainsthumanity.com
-
-Revenue model: charging for physical copies
-
-Interview date: February 3, 2016
-
-Interviewee: Max Temkin, cofounder
-
-Profile written by Sarah Hinchliff Pearson
+> 
+> Cards Against Humanity is a private, for-profit company that makes a
+> popular party game by the same name. Founded in 2011 in the U.S.
+> 
+> [](http://www.cardsagainsthumanity.com)
+> 
+> **Revenue model**: charging for physical copies
+> 
+> **Interview date**: February 3, 2016
+> 
+> **Interviewee**: Max Temkin, cofounder
+> 
+> Profile written by Sarah Hinchliff Pearson

 
 If you ask cofounder Max Temkin, there is nothing particularly
 
 If you ask cofounder Max Temkin, there is nothing particularly

-interesting about the Cards Against Humanity business model. “We make a
-product. We sell it for money. Then we spend less money than we make,”
+interesting about the Cards Against Humanity business model. "We make a
+product. We sell it for money. Then we spend less money than we make,"

 Max said.
 
 He is right. Cards Against Humanity is a simple party game, modeled
 Max said.
 
 He is right. Cards Against Humanity is a simple party game, modeled


@@ -3062,7 +3062,7 @@ after the game Apples to Apples. To play, one player asks a question or
 fill-in-the-blank statement from a black card, and the other players
 submit their funniest white card in response. The catch is that all of
 the cards are filled with crude, gruesome, and otherwise awful things.
 fill-in-the-blank statement from a black card, and the other players
 submit their funniest white card in response. The catch is that all of
 the cards are filled with crude, gruesome, and otherwise awful things.

-For the right kind of people (“horrible people,” according to Cards
+For the right kind of people ("horrible people," according to Cards

 Against Humanity advertising), this makes for a hilarious and fun game.
 
 The revenue model is simple. Physical copies of the game are sold for a
 Against Humanity advertising), this makes for a hilarious and fun game.
 
 The revenue model is simple. Physical copies of the game are sold for a


@@ -3082,55 +3082,55 @@ anyone can create new versions of the game as long as they make it
 available under the same noncommercial terms. The ability to adapt the
 game is like an entire new game unto itself.
 
 available under the same noncommercial terms. The ability to adapt the
 game is like an entire new game unto itself.
 

-All together, these factors—the crass tone of the game and company, the
-free download, the
-openness to fans remixing the game—give
+All together, these factors---the crass tone of the game and company,
+the free download, the
+openness to fans remixing the game---give

 the game a massive cult following.
 
 Their success is not the result of a grand plan. Instead, Cards Against
 Humanity was the last in a long line of games and comedy projects that
 Max Temkin and his friends put together for their own amusement. As Max
 tells the story, they made the game so they could play it themselves on
 the game a massive cult following.
 
 Their success is not the result of a grand plan. Instead, Cards Against
 Humanity was the last in a long line of games and comedy projects that
 Max Temkin and his friends put together for their own amusement. As Max
 tells the story, they made the game so they could play it themselves on

-New Year’s Eve because they were too nerdy to be invited to other
+New Year's Eve because they were too nerdy to be invited to other

 parties. The game was a hit, so they decided to put it up online as a
 free PDF. People started asking if they could pay to have the game
 printed for them, and eventually they decided to run a Kickstarter to
 parties. The game was a hit, so they decided to put it up online as a
 free PDF. People started asking if they could pay to have the game
 printed for them, and eventually they decided to run a Kickstarter to

-fund the printing. They set their Kickstarter goal at \$4,000—and raised
-\$15,000. The game was officially released in May 2011.
+fund the printing. They set their Kickstarter goal at \$4,000---and
+raised \$15,000. The game was officially released in May 2011.

 
 The game caught on quickly, and it has only grown more popular over
 time. Max says the eight founders never had a meeting where they decided
 
 The game caught on quickly, and it has only grown more popular over
 time. Max says the eight founders never had a meeting where they decided

-to make it an ongoing business. “It kind of just happened,” he said.
+to make it an ongoing business. "It kind of just happened," he said.

 
 

-But this tale of a “happy accident” belies marketing genius. Just like
+But this tale of a "happy accident" belies marketing genius. Just like

 the game, the Cards Against Humanity brand is irreverent and memorable.
 the game, the Cards Against Humanity brand is irreverent and memorable.

-It is hard to forget a company that calls the FAQ on their website “Your
-dumb questions.”
+It is hard to forget a company that calls the FAQ on their website "Your
+dumb questions."

 
 Like most quality satire, however, there is more to the joke than
 
 Like most quality satire, however, there is more to the joke than

-vulgarity and shock value. The company’s marketing efforts around Black
+vulgarity and shock value. The company's marketing efforts around Black

 Friday illustrate this particularly well. For those outside the United
 States, Black Friday is the term for the day after the Thanksgiving
 holiday, the biggest shopping day of the year. It is an incredibly
 important day for Cards Against Humanity, like it is for all U.S.
 retailers. Max said they struggled with what to do on Black Friday
 Friday illustrate this particularly well. For those outside the United
 States, Black Friday is the term for the day after the Thanksgiving
 holiday, the biggest shopping day of the year. It is an incredibly
 important day for Cards Against Humanity, like it is for all U.S.
 retailers. Max said they struggled with what to do on Black Friday

-because they didn’t want to support what he called the “orgy of
-consumerism” the day has become, particularly since it follows a day
+because they didn't want to support what he called the "orgy of
+consumerism" the day has become, particularly since it follows a day

 that is about being grateful for what you have. In 2013, after
 deliberating, they decided to have an Everything Costs \$5 More sale.
 
 that is about being grateful for what you have. In 2013, after
 deliberating, they decided to have an Everything Costs \$5 More sale.
 

-“We sweated it out the night before Black Friday, wondering if our fans
-were going to hate us for it,” he said. “But it made us laugh so we went
-with it. People totally caught the joke.”
+"We sweated it out the night before Black Friday, wondering if our fans
+were going to hate us for it," he said. "But it made us laugh so we went
+with it. People totally caught the joke."

 
 This sort of bold transparency delights the media, but more importantly,
 
 This sort of bold transparency delights the media, but more importantly,

-it engages their fans. “One of the most surprising things you can do in
-capitalism is just be honest with people,” Max said. “It shocks people
-that there is transparency about what you are doing.”
+it engages their fans. "One of the most surprising things you can do in
+capitalism is just be honest with people," Max said. "It shocks people
+that there is transparency about what you are doing."

 
 

-Max also likened it to a grand improv scene. “If we do something a
+Max also likened it to a grand improv scene. "If we do something a

 little subversive and unexpected, the public wants to be a part of the
 little subversive and unexpected, the public wants to be a part of the

-joke.” One year they did a Give Cards Against Humanity \$5 event, where
+joke." One year they did a Give Cards Against Humanity \$5 event, where

 people literally paid them five dollars for no reason. Their fans wanted
 to make the joke funnier by making it successful. They made \$70,000 in
 a single day.
 people literally paid them five dollars for no reason. Their fans wanted
 to make the joke funnier by making it successful. They made \$70,000 in
 a single day.


@@ -3138,13 +3138,13 @@ a single day.
 This remarkable trust they have in their customers is what inspired
 their decision to apply a Creative Commons license to the game. Trusting
 your customers to reuse and remix your work requires a leap of faith.
 This remarkable trust they have in their customers is what inspired
 their decision to apply a Creative Commons license to the game. Trusting
 your customers to reuse and remix your work requires a leap of faith.

-Cards Against Humanity obviously isn’t afraid of doing the unexpected,
+Cards Against Humanity obviously isn't afraid of doing the unexpected,

 but there are lines even they do not want to cross. Before applying the
 license, Max said they worried that some fans would adapt the game to
 include all of the jokes they intentionally never made because they
 but there are lines even they do not want to cross. Before applying the
 license, Max said they worried that some fans would adapt the game to
 include all of the jokes they intentionally never made because they

-crossed that line. “It happened, and the world didn’t end,” Max said.
-“If that is the worst cost of using CC, I’d pay that a hundred times
-over because there are so many benefits.”
+crossed that line. "It happened, and the world didn't end," Max said.
+"If that is the worst cost of using CC, I'd pay that a hundred times
+over because there are so many benefits."

 
 Any successful product inspires its biggest fans to create remixes of
 it, but unsanctioned adaptations are more likely to fly under the radar.
 
 Any successful product inspires its biggest fans to create remixes of
 it, but unsanctioned adaptations are more likely to fly under the radar.


@@ -3153,18 +3153,18 @@ freedom to run with the game and copy, adapt, and promote their
 creations openly. Today there are thousands of fan expansions of the
 game.
 
 creations openly. Today there are thousands of fan expansions of the
 game.
 

-Max said, “CC was a no-brainer for us because it gets the most people
+Max said, "CC was a no-brainer for us because it gets the most people

 involved. Making the game free and available under a CC license led to
 the unbelievable situation where we are one of the best-marketed games
 involved. Making the game free and available under a CC license led to
 the unbelievable situation where we are one of the best-marketed games

-in the world, and we have never spent a dime on marketing.”
+in the world, and we have never spent a dime on marketing."

 
 Of course, there are limits to what the company allows its customers to
 do with the game. They chose the Attribution-NonCommercial-ShareAlike
 license because it restricts people from using the game to make money.
 It also requires that adaptations of the game be made available under
 the same licensing terms if they are shared publicly. Cards Against
 
 Of course, there are limits to what the company allows its customers to
 do with the game. They chose the Attribution-NonCommercial-ShareAlike
 license because it restricts people from using the game to make money.
 It also requires that adaptations of the game be made available under
 the same licensing terms if they are shared publicly. Cards Against

-Humanity also polices its brand. “We feel like we’re the only ones who
-can use our brand and our game and make money off of it,” Max said.
+Humanity also polices its brand. "We feel like we're the only ones who
+can use our brand and our game and make money off of it," Max said.

 About 99.9 percent of the time, they just send an email to those making
 commercial use of the game, and that is the end of it. There have only
 been a handful of instances where they had to get a lawyer involved.
 About 99.9 percent of the time, they just send an email to those making
 commercial use of the game, and that is the end of it. There have only
 been a handful of instances where they had to get a lawyer involved.


@@ -3173,11 +3173,11 @@ Just as there is more than meets the eye to the Cards Against Humanity
 business model, the same can be said of the game itself. To be playable,
 every white card has to work syntactically with enough black cards. The
 eight creators invest an incredible amount of work into creating new
 business model, the same can be said of the game itself. To be playable,
 every white card has to work syntactically with enough black cards. The
 eight creators invest an incredible amount of work into creating new

-cards for the game. “We have daylong arguments about commas,” Max said.
-“The slacker tone of the cards gives people the impression that it is
-easy to write them, but it is actually a lot of work and quibbling.”
+cards for the game. "We have daylong arguments about commas," Max said.
+"The slacker tone of the cards gives people the impression that it is
+easy to write them, but it is actually a lot of work and quibbling."

 
 

-That means cocreation with their fans really doesn’t work. The company
+That means cocreation with their fans really doesn't work. The company

 has a submission mechanism on their website, and they get thousands of
 suggestions, but it is very rare that a submitted card is adopted.
 Instead, the eight initial creators remain the primary authors of
 has a submission mechanism on their website, and they get thousands of
 suggestions, but it is very rare that a submitted card is adopted.
 Instead, the eight initial creators remain the primary authors of


@@ -3188,16 +3188,16 @@ when people make their own adaptations of the game.
 
 For all of their success, the creators of Cards Against Humanity are
 only partially motivated by money. Max says they have always been
 
 For all of their success, the creators of Cards Against Humanity are
 only partially motivated by money. Max says they have always been

-interested in the Walt Disney philosophy of financial success. “We don’t
-make jokes and games to make money—we make money so we can make more
-jokes and games,” he said.
+interested in the Walt Disney philosophy of financial success. "We don't
+make jokes and games to make money---we make money so we can make more
+jokes and games," he said.

 
 In fact, the company has given more than \$4 million to various
 
 In fact, the company has given more than \$4 million to various

-charities and causes. “Cards is not our life plan,” Max said. “We all
+charities and causes. "Cards is not our life plan," Max said. "We all

 have other interests and hobbies. We are passionate about other things
 going on in our lives. A lot of the activism we have done comes out of
 us taking things from the rest of our lives and channeling some of the
 have other interests and hobbies. We are passionate about other things
 going on in our lives. A lot of the activism we have done comes out of
 us taking things from the rest of our lives and channeling some of the

-excitement from the game into it.”
+excitement from the game into it."

 
 Seeing money as fuel rather than the ultimate goal is what has enabled
 them to embrace Creative Commons licensing without reservation. CC
 
 Seeing money as fuel rather than the ultimate goal is what has enabled
 them to embrace Creative Commons licensing without reservation. CC


@@ -3205,34 +3205,34 @@ licensing ended up being a savvy marketing move for the company, but
 nonetheless, giving up exclusive control of your work necessarily means
 giving up some opportunities to extract more money from customers.
 
 nonetheless, giving up exclusive control of your work necessarily means
 giving up some opportunities to extract more money from customers.
 

-“It’s not right for everyone to release everything under CC licensing,”
-Max said. “If your only goal is to make a lot of money, then CC is not
+"It's not right for everyone to release everything under CC licensing,"
+Max said. "If your only goal is to make a lot of money, then CC is not

 best strategy. This kind of business model, though, speaks to your
 best strategy. This kind of business model, though, speaks to your

-values, and who you are and why you’re making things.”
+values, and who you are and why you're making things."

 
 ## The Conversation
 
 ## The Conversation

-
-The Conversation is an independent source of news, sourced from the
-academic and research community and delivered direct to the public over
-the Internet. Founded in 2011 in Australia.
-
-theconversation.com
-
-Revenue model: charging content creators (universities pay membership
-fees to have their faculties serve as writers), grant funding
-
-Interview date: February 4, 2016
-
-Interviewee: Andrew Jaspan, founder
-
-Profile written by Paul Stacey
+> 
+> The Conversation is an independent source of news, sourced from the
+> academic and research community and delivered direct to the public over
+> the Internet. Founded in 2011 in Australia.
+> 
+> [](http://theconversation.com)
+> 
+> **Revenue model**: charging content creators (universities pay membership
+> fees to have their faculties serve as writers), grant funding
+> 
+> **Interview date**: February 4, 2016
+> 
+> **Interviewee**: Andrew Jaspan, founder
+> 
+> Profile written by Paul Stacey

 
 Andrew Jaspan spent years as an editor of major newspapers including the
 Observer in London, the Sunday Herald in Glasgow, and the Age in
 Melbourne, Australia. He experienced firsthand the decline of
 newspapers, including the collapse of revenues, layoffs, and the
 constant pressure to reduce costs. After he left the Age in 2005, his
 
 Andrew Jaspan spent years as an editor of major newspapers including the
 Observer in London, the Sunday Herald in Glasgow, and the Age in
 Melbourne, Australia. He experienced firsthand the decline of
 newspapers, including the collapse of revenues, layoffs, and the
 constant pressure to reduce costs. After he left the Age in 2005, his

-concern for the future journalism didn’t go away. Andrew made a
+concern for the future journalism didn't go away. Andrew made a

 commitment to come up with an alternative model.
 
 Around the time he left his job as editor of the Melbourne Age, Andrew
 commitment to come up with an alternative model.
 
 Around the time he left his job as editor of the Melbourne Age, Andrew


@@ -3241,19 +3241,19 @@ rather than opinion or ideology. He believed there was still an appetite
 for journalism with depth and substance but was concerned about the
 increasing focus on the sensational and sexy.
 
 for journalism with depth and substance but was concerned about the
 increasing focus on the sensational and sexy.
 

-While at the Age, he’d become friends with a vice-chancellor of a
+While at the Age, he'd become friends with a vice-chancellor of a

 university in Melbourne who encouraged him to talk to smart people
 university in Melbourne who encouraged him to talk to smart people

-across campus—an astrophysicist, a Nobel laureate, earth scientists,
+across campus---an astrophysicist, a Nobel laureate, earth scientists,

 economists . . . These were the kind of smart people he wished were more
 involved in informing the world about what is going on and correcting
 the errors that appear in media. However, they were reluctant to engage
 economists . . . These were the kind of smart people he wished were more
 involved in informing the world about what is going on and correcting
 the errors that appear in media. However, they were reluctant to engage

-with mass media. Often, journalists didn’t understand what they said, or
+with mass media. Often, journalists didn't understand what they said, or

 unilaterally chose what aspect of a story to tell, putting out a version
 that these people felt was wrong or mischaracterized. Newspapers want to
 attract a mass audience. Scholars want to communicate serious news,
 unilaterally chose what aspect of a story to tell, putting out a version
 that these people felt was wrong or mischaracterized. Newspapers want to
 attract a mass audience. Scholars want to communicate serious news,

-findings, and insights. It’s not a perfect match. Universities are
+findings, and insights. It's not a perfect match. Universities are

 massive repositories of knowledge, research, wisdom, and expertise. But
 massive repositories of knowledge, research, wisdom, and expertise. But

-a lot of that stays behind a wall of their own making—there are the
+a lot of that stays behind a wall of their own making---there are the

 walled garden and ivory tower metaphors, and in more literal terms, the
 paywall. Broadly speaking, universities are part of society but
 disconnected from it. They are an enormous public resource but not that
 walled garden and ivory tower metaphors, and in more literal terms, the
 paywall. Broadly speaking, universities are part of society but
 disconnected from it. They are an enormous public resource but not that


@@ -3265,10 +3265,10 @@ about pairing professional editors with university and research experts,
 working one-on-one to refine everything from story structure to
 headline, captions, and quotes. The editors could help turn something
 that is academic into something understandable and readable. And this
 working one-on-one to refine everything from story structure to
 headline, captions, and quotes. The editors could help turn something
 that is academic into something understandable and readable. And this

-would be a key difference from traditional journalism—the subject matter
-expert would get a chance to check the article and give final approval
-before it is published. Compare this with reporters just picking and
-choosing the quotes and writing whatever they want.
+would be a key difference from traditional journalism---the subject
+matter expert would get a chance to check the article and give final
+approval before it is published. Compare this with reporters just
+picking and choosing the quotes and writing whatever they want.

 
 The people he spoke to liked this idea, and Andrew embarked on raising
 money and support with the help of the Commonwealth Scientific and
 
 The people he spoke to liked this idea, and Andrew embarked on raising
 money and support with the help of the Commonwealth Scientific and


@@ -3283,63 +3283,63 @@ licensed with Creative Commons.
 
 The Conversation is founded on the belief that underpinning a
 functioning democracy is access to independent, high-quality,
 
 The Conversation is founded on the belief that underpinning a
 functioning democracy is access to independent, high-quality,

-informative journalism. The Conversation’s aim is for people to have a
-better understanding of current affairs and complex issues—and hopefully
-a better quality of public discourse. The Conversation sees itself as a
-source of trusted information dedicated to the public good. Their core
-mission is simple: to provide readers with a reliable source of
-evidence-based information.
+informative journalism. The Conversation's aim is for people to have a
+better understanding of current affairs and complex issues---and
+hopefully a better quality of public discourse. The Conversation sees
+itself as a source of trusted information dedicated to the public good.
+Their core mission is simple: to provide readers with a reliable source
+of evidence-based information.

 
 Andrew worked hard to reinvent a methodology for creating reliable,
 credible content. He introduced strict new working practices, a charter,
 
 Andrew worked hard to reinvent a methodology for creating reliable,
 credible content. He introduced strict new working practices, a charter,

-and codes of conduct.1 These include fully disclosing who every author
+and codes of conduct.[^The-Conversation-1] These include fully disclosing who every author

 is (with their relevant expertise); who is funding their research; and
 if there are any potential or real conflicts of interest. Also important
 is where the content originates, and even though it comes from the
 university and research community, it still needs to be fully disclosed.
 The Conversation does not sit behind a paywall. Andrew believes access
 is (with their relevant expertise); who is funding their research; and
 if there are any potential or real conflicts of interest. Also important
 is where the content originates, and even though it comes from the
 university and research community, it still needs to be fully disclosed.
 The Conversation does not sit behind a paywall. Andrew believes access

-to information is an issue of equality—everyone should have access, like
-access to clean water. The Conversation is committed to an open and free
-Internet. Everyone should have free access to their content, and be able
-to share it or republish it.
+to information is an issue of equality---everyone should have access,
+like access to clean water. The Conversation is committed to an open and
+free Internet. Everyone should have free access to their content, and be
+able to share it or republish it.

 
 Creative Commons help with these goals; articles are published with the
 Attribution-
 
 Creative Commons help with these goals; articles are published with the
 Attribution-

-NoDerivs license (CC BY-ND). They’re freely available for others to
+NoDerivs license (CC BY-ND). They're freely available for others to

 republish elsewhere as long as attribution is given and the content is
 not edited. Over five years, more than twenty-two thousand sites have
 republished their content. The Conversation website gets about 2.9
 million unique views per month, but through republication they have
 republish elsewhere as long as attribution is given and the content is
 not edited. Over five years, more than twenty-two thousand sites have
 republished their content. The Conversation website gets about 2.9
 million unique views per month, but through republication they have

-thirty-five million readers. This couldn’t have been done without the
-Creative Commons license, and in Andrew’s view, Creative Commons is
+thirty-five million readers. This couldn't have been done without the
+Creative Commons license, and in Andrew's view, Creative Commons is

 central to everything the Conversation does.
 
 When readers come across the Conversation, they seem to like what they
 find and recommend it to their friends, peers, and networks. Readership
 central to everything the Conversation does.
 
 When readers come across the Conversation, they seem to like what they
 find and recommend it to their friends, peers, and networks. Readership

-has grown primarily through word of mouth. While they don’t have sales
+has grown primarily through word of mouth. While they don't have sales

 and marketing, they do promote their work through social media
 (including Twitter and Facebook), and by being an accredited supplier to
 Google News.
 
 and marketing, they do promote their work through social media
 (including Twitter and Facebook), and by being an accredited supplier to
 Google News.
 

-It’s usual for the founders of any company to ask themselves what kind
+It's usual for the founders of any company to ask themselves what kind

 of company it should be. It quickly became clear to the founders of the
 Conversation that they wanted to create a public good rather than make
 money off of information. Most media companies are working to aggregate
 as many eyeballs as possible and sell ads. The Conversation founders
 of company it should be. It quickly became clear to the founders of the
 Conversation that they wanted to create a public good rather than make
 money off of information. Most media companies are working to aggregate
 as many eyeballs as possible and sell ads. The Conversation founders

-didn’t want this model. It takes no advertising and is a not-for-profit
+didn't want this model. It takes no advertising and is a not-for-profit

 venture.
 
 There are now different editions of the Conversation for Africa, the
 United Kingdom, France, and the United States, in addition to the one
 for Australia. All five editions have their own editorial mastheads,
 venture.
 
 There are now different editions of the Conversation for Africa, the
 United Kingdom, France, and the United States, in addition to the one
 for Australia. All five editions have their own editorial mastheads,

-advisory boards, and content. The Conversation’s global virtual newsroom
+advisory boards, and content. The Conversation's global virtual newsroom

 has roughly ninety staff working with thirty-five thousand academics
 from over sixteen hundred universities around the world. The
 Conversation would like to be working with university scholars from even
 more parts of the world.
 
 Additionally, each edition has its own set of founding partners,
 has roughly ninety staff working with thirty-five thousand academics
 from over sixteen hundred universities around the world. The
 Conversation would like to be working with university scholars from even
 more parts of the world.
 
 Additionally, each edition has its own set of founding partners,

-strategic partners, and funders. They’ve received funding from
+strategic partners, and funders. They've received funding from

 foundations, corporates, institutions, and individual donations, but the
 Conversation is shifting toward paid memberships by universities and
 research institutions to sustain operations. This would safeguard the
 foundations, corporates, institutions, and individual donations, but the
 Conversation is shifting toward paid memberships by universities and
 research institutions to sustain operations. This would safeguard the


@@ -3347,9 +3347,9 @@ current service and help improve coverage and features.
 
 When professors from member universities write an article, there is some
 branding of the university associated with the article. On the
 
 When professors from member universities write an article, there is some
 branding of the university associated with the article. On the

-Conversation website, paying university members are listed as “members
-and funders.” Early participants may be designated as “founding
-members,” with seats on the editorial advisory board.
+Conversation website, paying university members are listed as "members
+and funders." Early participants may be designated as "founding
+members," with seats on the editorial advisory board.

 
 Academics are not paid for their contributions, but they get free
 editing from a professional (four to five hours per piece, on average).
 
 Academics are not paid for their contributions, but they get free
 editing from a professional (four to five hours per piece, on average).


@@ -3367,38 +3367,38 @@ collaborate, submit a journal paper, and consult a company on a topic.
 
 These reach and impact metrics show the benefits of membership. With the
 Conversation, universities can engage with the public and show why
 
 These reach and impact metrics show the benefits of membership. With the
 Conversation, universities can engage with the public and show why

-they’re of value.
+they're of value.

 
 

-With its tagline, “Academic Rigor, Journalistic Flair,” the Conversation
+With its tagline, "Academic Rigor, Journalistic Flair," the Conversation

 represents a new form of journalism that contributes to a more informed
 citizenry and improved democracy around the world. Its open business
 represents a new form of journalism that contributes to a more informed
 citizenry and improved democracy around the world. Its open business

-model and use of Creative Commons show how it’s possible to generate
+model and use of Creative Commons show how it's possible to generate

 both a public good and operational revenue at the same time.
 
 both a public good and operational revenue at the same time.
 

-Web link
+### Web link

 
 

-1.  theconversation.com/us/charter
+[^The-Conversation-1]:  [](http://theconversation.com/us/charter)

 
 ## Cory Doctorow
 
 ## Cory Doctorow

-
-Cory Doctorow is a science fiction writer, activist, blogger, and
-journalist. Based in the U.S.
-
-craphound.com and boingboing.net
-
-Revenue model: charging for physical copies (book sales),
-pay-what-you-want, selling translation rights to books
-
-Interview date: January 12, 2016
-
-Profile written by Sarah Hinchliff Pearson
-
-Cory Doctorow hates the term “business model,” and he is adamant that he
-is not a brand. “To me, branding is the idea that you can take a thing
-that has certain qualities, remove the qualities, and go on selling it,”
-he said. “I’m not out there trying to figure out how to be a brand. I’m
+> 
+> Cory Doctorow is a science fiction writer, activist, blogger, and
+> journalist. Based in the U.S.
+> 
+> [](http://craphound.com) and [](http://boingboing.net)
+> 
+> **Revenue model**: charging for physical copies (book sales),
+> pay-what-you-want, selling translation rights to books
+> 
+> **Interview date**: January 12, 2016
+> 
+> Profile written by Sarah Hinchliff Pearson
+
+Cory Doctorow hates the term "business model," and he is adamant that he
+is not a brand. "To me, branding is the idea that you can take a thing
+that has certain qualities, remove the qualities, and go on selling it,"
+he said. "I'm not out there trying to figure out how to be a brand. I'm

 doing this thing that animates me to work crazy insane hours because
 doing this thing that animates me to work crazy insane hours because

-it’s the most important thing I know how to do.”
+it's the most important thing I know how to do."

 
 Cory calls himself an entrepreneur. He likes to say his success came
 from making stuff people happened to like and then getting out of the
 
 Cory calls himself an entrepreneur. He likes to say his success came
 from making stuff people happened to like and then getting out of the


@@ -3410,65 +3410,65 @@ Beginning with his first novel, Down and Out in the Magic Kingdom, in
 is coeditor of the popular CC-licensed site Boing Boing, where he writes
 about technology, politics, and intellectual property. He has also
 written several nonfiction books, including the most recent Information
 is coeditor of the popular CC-licensed site Boing Boing, where he writes
 about technology, politics, and intellectual property. He has also
 written several nonfiction books, including the most recent Information

-Doesn’t Want to Be Free, about the ways in which creators can make a
+Doesn't Want to Be Free, about the ways in which creators can make a

 living in the Internet age.
 
 Cory primarily makes money by selling physical books, but he also takes
 on paid speaking gigs and is experimenting with pay-what-you-want models
 for his work.
 
 living in the Internet age.
 
 Cory primarily makes money by selling physical books, but he also takes
 on paid speaking gigs and is experimenting with pay-what-you-want models
 for his work.
 

-While Cory’s extensive body of fiction work has a large following, he is
+While Cory's extensive body of fiction work has a large following, he is

 just as well known for his activism. He is an outspoken opponent of
 restrictive copyright and digital-rights-management (DRM) technology
 used to lock up content because he thinks both undermine creators and
 the public interest. He is currently a special adviser at the Electronic
 Frontier Foundation, where he is involved in a lawsuit challenging the
 just as well known for his activism. He is an outspoken opponent of
 restrictive copyright and digital-rights-management (DRM) technology
 used to lock up content because he thinks both undermine creators and
 the public interest. He is currently a special adviser at the Electronic
 Frontier Foundation, where he is involved in a lawsuit challenging the

-U.S. law that protects DRM. Cory says his political work doesn’t
+U.S. law that protects DRM. Cory says his political work doesn't

 directly make him money, but if he gave it up, he thinks he would lose
 credibility and, more importantly, lose the drive that propels him to
 directly make him money, but if he gave it up, he thinks he would lose
 credibility and, more importantly, lose the drive that propels him to

-create. “My political work is a different expression of the same
-artistic-political urge,” he said. “I have this suspicion that if I gave
-up the things that didn’t make me money, the genuineness would leach out
+create. "My political work is a different expression of the same
+artistic-political urge," he said. "I have this suspicion that if I gave
+up the things that didn't make me money, the genuineness would leach out

 of what I do, and the quality that causes people to like what I do would
 of what I do, and the quality that causes people to like what I do would

-be gone.”
+be gone."

 
 Cory has been financially successful, but money is not his primary
 
 Cory has been financially successful, but money is not his primary

-motivation. At the start of his book Information Doesn’t Want to Be
+motivation. At the start of his book Information Doesn't Want to Be

 Free, he stresses how important it is not to become an artist if your
 Free, he stresses how important it is not to become an artist if your

-goal is to get rich. “Entering the arts because you want to get rich is
-like buying lottery tickets because you want to get rich,” he wrote. “It
-might work, but it almost certainly won’t. Though, of course, someone
-always wins the lottery.” He acknowledges that he is one of the lucky
-few to “make it,” but he says he would be writing no matter what. “I am
-compelled to write,” he wrote. “Long before I wrote to keep myself fed
-and sheltered, I was writing to keep myself sane.”
+goal is to get rich. "Entering the arts because you want to get rich is
+like buying lottery tickets because you want to get rich," he wrote. "It
+might work, but it almost certainly won't. Though, of course, someone
+always wins the lottery." He acknowledges that he is one of the lucky
+few to "make it," but he says he would be writing no matter what. "I am
+compelled to write," he wrote. "Long before I wrote to keep myself fed
+and sheltered, I was writing to keep myself sane."

 
 Just as money is not his primary motivation to create, money is not his
 primary motivation to share. For Cory, sharing his work with Creative
 
 Just as money is not his primary motivation to create, money is not his
 primary motivation to share. For Cory, sharing his work with Creative

-Commons is a moral imperative. “It felt morally right,” he said of his
-decision to adopt Creative Commons licenses. “I felt like I wasn’t
+Commons is a moral imperative. "It felt morally right," he said of his
+decision to adopt Creative Commons licenses. "I felt like I wasn't

 contributing to the culture of surveillance and censorship that has been
 contributing to the culture of surveillance and censorship that has been

-created to try to stop copying.” In other words, using CC licenses
+created to try to stop copying." In other words, using CC licenses

 symbolizes his worldview.
 
 He also feels like there is a solid commercial basis for licensing his
 symbolizes his worldview.
 
 He also feels like there is a solid commercial basis for licensing his

-work with Creative Commons. While he acknowledges he hasn’t been able to
+work with Creative Commons. While he acknowledges he hasn't been able to

 do a controlled experiment to compare the commercial benefits of
 licensing with CC against reserving all rights, he thinks he has sold
 more books using a CC license than he would have without it. Cory says
 do a controlled experiment to compare the commercial benefits of
 licensing with CC against reserving all rights, he thinks he has sold
 more books using a CC license than he would have without it. Cory says

-his goal is to convince people they should pay him for his work. “I
-started by not calling them thieves,” he said.
+his goal is to convince people they should pay him for his work. "I
+started by not calling them thieves," he said.

 
 Cory started using CC licenses soon after they were first created. At
 the time his first novel came out, he says the science fiction genre was
 overrun with people scanning and downloading books without permission.
 When he and his publisher took a closer look at who was doing that sort
 
 Cory started using CC licenses soon after they were first created. At
 the time his first novel came out, he says the science fiction genre was
 overrun with people scanning and downloading books without permission.
 When he and his publisher took a closer look at who was doing that sort

-of thing online, they realized it looked a lot like book promotion. “I
+of thing online, they realized it looked a lot like book promotion. "I

 knew there was a relationship between having enthusiastic readers and
 knew there was a relationship between having enthusiastic readers and

-having a successful career as a writer,” he said. “At the time, it took
+having a successful career as a writer," he said. "At the time, it took

 eighty hours to OCR a book, which is a big effort. I decided to spare
 them the time and energy, and give them the book for free in a format
 eighty hours to OCR a book, which is a big effort. I decided to spare
 them the time and energy, and give them the book for free in a format

-destined to spread.”
+destined to spread."

 
 Cory admits the stakes were pretty low for him when he first adopted
 Creative Commons licenses. He only had to sell two thousand copies of
 
 Cory admits the stakes were pretty low for him when he first adopted
 Creative Commons licenses. He only had to sell two thousand copies of


@@ -3478,23 +3478,23 @@ they say he can only do it because he is an established author.
 
 The bottom line, Cory says, is that no one has found a way to prevent
 people from copying the stuff they like. Rather than fighting the tide,
 
 The bottom line, Cory says, is that no one has found a way to prevent
 people from copying the stuff they like. Rather than fighting the tide,

-Cory makes his work intrinsically shareable. “Getting the hell out of
+Cory makes his work intrinsically shareable. "Getting the hell out of

 the way for people who want to share their love of you with other people
 the way for people who want to share their love of you with other people

-sounds obvious, but it’s remarkable how many people don’t do it,” he
+sounds obvious, but it's remarkable how many people don't do it," he

 said.
 
 Making his work available under Creative Commons licenses enables him to
 said.
 
 Making his work available under Creative Commons licenses enables him to

-view his biggest fans as his ambassadors. “Being open to fan activity
+view his biggest fans as his ambassadors. "Being open to fan activity

 makes you part of the conversation about what fans do with your work and
 makes you part of the conversation about what fans do with your work and

-how they interact with it,” he said. Cory’s own website routinely
+how they interact with it," he said. Cory's own website routinely

 highlights cool things his audience has done with his work. Unlike
 corporations like Disney that tend to have a hands-off relationship with
 their fan activity, he has a symbiotic relationship with his audience.
 highlights cool things his audience has done with his work. Unlike
 corporations like Disney that tend to have a hands-off relationship with
 their fan activity, he has a symbiotic relationship with his audience.

-“Engaging with your audience can’t guarantee you success,” he said. “And
+"Engaging with your audience can't guarantee you success," he said. "And

 Disney is an example of being able to remain aloof and still being the
 most successful company in the creative industry in history. But I
 figure my likelihood of being Disney is pretty slim, so I should take
 Disney is an example of being able to remain aloof and still being the
 most successful company in the creative industry in history. But I
 figure my likelihood of being Disney is pretty slim, so I should take

-all the help I can get.”
+all the help I can get."

 
 His first book was published under the most restrictive Creative Commons
 license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND). It allows
 
 His first book was published under the most restrictive Creative Commons
 license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND). It allows


@@ -3509,33 +3509,33 @@ potential buyers in other parts of the world, and he thinks it is more
 difficult to get people to pay for translations if there are fan
 translations already available for free.
 
 difficult to get people to pay for translations if there are fan
 translations already available for free.
 

-In his book Information Doesn’t Want to Be Free, Cory likens his
+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
 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
+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
 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.”
+pavement," he wrote. "The copies that others make of my work cost me
+nothing, and present the possibility that I'll get something."

 
 Applying a CC license to his work increases the chances it will be
 
 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.”
+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."

 
 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.
 
 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
+"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.
 
 continually looks for ways to reach his audience without relying upon
 major platforms that will try to take control over his work.
 


@@ -3545,54 +3545,54 @@ 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
 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
+bundle of a particular creator's work. He is planning to try his own

 pay-what-you-want experiment soon.
 
 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.
 pay-what-you-want experiment soon.
 
 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
+"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
 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.”
+to stay connected to those people who have been touched by your work."

 
 

-Cory’s realism about the difficulty of making a living in the arts does
+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
 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.”
+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."

 
 It has never been easier to think like a dandelion.
 
 ## Figshare
 
 It has never been easier to think like a dandelion.
 
 ## Figshare

-
-Figshare is a for-profit company offering an online repository where
-researchers can preserve and share the output of their research,
-including figures, data sets, images, and videos. Founded in 2011 in the
-UK.
-
-figshare.com
-
-Revenue model: platform providing paid services to creators
-
-Interview date: January 28, 2016
-
-Interviewee: Mark Hahnel, founder
-
-Profile written by Paul Stacey
-
-Figshare’s mission is to change the face of academic publishing through
+> 
+> Figshare is a for-profit company offering an online repository where
+> researchers can preserve and share the output of their research,
+> including figures, data sets, images, and videos. Founded in 2011 in the
+> UK.
+> 
+> [](http://figshare.com)
+> 
+> **Revenue model**: platform providing paid services to creators
+> 
+> **Interview date**: January 28, 2016
+> 
+> **Interviewee**: Mark Hahnel, founder
+> 
+> Profile written by Paul Stacey
+
+Figshare's mission is to change the face of academic publishing through

 improved dissemination, discoverability, and reusability of scholarly
 research. Figshare is a repository where users can make all the output
 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
+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.
 
 Figshare founder Mark Hahnel often gets asked: How do you make money?
 scholarly-publishing model does not allow.
 
 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
+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.
 
 Mark traces the origins of Figshare back to when he was a graduate
 venture, be trusted? Answers have evolved over time.
 
 Mark traces the origins of Figshare back to when he was a graduate


@@ -3610,11 +3610,11 @@ research online and share it with anyone. So he began working on a
 solution.
 
 There were two key needs: licenses to make the data citable, and
 solution.
 
 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.
+persistent identifiers--- URL links that always point back to the
+original object ensuring the research is citable for the long term.

 
 Mark chose Digital Object Identifiers (DOIs) to meet the need for a
 
 Mark chose Digital Object Identifiers (DOIs) to meet the need for a

-persistent identifier. In the DOI system, an object’s metadata is stored
+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
 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


@@ -3622,7 +3622,7 @@ DataCite for the provision of DOIs for research data.
 
 As for licenses, Mark chose Creative Commons. The open-access and
 open-science communities were already using and recommending Creative
 
 As for licenses, Mark chose Creative Commons. The open-access and
 open-science communities were already using and recommending Creative

-Commons. Based on what was happening in those communities and Mark’s
+Commons. Based on what was happening in those communities and Mark's

 dialogue with peers, he went with CC0 (in the public domain) for data
 sets and CC BY (Attribution) for figures, videos, and data sets.
 
 dialogue with peers, he went with CC0 (in the public domain) for data
 sets and CC BY (Attribution) for figures, videos, and data sets.
 


@@ -3651,8 +3651,8 @@ 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
 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.”
+researchers as "You retain ownership. You license it. You get credit. We
+just make sure it persists."

 
 In January 2012, Figshare was launched. (The fig in Figshare stands for
 figures.) Using investment funds, Mark made significant improvements to
 
 In January 2012, Figshare was launched. (The fig in Figshare stands for
 figures.) Using investment funds, Mark made significant improvements to


@@ -3663,13 +3663,13 @@ articles as static noninteractive PDFs became interested in having
 Figshare provide that functionality for them.
 
 Figshare diversified its business model to include services for
 Figshare provide that functionality for them.
 
 Figshare diversified its business model to include services for

-journals. Figshare began hosting large amounts of data for the journals’
+journals. Figshare began hosting large amounts of data for the journals'

 online articles. This additional data improved the quality of the
 articles. Outsourcing this service to Figshare freed publishers from
 having to develop this functionality as part of their own
 infrastructure. Figshare-hosted data also provides a link back to the
 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
+article, generating additional click-through and readership---a benefit
+to both journal publishers and researchers. Figshare now provides

 research-data infrastructure for a wide variety of publishers including
 Wiley, Springer Nature, PLOS, and Taylor and Francis, to name a few, and
 has convinced them to use Creative Commons licenses for the data.
 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.


@@ -3686,7 +3686,7 @@ 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
 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
+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.
 
 the services they offer for institutions, take into account the needs of
 librarians and administrators, as well as of the researchers.
 


@@ -3704,7 +3704,7 @@ BY-ND (Attribution-NoDerivs).
 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
 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
+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.
 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.


@@ -3720,10 +3720,10 @@ 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
 possible for data to be pulled from Figshare and used in other
 applications. As an example, Mark shared a Figshare data set showing the
 journal subscriptions that higher-education institutions in the United

-Kingdom paid to ten major publishers.1 Figshare’s API enables that data
+Kingdom paid to ten major publishers.[^Figshare-1] Figshare's API enables that data

 to be pulled into an app developed by a completely different researcher
 that converts the data into a visually interesting graph, which any
 to be pulled into an app developed by a completely different researcher
 that converts the data into a visually interesting graph, which any

-viewer can alter by changing any of the variables.2
+viewer can alter by changing any of the variables.[^Figshare-2]

 
 The free version of Figshare has built a community of academics, who
 through word of mouth and presentations have promoted and spread
 
 The free version of Figshare has built a community of academics, who
 through word of mouth and presentations have promoted and spread


@@ -3736,18 +3736,18 @@ whether to offer universities an option of using Creative Commons
 licenses.
 
 Mark says his success is partly about being in the right place at the
 licenses.
 
 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
+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
 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
+institutions.[^Figshare-3] If he had relied solely on revenue from premium
+subscriptions, he believes Figshare would have struggled. In Figshare's

 early days, their primary users were early-career and late-career
 academics. It has only been because funders mandated open licensing that
 Figshare is now being used by the mainstream.
 
 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.
 

-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
+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.
 their traffic comes from Google. A sister company called Altmetric
 tracks the use of Figshare by others, including Wikipedia and news
 sources.


@@ -3755,47 +3755,47 @@ sources.
 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
 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.
+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.

 
 

-Web links
+### Web links

 
 

-1.  figshare.com/articles/Journal\_subscription\_costs\_FOIs\_to\_UK\_universities/1186832
-2.  retr0.shinyapps.io/journal\_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136
-3.  figshare.com/features
+[^Figshare-1]:  [](http://figshare.com/articles/Journal\_subscription\_costs\_FOIs\_to\_UK\_universities/1186832)
+[^Figshare-2]:  [](http://retr0.shinyapps.io/journal\_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136)
+[^Figshare-3]:  [](http://figshare.com/features)

 
 ## Figure.NZ
 
 ## Figure.NZ

-
-Figure.NZ is a nonprofit charity that makes an online data platform
-designed to make data reusable and easy to understand. Founded in 2012
-in New Zealand.
-
-figure.nz
-
-Revenue model: platform providing paid services to creators, donations,
-sponsorships
-
-Interview date: May 3, 2016
-
-Interviewee: Lillian Grace, founder
-
-Profile written by Paul Stacey
+> 
+> Figure.NZ is a nonprofit charity that makes an online data platform
+> designed to make data reusable and easy to understand. Founded in 2012
+> in New Zealand.
+> 
+> [](http://figure.nz)
+> 
+> **Revenue model**: platform providing paid services to creators, donations,
+> sponsorships
+> 
+> **Interview date**: May 3, 2016
+> 
+> **Interviewee**: Lillian Grace, founder
+> 
+> Profile written by Paul Stacey

 
 In the paper Harnessing the Economic and Social Power of Data presented
 
 In the paper Harnessing the Economic and Social Power of Data presented

-at the New Zealand Data Futures Forum in 2014,1 Figure.NZ founder
+at the New Zealand Data Futures Forum in 2014,[^Figure.NZ-1] Figure.NZ founder

 Lillian Grace said there are thousands of valuable and relevant data
 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
+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
 families, their communities, their businesses, and their country. But

-there’s a big difference between availability and accessibility of
+there's a big difference between availability and accessibility of

 information. Data is spread across thousands of sites and is held within
 databases and spreadsheets that require both time and skill to engage
 with. To use data when making a decision, you have to know what specific
 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


@@ -3808,9 +3808,9 @@ 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
 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
+giving talks to community and business groups, Lillian realized "every

 single issue we addressed would have been easier to deal with if more
 single issue we addressed would have been easier to deal with if more

-people understood the basic facts.” But understanding the basic facts
+people understood the basic facts." But understanding the basic facts

 sometimes requires data and research that you often have to pay for.
 
 Lillian began to imagine a website that lifted data up to a visual form
 sometimes requires data and research that you often have to pay for.
 
 Lillian began to imagine a website that lifted data up to a visual form


@@ -3818,17 +3818,17 @@ 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
 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
+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.
 
 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.
 

-Here’s how it works. Figure.NZ sources data from other organizations,
+Here's how it works. Figure.NZ sources data from other organizations,

 including corporations, public repositories, government departments, and
 academics. Figure.NZ imports and extracts that data, and then validates
 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
+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
 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


@@ -3844,26 +3844,26 @@ 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
 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
+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
 government has an open-access and licensing framework called NZGOAL,
 which provides guidance for agencies when they release copyrighted and

-noncopyrighted work and material.2 It aims to standardize the licensing
+noncopyrighted work and material.[^Figure.NZ-2] It aims to standardize the licensing

 of works with government copyright and how they can be reused, and it
 does this with Creative Commons licenses. As a result, 98 percent of all
 government-agency data is Creative Commons licensed, fitting in nicely
 of works with government copyright and how they can be reused, and it
 does this with Creative Commons licenses. As a result, 98 percent of all
 government-agency data is Creative Commons licensed, fitting in nicely

-with Figure.NZ’s decision.
+with Figure.NZ's decision.

 
 Lillian thinks current ideas of what a business is are relatively new,
 
 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
+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
 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
+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
 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.
+Figure.NZ's motives. People see them as a trusted wrangler and source.

 
 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
 
 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


@@ -3890,13 +3890,13 @@ get value from the data and visuals.
 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
 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
+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
 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
+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
 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
+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.
 
 organizations that want to make their data available enables Figure.NZ
 to provide their site free to all users, to truly democratize data.
 


@@ -3904,20 +3904,20 @@ 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
 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
+with this, Figure.NZ uses "high-trust contracts," where customers

 allocate a certain budget to the task that Figure.NZ is then free to
 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
+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.
 
 A second line of business is what Figure.NZ calls partners. ASB Bank and
 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.
 
 A second line of business is what Figure.NZ calls partners. ASB Bank and

-Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
+Statistics New Zealand are partners who back Figure.NZ's efforts. As one

 example, with their support Figure.NZ has been able to create Business
 Figures, a special way for businesses to find useful data without having
 example, with their support Figure.NZ has been able to create Business
 Figures, a special way for businesses to find useful data without having

-to know what questions to ask.3
+to know what questions to ask.[^Figure.NZ-3]

 
 

-Figure.NZ also has patrons.4 Patrons donate to topic areas they care
+Figure.NZ also has patrons.[^Figure.NZ-4] Patrons donate to topic areas they care

 about, directly enabling Figure.NZ to get data together to flesh out
 those areas. Patrons do not direct what data is included or excluded.
 
 about, directly enabling Figure.NZ to get data together to flesh out
 those areas. Patrons do not direct what data is included or excluded.
 


@@ -3930,13 +3930,13 @@ 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
 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
+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.
 
 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.
 

-Figure.NZ’s website displays visuals and data associated with a wide
+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
 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


@@ -3946,86 +3946,86 @@ think for them. Figure.NZ wants to create intuitive experiences, not
 user manuals.
 
 Figure.NZ believes data and visuals should be useful. They provide their
 user manuals.
 
 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
+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
 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
+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
 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
+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.
 
 Lillian has a deep and profound vision for Figure.NZ that goes well
 beyond simply providing open-data services. She says things are
 provide a place for people to be curious about, access, and interpret
 data on topics they are interested in.
 
 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
+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.
 
 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.
 

-“But now we live in a world where it’s really easy to share information
+"But now we live in a world where it's really easy to share information

 widely and also to communicate widely. In the world we live in now, the
 best future is the one where everyone can make well-informed decisions.
 
 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.
 

-“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
+"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.
 
 numbers as a part of our thinking and part of our understanding yet.
 

-“Part of the reason is the way data is spread across hundreds of sites.
+"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
 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
+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.
 
 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.
 

-“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
+"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.
 
 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.
 

-“Figure.NZ sees this as a new kind of alphabet that can help people
+"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
 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.”
+future."

 
 

-Lillian sees Figure.NZ’s model as having global potential. But for now,
+Lillian sees Figure.NZ's model as having global potential. But for now,

 their focus is completely on making Figure.NZ work in New Zealand and to
 their focus is completely on making Figure.NZ work in New Zealand and to

-get the “network effect”—
+get the "network effect"---

 users dramatically increasing value for themselves and for others
 through use of their service. Creative Commons is core to making the
 network effect possible.
 
 users dramatically increasing value for themselves and for others
 through use of their service. Creative Commons is core to making the
 network effect possible.
 

-Web links
+### Web links

 
 

-1.  www.nzdatafutures.org.nz/sites/default/files/NZDFF\_harness-the-power.pdf
-2.  www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/
-3.  figure.nz/business/
-4.  figure.nz/patrons/
+[^Figure.NZ-1]:  [](http://www.nzdatafutures.org.nz/sites/default/files/NZDFF\_harness-the-power.pdf)
+[^Figure.NZ-2]:  [](http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/)
+[^Figure.NZ-3]:  [](http://figure.nz/business/)
+[^Figure.NZ-4]:  [](http://figure.nz/patrons/)

 
 ## Knowledge Unlatched
 
 ## Knowledge Unlatched

-
-Knowledge Unlatched is a not-for-profit community interest company that
-brings libraries together to pool funds to publish open-access books.
-Founded in 2012 in the UK.
-
-knowledgeunlatched.org
-
-Revenue model: crowdfunding (specialized)
-
-Interview date: February 26, 2016
-
-Interviewee: Frances Pinter, founder
-
-Profile written by Paul Stacey
+> 
+> Knowledge Unlatched is a not-for-profit community interest company that
+> brings libraries together to pool funds to publish open-access books.
+> Founded in 2012 in the UK.
+> 
+> [](http://knowledgeunlatched.org)
+> 
+> **Revenue model**: crowdfunding (specialized)
+> 
+> **Interview date**: February 26, 2016
+> 
+> **Interviewee**: Frances Pinter, founder
+> 
+> Profile written by Paul Stacey

 
 The serial entrepreneur Dr. Frances Pinter has been at the forefront of
 innovation in the publishing industry for nearly forty years. She
 
 The serial entrepreneur Dr. Frances Pinter has been at the forefront of
 innovation in the publishing industry for nearly forty years. She


@@ -4062,31 +4062,31 @@ 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.
 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
+Frances found it intriguing that the Creative Commons--licensed free

 online book acts as a marketing vehicle for the print format.
 
 Frances began to look at customer interest in the three forms of the
 online book acts as a marketing vehicle for the print format.
 
 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)
+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
 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
+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.
 
 cream cone, and the enhanced e-book was an ice cream sundae.
 

-After a while, Frances had an epiphany—what if there was a way to get
-libraries to underwrite the costs of making these books up until they’re
+After a while, Frances had an epiphany---what if there was a way to get
+libraries to underwrite the costs of making these books up until they're

 ready be printed, in other words, cover the fixed costs of getting to
 the first digital copy? Then you could either bring down the cost of the
 printed book, or do a whole bunch of interesting things with the printed
 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.
+book and e-book---the ice cream cone or sundae part of the model.

 
 This idea is similar to the article-processing charge some open-access
 journals charge researchers to cover publishing costs. Frances began to
 
 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
+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.
 
 open-access version of the books released under a Creative Commons
 license.
 

-This idea really took hold in her mind. She didn’t really have a name
+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
 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


@@ -4114,7 +4114,7 @@ Toward an Open and Networked Future for Academic Publishing:
 6.  Publishers make print copies, e-Pub, and other digital versions of
     selected titles available to member libraries at a discount that
     reflects their contribution to the Title Fee and incentivizes
 6.  Publishers make print copies, e-Pub, and other digital versions of
     selected titles available to member libraries at a discount that
     reflects their contribution to the Title Fee and incentivizes

-    membership.1
+    membership.[^Knowledge-Unlatched-1]

 
 The first round of this model resulted in a collection of twenty-eight
 current titles from thirteen recognized scholarly publishers being
 
 The first round of this model resulted in a collection of twenty-eight
 current titles from thirteen recognized scholarly publishers being


@@ -4125,7 +4125,7 @@ three hundred libraries sharing the costs, and the price per book came
 in at just under forty-three dollars.
 
 The open-access, Creative Commons versions of these twenty-eight books
 in at just under forty-three dollars.
 
 The open-access, Creative Commons versions of these twenty-eight books

-are still available online.4 Most books have been licensed with CC BY-NC
+are still available online.[^Knowledge-Unlatched-4] Most books have been licensed with CC BY-NC

 or CC BY-NC-ND. Authors are the copyright holder, not the publisher, and
 negotiate choice of license as part of the publishing agreement. Frances
 has found that most authors want to retain control over the commercial
 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


@@ -4153,7 +4153,7 @@ 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
 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
+authors' permissions, getting the libraries to pledge, billing the

 libraries, and finally, unlatching.
 
 The longest part of the whole process is getting libraries to pledge and
 libraries, and finally, unlatching.
 
 The longest part of the whole process is getting libraries to pledge and


@@ -4179,20 +4179,20 @@ problematic to keep going in the standard closed publishing model.
 
 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
 
 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
+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.
 
 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.
 

-Authors don’t generally make a lot of royalties from monographs.
+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
 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
+benefits of taking part.)[^Knowledge-Unlatched-5]

 
 Library budgets are constantly being squeezed, partly due to the
 inflation of journal subscriptions. But even without budget constraints,
 
 Library budgets are constantly being squeezed, partly due to the
 inflation of journal subscriptions. But even without budget constraints,


@@ -4216,24 +4216,24 @@ 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
 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
+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.
 
 For publishers, authors, and librarians, the Knowledge Unlatched model
 for monographs is a win-win-win.
 
 community responsibility. By the end of March 2016, the round-one books
 had been downloaded nearly eighty thousand times in 175 countries.
 
 For publishers, authors, and librarians, the Knowledge Unlatched model
 for monographs is a win-win-win.
 

-In the first round, Knowledge Unlatched’s overheads were covered by
+In the first round, Knowledge Unlatched's overheads were covered by

 grants. In the second round, they aim to demonstrate the model is
 sustainable. Libraries and publishers will each pay a 7.5 percent
 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.
+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.
 
 Frances believes that Knowledge Unlatched is tapping into new ways of
 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.
 
 Frances believes that Knowledge Unlatched is tapping into new ways of

-valuing academic content. It’s about considering how many people can
+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
 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


@@ -4241,35 +4241,35 @@ 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.
 
 For Frances, Knowledge Unlatched is connected to the past but moving
 into the future, an evolution rather than a revolution.
 

-Web links
+### Web links

 
 

-1.  www.pinter.org.uk/pdfs/Toward\_an\_Open.pdf
-2.  www.oapen.org
-3.  www.hathitrust.org
-4.  collections.knowledgeunlatched.org/collection-availability-1/
-5.  www.knowledgeunlatched.org/featured-authors-section/
+[^Knowledge-Unlatched-1]:  [](http://www.pinter.org.uk/pdfs/Toward\_an\_Open.pdf)
+[^Knowledge-Unlatched-2]:  [](http://www.oapen.org)
+[^Knowledge-Unlatched-3]:  [](http://www.hathitrust.org)
+[^Knowledge-Unlatched-4]:  [](http://collections.knowledgeunlatched.org/collection-availability-1/)
+[^Knowledge-Unlatched-5]:  [](http://www.knowledgeunlatched.org/featured-authors-section/)

 
 ## Lumen Learning
 
 ## Lumen Learning

-
-Lumen Learning is a for-profit company helping educational institutions
-use open educational resources (OER). Founded in 2013 in the U.S.
-
-lumenlearning.com
-
-Revenue model: charging for custom services, grant funding
-
-Interview date: December 21, 2015
-
-Interviewees: David Wiley and Kim Thanos, cofounders
-
-Profile written by Paul Stacey
+> 
+> Lumen Learning is a for-profit company helping educational institutions
+> use open educational resources (OER). Founded in 2013 in the U.S.
+> 
+> [](http://lumenlearning.com)
+> 
+> **Revenue model**: charging for custom services, grant funding
+> 
+> **Interview date**: December 21, 2015
+> 
+> **Interviewees**: David Wiley and Kim Thanos, cofounders
+> 
+> Profile written by Paul Stacey

 
 Cofounded by open education visionary Dr. David Wiley and
 education-technology strategist Kim Thanos, Lumen Learning is dedicated
 to improving student success, bringing new ideas to pedagogy, and making
 education more affordable by facilitating adoption of open educational
 resources. In 2012, David and Kim partnered on a grant-funded project
 
 Cofounded by open education visionary Dr. David Wiley and
 education-technology strategist Kim Thanos, Lumen Learning is dedicated
 to improving student success, bringing new ideas to pedagogy, and making
 education more affordable by facilitating adoption of open educational
 resources. In 2012, David and Kim partnered on a grant-funded project

-called the Kaleidoscope Open Course Initiative.1 It involved a set of
+called the Kaleidoscope Open Course Initiative.[^Lumen-Learning-1] It involved a set of

 fully open general-education courses across eight colleges predominantly
 serving at-risk students, with goals to dramatically reduce textbook
 costs and collaborate to improve the courses to help students succeed.
 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.


@@ -4287,14 +4287,14 @@ is when they decided to create Lumen Learning.
 David and Kim went back and forth on whether it should be a nonprofit or
 for-
 profit. A nonprofit would make it a more comfortable fit with the
 David and Kim went back and forth on whether it should be a nonprofit or
 for-
 profit. A nonprofit would make it a more comfortable fit with the

-education sector but meant they’d be constantly fund-raising and seeking
+education sector but meant they'd be constantly fund-raising and seeking

 grants from philanthropies. Also, grants usually require money to be
 used in certain ways for specific deliverables. If you learn things
 along the way that change how you think the grant money should be used,
 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.
+there often isn't a lot of flexibility to do so.

 
 

-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
+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
 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


@@ -4310,25 +4310,25 @@ that permits free use and repurposing by others.
 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
 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
+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
 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—
+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---

 
 -   replace expensive textbooks in high-enrollment courses with OER;
 
 -   replace expensive textbooks in high-enrollment courses with OER;

--   provide enrolled students day one access to Lumen’s fully
-    customizable OER course materials through the institution’s
+-   provide enrolled students day one access to Lumen's fully
+    customizable OER course materials through the institution's

     learning-management system;
 -   measure improvements in student success with metrics like passing
     rates, persistence, and course completion; and
 -   collaborate with faculty to make ongoing improvements to OER based
     on student success research.
 
     learning-management system;
 -   measure improvements in student success with metrics like passing
     rates, persistence, and course completion; and
 -   collaborate with faculty to make ongoing improvements to OER based
     on student success research.
 

-Lumen has developed a suite of open, Creative Commons–licensed
+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
 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


@@ -4336,7 +4336,7 @@ following the terms of the Creative Commons license.
 
 Then there are three types of bundled services that cost money. One
 option, which Lumen calls Candela courseware, offers integration with
 
 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
+the institution's learning-management system, technical and pedagogical

 support, and tracking of effectiveness. Candela courseware costs
 institutions ten dollars per enrolled student.
 
 support, and tracking of effectiveness. Candela courseware costs
 institutions ten dollars per enrolled student.
 


@@ -4356,24 +4356,24 @@ textbooks and other expensive resources with OER.
 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
 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
+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
 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
+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.
 
 In most cases, development of their courses is funded by the institution
 Lumen has a contract with. When creating new courses, Lumen typically
 this has been a challenge from a business-model perspective, from an
 open-access perspective, it has generated immense goodwill in the
 community.
 
 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
+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
 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
+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.
 
 searches for, aggregates, and curates the best OER they can find that
 addresses those learning needs, which the faculty reviews.
 


@@ -4384,17 +4384,17 @@ 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
 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
+sources intact, and any of Lumen's new content is given an Attribution

 (CC BY) license.
 
 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
 (CC BY) license.
 
 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
+website's footer, which stays the same for all pages. This doesn't quite

 work, however, when mixing different OER together.
 
 Remixing OER often results in multiple attributions on every page of
 work, however, when mixing different OER together.
 
 Remixing OER often results in multiple attributions on every page of

-every course—text from one place, images from another, and videos from
+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
 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


@@ -4402,34 +4402,34 @@ 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.
 
 capturing the license and attribution information as metadata, and
 getting it to show up at the end of each page.
 

-Lumen’s commitment to open licensing and helping low-income students has
+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,
 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
+and referrals. Sometimes the number of general inquiries exceed Lumen's

 sales
 capacity.
 
 To manage demand and ensure the success of projects, their strategy is
 sales
 capacity.
 
 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
+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
 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
+of resources on Lumen's part, they prioritize the ones that would impact

 the largest number of students.
 
 As a business, Lumen is committed to openness. There are two core
 the largest number of students.
 
 As a business, Lumen is committed to openness. There are two core

-nonnegotiables: Lumen’s use of CC BY, the most permissive of the
+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.
 
 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.
 

-Openness also means that Lumen’s OER must necessarily be nonexclusive
+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
 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


@@ -4449,7 +4449,7 @@ 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
 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
+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.
 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.


@@ -4462,7 +4462,7 @@ Lumen believes these are the building blocks of a sustainable model and
 strives for a correct balance of all these factors.
 
 Licensing all the content they produce with CC BY is a key part of
 strives for a correct balance of all these factors.
 
 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
+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.
 
 the right structure for their value-add and how to package it in a way
 that is understandable and repeatable.
 


@@ -4476,44 +4476,42 @@ 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.
 
 percent funded with angel capital. Going forward, their strategy is to
 replace grant funding with revenue.
 

-In creating Lumen Learning, David and Kim say they’ve landed on
+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
 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
+open resources public, let people know where you stand, and don't back

 away from it. It really is about trust.
 
 away from it. It really is about trust.
 

-Web link
+### Web link

 
 

-1.  lumenlearning.com/innovative-projects/
+[^Lumen-Learning-1]:  [](http://lumenlearning.com/innovative-projects/)

 
 ## Jonathan Mann
 
 ## Jonathan Mann

-
-Jonathan Mann is a singer and songwriter who is most well known as the
-“Song A Day” guy. Based in the U.S.
-
-jonathanmann.net and
-
-jonathanmann.bandcamp.com
-
-Revenue model: charging for custom services, pay-what-you-want,
-crowdfunding (subscription-based), charging for in-person version
-(speaking engagements and musical performances)
-
-Interview date: February 22, 2016
-
-Profile written by Sarah Hinchliff Pearson
-
-Jonathan Mann 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.
+> 
+> Jonathan Mann is a singer and songwriter who is most well known as the
+> "Song A Day" guy. Based in the U.S.
+> 
+> [](http://jonathanmann.net) and [](http://jonathanmann.bandcamp.com)
+> 
+> **Revenue model**: charging for custom services, pay-what-you-want,
+> crowdfunding (subscription-based), charging for in-person version
+> (speaking engagements and musical performances)
+> 
+> **Interview date**: February 22, 2016
+> 
+> Profile written by Sarah Hinchliff Pearson
+
+Jonathan Mann thinks of his business model as "hustling"---seizing
+nearly every opportunity he sees to make money. The bulk of his income
+comes 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.

 
 His entrepreneurial spirit is coupled with a willingness to take action
 quickly. A perfect illustration of his ability to act fast happened in
 
 His entrepreneurial spirit is coupled with a willingness to take action
 quickly. A perfect illustration of his ability to act fast happened in


@@ -4524,13 +4522,13 @@ 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.
 
 video at the Apple conference. The song then went viral, and the
 experience landed him in Time magazine.
 

-Jonathan’s successful “hustling” is also about old-fashioned
+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
 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.”
+songwriting, and he is widely known as the "song-a-day guy."

 
 He fell into this role by, naturally, seizing a random opportunity a
 
 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
+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
 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


@@ -4540,7 +4538,7 @@ online than simply listening to audio files.
 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
 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
+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
 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


@@ -4558,46 +4556,46 @@ 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.
 
 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.
 

-His website explains his gig as “taking any message, from the super
+His website explains his gig as "taking any message, from the super

 simple to the totally complicated, and conveying that message through a
 simple to the totally complicated, and conveying that message through a

-heartfelt, fun and quirky song.” He charges \$500 to create a produced
+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.
 
 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.
 

-Jonathan can’t recall when exactly he first learned about Creative
+Jonathan can't recall when exactly he first learned about Creative

 Commons, but he began applying CC licenses to his songs and videos as
 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.
+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
 It seems like such an obvious thing that you would want your work to be

-able to be shared.”
+able to be shared."

 
 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
 
 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.”
+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."

 
 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
 
 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.
-
-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
+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.
+
+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.
 
 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
 writing custom songs for clients.
 
 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,”
+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
 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


@@ -4611,12 +4609,12 @@ 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
 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
+final product of his work is a song rather than news. "There is

 something about being challenged and forced to take information that
 something about being challenged and forced to take information that

-doesn’t seem like it should be sung about
-or doesn’t seem like it lends itself to a song,” he said. “I find that
+doesn't seem like it should be sung about
+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
 creative challenge really satisfying. I enjoy getting lost in that

-process.”
+process."

 
 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.
 
 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.


@@ -4625,26 +4623,26 @@ songwriter, and he has found a way to keep it interesting for
 himself.
 
 Jonathan uses nearly every tool possible to make money from his art, but
 himself.
 
 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
+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
 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
+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.
 
 commercials for the same reasons; he is best at using his own unique
 style rather than mimicking others.
 

-Jonathan’s song-a-day commitment exemplifies the power of habit and
+Jonathan's song-a-day commitment exemplifies the power of habit and

 grit. Conventional wisdom about creative productivity, including advice
 in books like the best-seller The Creative Habit by Twyla Tharp,
 routinely emphasizes the importance of ritual and action. No amount of
 planning can replace the value of simple practice and just doing.
 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.
+Jonathan Mann's work is a living embodiment of these principles.

 
 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
 
 When he speaks about his work, he talks about how much the song-a-day
 process has changed him. Rather than seeing any given piece of work as
 precious and getting stuck on trying to make it perfect, he has become

-comfortable with just doing. If today’s song is a bust, tomorrow’s song
+comfortable with just doing. If today's song is a bust, tomorrow's song

 might be better.
 
 Jonathan seems to have this mentality about his career more generally.
 might be better.
 
 Jonathan seems to have this mentality about his career more generally.


@@ -4654,32 +4652,32 @@ 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.
 
 or having his song used by Steve Jobs, he says he never truly feels
 successful.
 

-“Success feels like it’s over,” he said. “To a certain extent, a
+"Success feels like it's over," he said. "To a certain extent, a

 creative person is not ever going to feel completely satisfied because
 creative person is not ever going to feel completely satisfied because

-then so much of what drives you would be gone.”
+then so much of what drives you would be gone."

 
 ## Noun Project
 
 ## Noun Project

-
-The Noun Project is a for-profit company offering an online platform to
-display visual icons from a global network of designers. Founded in 2010
-in the U.S.
-
-thenounproject.com
-
-Revenue model: charging a transaction fee, charging for custom services
-
-Interview date: October 6, 2015
-
-Interviewee: Edward Boatman, cofounder
-
-Profile written by Paul Stacey
+> 
+> The Noun Project is a for-profit company offering an online platform to
+> display visual icons from a global network of designers. Founded in 2010
+> in the U.S.
+> 
+> [](http://thenounproject.com)
+> 
+> **Revenue model**: charging a transaction fee, charging for custom services
+> 
+> **Interview date**: October 6, 2015
+> 
+> **Interviewee**: Edward Boatman, cofounder
+> 
+> Profile written by Paul Stacey

 
 The Noun Project creates and shares visual language. There are millions
 who use Noun Project symbols to simplify communication across borders,
 languages, and cultures.
 
 The original idea for the Noun Project came to cofounder Edward Boatman
 
 The Noun Project creates and shares visual language. There are millions
 who use Noun Project symbols to simplify communication across borders,
 languages, and cultures.
 
 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
+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
 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


@@ -4687,7 +4685,7 @@ object or concept on the planet.
 
 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
 
 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
+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.
 
 could provide them. Perhaps his idea for creating a library of icons
 could actually help people in similar situations.
 


@@ -4701,7 +4699,7 @@ world.
 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
 Then Edward got laid off during the recession, which turned out to be a
 huge catalyst. He decided to give his idea a go, and in 2010 Edward and
 Sofya launched the Noun Project with a Kickstarter campaign, back when

-Kickstarter was in its infancy.1 They thought it’d be a good way to
+Kickstarter was in its infancy.[^Noun-Project-1] They thought it'd be a good way to

 introduce the global web community to their idea. Their goal was to
 raise \$1,500, but in twenty days they got over \$14,000. They realized
 their idea had the potential to be something much bigger.
 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.


@@ -4709,19 +4707,19 @@ their idea had the potential to be something much bigger.
 They created a platform where symbols and icons could be uploaded, and
 Edward began recruiting talented designers to contribute their designs,
 a process he describes as a relatively easy sell. Lots of designers have
 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
+old drawings just gathering "digital dust" on their hard drives. It's

 easy to convince them to finally share them with the world.
 
 The Noun Project currently has about seven thousand designers from
 around the world. But not all submissions are accepted. The Noun
 easy to convince them to finally share them with the world.
 
 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
+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.
 
 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.
 

-Creative Commons is an integral part of the Noun Project’s business
-model; this decision was inspired by Chris Anderson’s book Free: The
+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.
 
 Future of Radical Price, which introduced Edward to the idea that you
 could build a business model around free content.
 


@@ -4737,41 +4735,41 @@ 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.
 
 that people can use without having to give credit, they can use CC0 to
 put the work into the public domain.
 

-Noun Project’s business model and means of generating revenue have
+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
 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.”
+materials clean and free of attribution statements. For Edward, "That's
+when our lightbulb went off."

 
 

-They asked their global network of designers whether they’d be open to
+They asked their global network of designers whether they'd be open to

 receiving modest remuneration instead of attribution. Designers saw it
 as a win-win. The idea that you could offer your designs for free and
 have a global audience and maybe even make some money was pretty
 exciting for most designers.
 
 The Noun Project first adopted a model whereby using an icon without
 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.
 
 The Noun Project first adopted a model whereby using an icon without

-giving attribution would cost \$1.99 per icon. The model’s second
+giving attribution would cost \$1.99 per icon. The model's second

 iteration added a subscription component, where there would be a monthly
 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
+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
 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.
+costs \$9.99 per month. Edward says this model is working well---good
+for customers, good for creators, and good for the platform.

 
 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
 
 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
+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
 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”
+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.
 
 for free to test how it integrates with your application, but full
 implementation will require you to purchase the API Pro version.
 


@@ -4781,15 +4779,15 @@ one-off purchases, the revenue is split 70 percent to the designer and
 
 The revenue from premium purchases (the subscription and API options) is
 split a little differently. At the end of each month, the total revenue
 
 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
+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.
 \$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.
+(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.

 
 The Noun Project tries to be completely transparent about their royalty
 
 The Noun Project tries to be completely transparent about their royalty

-structure.2 They tend to over communicate with creators about it because
+structure.[^Noun-Project-2] They tend to over communicate with creators about it because

 building trust is the top
 priority.
 
 building trust is the top
 priority.
 


@@ -4807,7 +4805,7 @@ 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,
 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 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.
 
 And if you subscribe to NounPro, you can access Noun Project from within
 Lingo.
 


@@ -4817,81 +4815,81 @@ there are still lots of paid accounts coming from digital designers,
 advertising and design agencies, educators, and others who need to
 communicate ideas visually.
 
 advertising and design agencies, educators, and others who need to
 communicate ideas visually.
 

-For Edward, “creating, sharing, and celebrating the world’s visual
-language” is the most important aspect of what they do; it’s their
+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.
 
 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
 stated mission. It differentiates them from others who offer graphics,
 icons, or clip art.
 
 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
+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
 third, and mission, first. If you want to engage a global network of

-contributors, it’s important to have a mission beyond making money.
+contributors, it's important to have a mission beyond making money.

 
 

-In Edward’s view, Creative Commons is central to their mission of
-sharing and social good. Using Creative Commons makes the Noun Project’s
+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.
 
 mission genuine and has generated a lot of their initial traction and
 credibility. CC comes with a built-in community of users and fans.
 

-Edward told us, “Don’t underestimate the power of a passionate community
+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
 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
+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
 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.”
-
-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.
-
-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
+through other initiatives and continue to nurture it."
+
+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.
+
+The Noun Project also builds community through Iconathons---hackathons
+for icons.[^Noun-Project-2] In partnership with a sponsoring organization, the Noun
+Project comes up with a theme (e.g., sustainable energy, food bank,
+guerrilla gardening, human rights) and a list of icons that are needed,
+which designers are invited to create at the event. The results are

 vectorized, and added to the Noun Project using CC0 so they can be used
 by anyone for free.
 
 Providing a free version of their product that satisfies a lot of their
 vectorized, and added to the Noun Project using CC0 so they can be used
 by anyone for free.
 
 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
+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
 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
+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.
 
 into their model has been key to that goal.
 

-Web links
+### Web links

 
 

-1.  www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description
-2.  thenounproject.com/handbook/royalties/\#getting\_paid
-3.  thenounproject.com/iconathon/
+[^Noun-Project-1]:  [](http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description)
+[^Noun-Project-2]:  [](http://thenounproject.com/handbook/royalties/\#getting\_paid)
+[^Noun-Project-3]:  [](http://thenounproject.com/iconathon/)

 
 ## Open Data Institute
 
 ## Open Data Institute

-
-The Open Data Institute is an independent nonprofit that connects,
-equips, and inspires people around the world to innovate with data.
-Founded in 2012 in the UK.
-
-theodi.org
-
-Revenue model: grant and government funding, charging for custom
-services, donations
-
-Interview date: November 11, 2015
-
-Interviewee: Jeni Tennison, technical director
-
-Profile written by Paul Stacey
+> 
+> The Open Data Institute is an independent nonprofit that connects,
+> equips, and inspires people around the world to innovate with data.
+> Founded in 2012 in the UK.
+> 
+> [](http://theodi.org)
+> 
+> **Revenue model**: grant and government funding, charging for custom
+> services, donations
+> 
+> **Interview date**: November 11, 2015
+> 
+> **Interviewee**: Jeni Tennison, technical director
+> 
+> Profile written by Paul Stacey

 
 Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
 London-based Open Data Institute (ODI) offers data-related training,
 events, consulting services, and research. For ODI, Creative Commons
 licenses are central to making their own business model and their
 
 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
+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.
 
 Data underpins planning and decision making across all aspects of
 mission to help people around the world innovate with data.
 
 Data underpins planning and decision making across all aspects of


@@ -4904,25 +4902,26 @@ 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.
 
 efficiency, and target investments. It can help citizens improve their
 lives by better understanding what is happening around them.
 

-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—
+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---

 
 -   demonstrate the commercial value of open government data and how
     open-data policies affect this;
 -   develop the economic benefits case and business models for open
     data;
 -   help UK businesses use open data; and
 
 -   demonstrate the commercial value of open government data and how
     open-data policies affect this;
 -   develop the economic benefits case and business models for open
     data;
 -   help UK businesses use open data; and

--   show how open data can improve public services.1
+-   show how open data can improve public services.[^Open-Data-Institute-1]

 
 ODI is very explicit about how it wants to make open business models,
 
 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
+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.
 
 As an independent nonprofit, ODI secured £10 million over five years
 potential for revenue.
 
 As an independent nonprofit, ODI secured £10 million over five years


@@ -4932,14 +4931,14 @@ secure matching funds from other sources, some of which were met through
 a \$4.75-million investment from the Omidyar Network.
 
 Jeni started out as a developer and technical architect for data.gov.uk,
 a \$4.75-million investment from the Omidyar Network.
 
 Jeni started out as a developer and technical architect for data.gov.uk,

-the UK government’s pioneering open-data initiative. She helped make
+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.
 
 ODI strives to have half its annual budget come from the core UK
 government and Omidyar grants, and the other half from project-based
 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.
 
 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
+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.
 revenue sources establishes some stability, but also keeps them
 motivated to go out and generate these matching funds in response to
 market needs.


@@ -4956,7 +4955,7 @@ 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
 a year, and corporations and government organizations at £2,200 a year.
 Commercial members have greater opportunities to connect and
 collaborate, explore the benefits of open data, and unlock new business

-opportunities. (All members are listed on their website.)2
+opportunities. (All members are listed on their website.)[^Open-Data-Institute-2]

 
 ODI provides standardized open data training courses in which anyone can
 enroll. The initial idea was to offer an intensive and academically
 
 ODI provides standardized open data training courses in which anyone can
 enroll. The initial idea was to offer an intensive and academically


@@ -4964,9 +4963,9 @@ 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
 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
+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.
 
 vouchers to their employees so they can attend as a form of professional
 development.
 


@@ -4978,7 +4977,7 @@ on the skills needed by their high-level executives, management, and
 technical staff. The training tends to generate high interest and
 commitment.
 
 technical staff. The training tends to generate high interest and
 commitment.
 

-Education about open data is also a part of ODI’s annual summit event,
+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
 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


@@ -4999,7 +4998,7 @@ resonate:
     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.
     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.

--   Open innovation. Many large-scale enterprises are aware they don’t
+-   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
     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


@@ -5013,10 +5012,10 @@ resonate:
 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
 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
+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
 economic value. They were contracted as a service provider to
 international governments, which prompted a need to set up international

-ODI “nodes.”
+ODI "nodes."

 
 Nodes are franchises of the ODI at a regional or city level. Hosted by
 existing (for-profit or not-for-profit) organizations, they operate
 
 Nodes are franchises of the ODI at a regional or city level. Hosted by
 existing (for-profit or not-for-profit) organizations, they operate


@@ -5030,9 +5029,9 @@ and to use the brand.
 
 ODI also runs programs to help start-ups in the UK and across Europe
 develop a sustainable business around open data, offering mentoring,
 
 ODI also runs programs to help start-ups in the UK and across Europe
 develop a sustainable business around open data, offering mentoring,

-advice, training, and even office space.3
+advice, training, and even office space.[^Open-Data-Institute-3]

 
 

-A big part of ODI’s business model revolves around community building.
+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
 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


@@ -5042,9 +5041,9 @@ events.
 
 ODI has created an online tool that organizations can use to assess the
 legal, practical, technical, and social aspects of their open data. If
 
 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
+it is of high quality, the organization can earn ODI's Open Data

 Certificate, a globally recognized mark that signals that their open
 Certificate, a globally recognized mark that signals that their open

-data is useful, reliable, accessible, discoverable, and supported.4
+data is useful, reliable, accessible, discoverable, and supported.[^Open-Data-Institute-4]

 
 Separate from commercial activities, the ODI generates funding through
 research grants. Research includes looking at evidence on the impact of
 
 Separate from commercial activities, the ODI generates funding through
 research grants. Research includes looking at evidence on the impact of


@@ -5053,12 +5052,12 @@ deploy open data at scale.
 
 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
 
 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.
+data to use Creative Commons licenses rather than creating new "open
+licenses" of their own.

 
 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
 
 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
+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
 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


@@ -5068,9 +5067,9 @@ 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
 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
+paid services that they offer. According to Jeni, "The biggest lesson we

 have learned is that it is completely possible to be open, get
 have learned is that it is completely possible to be open, get

-customers, and make money.”
+customers, and make money."

 
 To serve as evidence of a successful open business model and return on
 investment, ODI has a public dashboard of key performance indicators.
 
 To serve as evidence of a successful open business model and return on
 investment, ODI has a public dashboard of key performance indicators.


@@ -5086,32 +5085,32 @@ Here are a few metrics as of April 27, 2016:
     online: 2.2 million
 -   Total Open Data Certificates created: 151,000
 -   Total number of people trained by ODI and its nodes since ODI began:
     online: 2.2 million
 -   Total Open Data Certificates created: 151,000
 -   Total number of people trained by ODI and its nodes since ODI began:

-    5,0805
+    5,080[^Open-Data-Institute-5]

 
 

-Web links
+### Web links

 
 

-1.  e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf
-2.  directory.theodi.org/members
-3.  theodi.org/odi-startup-programme;
-    theodi.org/open-data-incubator-for-europe
-4.  certificates.theodi.org
-5.  dashboards.theodi.org/company/all
+[^Open-Data-Institute-1]:  [](http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf)
+[^Open-Data-Institute-2]:  [](http://directory.theodi.org/members)
+[^Open-Data-Institute-3]:  [](http://theodi.org/odi-startup-programme);
+    [](http://theodi.org/open-data-incubator-for-europe)
+[^Open-Data-Institute-4]:  [](http://certificates.theodi.org)
+[^Open-Data-Institute-5]:  [](http://dashboards.theodi.org/company/all)

 
 ## OpenDesk
 
 ## OpenDesk

-
-Opendesk is a for-profit company offering an online platform that
-connects furniture designers around the world with customers and local
-makers who bring the designs to life. Founded in 2014 in the UK.
-
-www.opendesk.cc
-
-Revenue model: charging a transaction fee
-
-Interview date: November 4, 2015
-
-Interviewees: Nick Ierodiaconou and Joni Steiner, cofounders
-
-Profile written by Paul Stacey
+> 
+> Opendesk is a for-profit company offering an online platform that
+> connects furniture designers around the world with customers and local
+> makers who bring the designs to life. Founded in 2014 in the UK.
+> 
+> [](http://www.opendesk.cc)
+> 
+> **Revenue model**: charging a transaction fee
+> 
+> **Interview date**: November 4, 2015
+> 
+> **Interviewees**: Nick Ierodiaconou and Joni Steiner, cofounders
+> 
+> Profile written by Paul Stacey

 
 Opendesk is an online platform that connects furniture designers around
 the world not just with customers but also with local registered makers
 
 Opendesk is an online platform that connects furniture designers around
 the world not just with customers but also with local registered makers


@@ -5121,14 +5120,14 @@ portion of every sale that is made by a maker.
 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
 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
+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
 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
+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
 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
+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.
 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.


@@ -5145,7 +5144,7 @@ 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
 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
+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.
 
 there was no need to reinvent the wheel and settled on using Creative
 Commons.
 


@@ -5155,46 +5154,46 @@ 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.
 
 benefited designers when their designs were sold. Coming up with a
 business model was going to be complex.
 

-They gave a lot of thought to three angles—the potential for social
+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.
 
 In support of social sharing, Opendesk actively advocates for (but
 sharing, allowing designers to choose their license, and the impact
 these choices would have on the business model.
 
 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
+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.
 
 For the most part, designers love the idea of sharing content. 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.
 
 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
+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.[^OpenDesk-1]

 
 While designers are largely OK with personal sharing, there is a concern
 that someone will take the design and manufacture the furniture in bulk,
 with the designer not getting any benefits. So most Opendesk designers
 choose the Attribution-NonCommercial license (CC BY-NC).
 
 
 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).
 

-Anyone can download a design and make it themselves, provided it’s for
-noncommercial use — and there have been many, many downloads. Or users
+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
 can buy the product from Opendesk, or from a registered maker in

-Opendesk’s network, for on-demand personal fabrication. The network of
+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.
 
 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.
 

-Makers benefit from being part of Opendesk’s network. Making furniture
+Makers benefit from being part of Opendesk's network. Making furniture

 for local customers is paid work, and Opendesk generates business for
 for local customers is paid work, and Opendesk generates business for

-them. Joni said, “Finding a whole network and community of makers was
+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
 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
+community is how we have moved forward." Opendesk now has relationships
+with hundreds of makers in countries all around the world.[^OpenDesk-2]

 
 The makers are a critical part of the Opendesk business model. Their
 
 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:
+model builds off the makers' quotes. Here's how it's expressed on
+Opendesk's website:

 
 When customers buy an Opendesk product directly from a registered maker,
 they pay:
 
 When customers buy an Opendesk product directly from a registered maker,
 they pay:


@@ -5210,18 +5209,18 @@ they pay:
 -   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
 -   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
+    their own channels---this covers sales and marketing fees for the

     relevant channel)
 -   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)
 -   charges for any additional services the customer chooses, such as
     relevant channel)
 -   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)
 -   charges for any additional services the customer chooses, such as

-    on-site assembly (additional services are discretionary—in many
+    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)
     cases makers will be happy to quote for assembly on-site and
     designers may offer bespoke design options)

--   local sales taxes (variable by customer and maker location)3
+-   local sales taxes (variable by customer and maker location)[^OpenDesk-3]

 
 

-They then go into detail how makers’ quotes are created:
+They then go into detail how makers' quotes are created:

 
 When a customer wants to buy an Opendesk . . . they are provided with a
 transparent breakdown of fees including the manufacturing cost, design
 
 When a customer wants to buy an Opendesk . . . they are provided with a
 transparent breakdown of fees including the manufacturing cost, design


@@ -5242,7 +5241,7 @@ underlying manufacturing cost and are typically apportioned as follows:
 
 Opendesk shares revenue with their community of designers. According to
 Nick and Joni, a typical designer fee is around 2.5 percent, so
 
 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
+Opendesk's 8 percent is more generous, and providing a higher value to

 the designer.
 
 The Opendesk website features stories of designers and makers. Denis
 the designer.
 
 The Opendesk website features stories of designers and makers. Denis


@@ -5253,32 +5252,32 @@ maker based in the United Kingdom. Opendesk now makes up a large
 proportion of his business.
 
 To manage resources and remain effective, Opendesk has so far focused on
 proportion of his business.
 
 To manage resources and remain effective, Opendesk has so far focused on

-a very narrow niche—primarily office furniture of a certain simple
+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.
 
 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.
 

-On their website, Opendesk describes what they do as “open making”:
-“Designers get a global distribution channel. Makers get profitable jobs
+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
 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.”
+affordable way to buy custom-made products."

 
 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
 
 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
+local community; it's a great story to tell. It certainly sets apart

 Opendesk furniture from the usual mass-produced items from a store.
 
 Nick and Joni are taking a community-based approach to define and evolve
 Opendesk furniture from the usual mass-produced items from a store.
 
 Nick and Joni are taking a community-based approach to define and evolve

-Opendesk and the “open making” business model. They’re engaging thought
+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,
 leaders and practitioners to define this new movement. They have a
 separate Open Making site, which includes a manifesto, a field guide,

-and an invitation to get involved in the Open Making community.4 People
+and an invitation to get involved in the Open Making community.[^OpenDesk-4] People

 can submit ideas and discuss the principles and business practices
 can submit ideas and discuss the principles and business practices

-they’d like to see used.
+they'd like to see used.

 
 Nick and Joni talked a lot with us about intellectual property (IP) and
 commercialization. Many of their designers fear the idea that someone
 
 Nick and Joni talked a lot with us about intellectual property (IP) and
 commercialization. Many of their designers fear the idea that someone


@@ -5312,44 +5311,44 @@ 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
 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.
+open business model that works for all stakeholders---designers,
+channels, manufacturers, and customers. For them, the value Opendesk
+generates hangs off "open," not IP.

 
 The mission of Opendesk is about relocalizing manufacturing, which
 changes the way we think about how goods are made. Commercialization is
 
 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
+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.
 
 that track how many makers and designers are engaged through Opendesk in
 revenue-making work.
 

-As a global platform for local making, Opendesk’s business model has
+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.
 
 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.
 

-Web links
+### Web links

 
 

-1.  www.opendesk.cc/designers
-2.  www.opendesk.cc/open-making/makers/
-3.  www.opendesk.cc/open-making/join
-4.  openmaking.is
+[^OpenDesk-1]:  [](http://www.opendesk.cc/designers)
+[^OpenDesk-2]:  [](http://www.opendesk.cc/open-making/makers/)
+[^OpenDesk-3]:  [](http://www.opendesk.cc/open-making/join)
+[^OpenDesk-4]:  [](http://openmaking.is)

 
 ## OpenStax
 
 ## OpenStax

-
-OpenStax is a nonprofit that provides free, openly licensed textbooks
-for high-enrollment introductory college courses and Advanced Placement
-courses. Founded in 2012 in the U.S.
-
-www.openstaxcollege.org
-
-Revenue model: grant funding, charging for custom services, charging for
-physical copies (textbook sales)
-
-Interview date: December 16, 2015
-
-Interviewee: David Harris, editor-in-chief
-
-Profile written by Paul Stacey
+> 
+> OpenStax is a nonprofit that provides free, openly licensed textbooks
+> for high-enrollment introductory college courses and Advanced Placement
+> courses. Founded in 2012 in the U.S.
+> 
+> [](http://www.openstaxcollege.org)
+> 
+> **Revenue model**: grant funding, charging for custom services, charging for
+> physical copies (textbook sales)
+> 
+> **Interview date**: December 16, 2015
+> 
+> **Interviewee**: David Harris, editor-in-chief
+> 
+> Profile written by Paul Stacey

 
 OpenStax is an extension of a program called Connexions, which was
 started in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor
 
 OpenStax is an extension of a program called Connexions, which was
 started in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor


@@ -5358,21 +5357,21 @@ 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
 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
+world's best libraries of customizable educational materials, all

 licensed with Creative Commons and available to anyone, anywhere,
 licensed with Creative Commons and available to anyone, anywhere,

-anytime—for free.
+anytime---for free.

 
 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
 
 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
+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.
 
 David brought with him a deep understanding of the best practices of
 this effort. Connexions became OpenStax CNX; the program to create open
 textbooks became OpenStax College, now simply called OpenStax.
 
 David brought with him a deep understanding of the best practices of

-publishing along with where publishers have inefficiencies. In David’s
+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
 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


@@ -5387,7 +5386,7 @@ 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
 courses in the nation. Today they are fast approaching that number.
 There is data that proves the success of their original hypothesis on
 how many students they could help and how much money they could help

-save.1 Professionally produced content scales rapidly. All with no sales
+save.[^OpenStax-1] Professionally produced content scales rapidly. All with no sales

 force!
 
 OpenStax textbooks are all Attribution (CC BY) licensed, and each
 force!
 
 OpenStax textbooks are all Attribution (CC BY) licensed, and each


@@ -5399,7 +5398,7 @@ their professor and librarians about these textbooks and to advocate for
 their use.
 
 Teachers are invited to try out a single chapter from one of the
 their use.
 
 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
+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
 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


@@ -5411,11 +5410,11 @@ want supplemental material to accompany a textbook, OpenStax also
 provides slide presentations, test banks, answer keys, and so on.
 
 Institutions can stand out by offering students a lower-cost education
 provides slide presentations, test banks, answer keys, and so on.
 
 Institutions can stand out by offering students a lower-cost education

-through the use of OpenStax textbooks; there’s even a textbook-savings
+through the use of OpenStax textbooks; there's even a textbook-savings

 calculator they can use to see how much students would save. OpenStax
 calculator they can use to see how much students would save. OpenStax

-keeps a running list of institutions that have adopted their textbooks.2
+keeps a running list of institutions that have adopted their textbooks.[^OpenStax-2]

 
 

-Unlike traditional publishers’ monolithic approach of controlling
+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.
 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.


@@ -5446,17 +5445,17 @@ 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.
 
 OpenStax has already published revisions of their titles, such as
 Introduction to Sociology 2e, using these funds.
 

-In David’s view, this approach lets the market operate at peak
-efficiency. OpenStax’s partners don’t have to worry about developing
+In David's view, this approach lets the market operate at peak
+efficiency. OpenStax's partners don't have to worry about developing

 textbook content, freeing them up from those development costs and
 letting them focus on what they do best. With OpenStax textbooks
 available at no cost, they can provide their services at a lower
 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
+cost---not free, but still saving students money. OpenStax benefits not

 only by receiving mission-support fees but through free publicity and
 only by receiving mission-support fees but through free publicity and

-marketing. OpenStax doesn’t have a sales force; partners are out there
+marketing. OpenStax doesn't have a sales force; partners are out there

 showcasing their materials.
 
 showcasing their materials.
 

-OpenStax’s cost of sales to acquire a single student is very, very low
+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
 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


@@ -5482,11 +5481,11 @@ 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.
 
 no-returns policy. This is working well, since the sell-through of their
 print titles is virtually a hundred percent.
 

-David thinks of the OpenStax model as “OER 2.0.” So what is OER 1.0?
+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
 Historically in the OER field, many OER initiatives have been locally

-funded by institutions or government ministries. In David’s view, this
+funded by institutions or government ministries. In David's view, this

 results in content that has high local value but is infrequently adopted
 results in content that has high local value but is infrequently adopted

-nationally. It’s therefore difficult to show payback over a time scale
+nationally. It's therefore difficult to show payback over a time scale

 that is reasonable.
 
 OER 2.0 is about OER intended to be used and adopted on a national level
 that is reasonable.
 
 OER 2.0 is about OER intended to be used and adopted on a national level


@@ -5503,13 +5502,13 @@ example being their biology book.
 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
 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
+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
 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


@@ -5517,15 +5516,15 @@ proofread. The whole process is very time-consuming.
 
 All the people involved in this process are paid. OpenStax does not rely
 on volunteers. Writers, reviewers, illustrators, and editors are all
 
 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
+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
 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
+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.
 
 2.0 model, as there is no risk to them and they earn all the money up
 front.
 

-David thinks of the Attribution license (CC BY) as the “innovation
-license.” It’s core to the mission of OpenStax, letting people use their
+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
 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


@@ -5533,9 +5532,9 @@ materials. By enabling frictionless remixing, CC BY gives teachers
 control and academic freedom.
 
 Using CC BY is also a good example of using strategies that traditional
 control and academic freedom.
 
 Using CC BY is also a good example of using strategies that traditional

-publishers can’t. Traditional publishers rely on copyright to prevent
+publishers can't. Traditional publishers rely on copyright to prevent

 others from making copies and heavily invest in digital rights
 others from making copies and heavily invest in digital rights

-management to ensure their books aren’t shared. By using CC BY, OpenStax
+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
 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


@@ -5560,8 +5559,8 @@ seen as a necessary precursor to international interest.
 
 OpenStax has primarily focused on introductory-level college courses
 where there is high enrollment, but they are starting to think about
 
 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
+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.
 
 Finally, for OpenStax success is not just about the adoption of their
 through the entire curriculum of a nursing degree, for example.
 
 Finally, for OpenStax success is not just about the adoption of their


@@ -5574,41 +5573,41 @@ 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.
 
 Commons, OpenStax is making it possible for every student who wants
 access to education to get it.
 

-Web links
+### Web links

 
 

-1.  news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg
-2.  openstax.org/adopters
+[^OpenStax-1]:  [](http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg)
+[^OpenStax-2]:  [](http://openstax.org/adopters)

 
 ## Amanda Palmer
 
 ## Amanda Palmer

-
-Amanda Palmer is a musician, artist, and writer. Based in the U.S.
-
-amandapalmer.net
-
-Revenue model: crowdfunding (subscription-based), pay-what-you-want,
-charging for physical copies (book and album sales), charg-ing for
-in-person version (performances), selling merchandise
-
-Interview date: December 15, 2015
-
-Profile written by Sarah Hinchliff Pearson
+> 
+> Amanda Palmer is a musician, artist, and writer. Based in the U.S.
+> 
+> [](http://amandapalmer.net)
+> 
+> **Revenue model**: crowdfunding (subscription-based), pay-what-you-want,
+> charging for physical copies (book and album sales), charg-ing for
+> in-person version (performances), selling merchandise
+> 
+> **Interview date**: December 15, 2015
+> 
+> Profile written by Sarah Hinchliff Pearson

 
 Since the beginning of her career, Amanda Palmer has been on what she
 
 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
+calls a "journey with no roadmap," continually experimenting to find new
+ways to sustain her creative work.[^Amanda-Palmer-1]

 
 In her best-selling book, The Art of Asking, Amanda articulates exactly
 
 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
+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
 reverberations of their artistic gifts to the community, and make a

-living doing that.”
+living doing that."

 
 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.
 
 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.”
+"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."

 
 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
 
 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


@@ -5617,24 +5616,24 @@ 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
 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,
+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
 enough people to help me make rent and put food on the table. Enough so

-I could keep making art.”
+I could keep making art."

 
 Amanda has come a long way from her street-performing days, but her
 
 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
+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
 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
+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.
 
 After leaving the record label in 2008, she began experimenting with
 different ways to make a living. She released music directly to the
 success. They wanted hits, but making music for the masses was never
 what Amanda and the Dresden Dolls set out to do.
 
 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
+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
 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


@@ -5646,8 +5645,8 @@ 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
 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
+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).
 
 available under an Attribution-NonCommercial-ShareAlike license (CC
 BY-NC-SA).
 


@@ -5657,28 +5656,28 @@ 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
 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
+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
 band vulnerable to someone later going on and putting our music in a

-Camel cigarette ad,” Amanda said. Once she discovered Creative Commons,
+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.
 
 Amanda embraces the way her fans share and build upon her music. In The
 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.
 
 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
+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
 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
+it. "We got into this because we wanted to share the joy of music," she

 said.
 
 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
 said.
 
 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
+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.
 
 Even though her fan base is now huge and global, she continues to seek
 wrote in The Art of Asking.
 
 Even though her fan base is now huge and global, she continues to seek


@@ -5688,115 +5687,116 @@ 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
 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.
+willingness to listen. "Listening fast and caring immediately is a skill
+unto itself," Amanda wrote.

 
 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
 
 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.
+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.

 
 

-“With social media, we’re so concerned with the picture looking
+"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
 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
+than just looking fantastic," Amanda said. "Everything in our culture is

 telling us otherwise. But my experience has shown me that the risk of
 telling us otherwise. But my experience has shown me that the risk of

-making yourself vulnerable is almost always worth it.”
+making yourself vulnerable is almost always worth it."

 
 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,
 
 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.
+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.

 
 After years of investing time and energy into building trust with her
 fans, she has a strong enough relationship with them to ask for
 
 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
+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.
 
 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.
 

-“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
+"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
 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.”
+consciously cultivated a feeling of belonging to their "weird little
+family."

 
 This sort of intimacy with fans is not possible or even desirable for
 
 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.”
+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."

 
 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
 
 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.
+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.

 
 For Amanda, the entire point of being an artist is to establish and
 
 For Amanda, the entire point of being an artist is to establish and

-maintain this connection. “It sounds so corny,” she said, “but my
+maintain this connection. "It sounds so corny," she said, "but my

 experience in forty years on this planet has pointed me to an obvious
 experience in forty years on this planet has pointed me to an obvious

-truth—that connection with human beings feels so much better and more
+truth---that connection with human beings feels so much better and more

 fulfilling than approaching art through a capitalist lens. There is no
 more satisfying end goal than having someone tell you that what you do
 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.”
+is genuinely of value to them."

 
 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
 
 As she explains it, when a fan gives her a ten-dollar bill, usually what
 they are saying is that the money symbolizes some deeper value the music

-provided them. For Amanda, art is not just a product; it’s a
+provided them. For Amanda, art is not just a product; it's a

 relationship. Viewed from this lens, what Amanda does today is not that
 different from what she did as a young street performer. She shares her
 music and other artistic gifts. She shares herself. And then rather than
 forcing people to help her, she lets them.
 
 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.
 

-Web link
+### Web link

 
 

-1.  http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/\#44e20ce46d67
+[^Amanda-Palmer-1]:  [](http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/\#44e20ce46d67)

 
 ## PLOS (Public Library of Science)
 
 ## PLOS (Public Library of Science)

-
-PLOS (Public Library of Science) is a nonprofit that publishes a library
-of academic journals and other scientific literature. Founded in 2000 in
-the U.S.
-
-plos.org
-
-Revenue model: charging content creators an author processing charge to
-be featured in the journal
-
-Interview date: March 7, 2016
-
-Interviewee: Louise Page, publisher
-
-Profile written by Paul Stacey
+> 
+> PLOS (Public Library of Science) is a nonprofit that publishes a library
+> of academic journals and other scientific literature. Founded in 2000 in
+> the U.S.
+> 
+> [](http://plos.org)
+> 
+> **Revenue model**: charging content creators an author processing charge to
+> be featured in the journal
+> 
+> **Interview date**: March 7, 2016
+> 
+> **Interviewee**: Louise Page, publisher
+> 
+> Profile written by Paul Stacey

 
 The Public Library of Science (PLOS) began in 2000 when three leading
 
 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.
+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.

 
 Traditionally, academic publishing begins with an author submitting a
 manuscript to a publisher. After in-house technical and ethical
 
 Traditionally, academic publishing begins with an author submitting a
 manuscript to a publisher. After in-house technical and ethical


@@ -5811,7 +5811,7 @@ read the journal or article.
 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
 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
+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
 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


@@ -5832,7 +5832,7 @@ 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
 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
+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
 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


@@ -5841,7 +5841,7 @@ figures, or other elements.
 
 Calculating the article-processing charge involves taking all the costs
 associated with publishing the journal and determining a cost per
 
 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
+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
 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


@@ -5849,7 +5849,7 @@ started in 2006, are just under \$1,500.
 
 PLOS believes that lack of funds should not be a barrier to publication.
 Since its inception, PLOS has provided fee support for individuals and
 
 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
+institutions to help authors who can't afford the article-processing

 charges.
 
 Louise identifies marketing as one area of big difference between PLOS
 charges.
 
 Louise identifies marketing as one area of big difference between PLOS


@@ -5858,7 +5858,7 @@ 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
 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
+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
 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


@@ -5936,19 +5936,19 @@ 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.
 
 there is always a trade-off with scale, as the bigger the volume of
 articles, the more time the approval process inevitably takes.
 

-Peer review is another part of the process that could change. It’s
+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
 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
+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.
 
 Louise says research with negative outcomes is almost as important as
 positive results. If journals published more research with negative
 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.
 
 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
+outcomes, we'd learn from what didn't work. It could also reduce how

 much the research wheel gets reinvented around the world.
 
 Another adjustable practice is the sharing of articles at early preprint
 much the research wheel gets reinvented around the world.
 
 Another adjustable practice is the sharing of articles at early preprint


@@ -5964,7 +5964,7 @@ 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
 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.
+don't have a lot of time to comment on preprints.

 
 What constitutes a journal article could also change. The idea of a
 research article as printed, bound, and in a library stack is outdated.
 
 What constitutes a journal article could also change. The idea of a
 research article as printed, bound, and in a library stack is outdated.


@@ -5977,11 +5977,11 @@ what constitutes a research article would undergo transformation.
 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
 As journals scale up, and new journals are introduced, more and more
 information is being pushed out to readers, making the experience feel
 like drinking from a fire hose. To help mitigate this, PLOS aggregates

-and curates content from PLOS journals and their network of blogs.1 It
+and curates content from PLOS journals and their network of blogs.[^PLOS-(Public-Library-of-Science)-1] It

 also offers something called Article-Level Metrics, which helps users
 assess research most relevant to the field itself, based on indicators
 like usage, citations, social bookmarking and dissemination activity,
 also offers something called Article-Level Metrics, which helps users
 assess research most relevant to the field itself, based on indicators
 like usage, citations, social bookmarking and dissemination activity,

-media and blog coverage, discussions, and ratings.2 Louise believes that
+media and blog coverage, discussions, and ratings.[^PLOS-(Public-Library-of-Science)-2] Louise believes that

 the journal model could evolve to provide a more friendly and
 interactive user experience, including a way for readers to communicate
 with authors.
 the journal model could evolve to provide a more friendly and
 interactive user experience, including a way for readers to communicate
 with authors.


@@ -6007,28 +6007,28 @@ Ultimately, for PLOS, its authors, and its readers, success is about
 making research discoverable, available, and reproducible for the
 advancement of science.
 
 making research discoverable, available, and reproducible for the
 advancement of science.
 

-Web links
+### Web links

 
 

-1.  collections.plos.org
-2.  plos.org/article-level-metrics
+[^PLOS-(Public-Library-of-Science)-1]:  [](http://collections.plos.org)
+[^PLOS-(Public-Library-of-Science)-2]:  [](http://plos.org/article-level-metrics)

 
 ## Rijksmuseum
 
 ## Rijksmuseum

-
-The Rijksmuseum is a Dutch national museum dedicated to art and history.
-Founded in 1800 in the Netherlands
-
-www.rijksmuseum.nl
-
-Revenue model: grants and government funding, charging for in-person
-version
-(museum admission), selling merchandise
-
-Interview date: December 11, 2015
-
-Interviewee: Lizzy Jongma, the data manager of the collections
-information department
-
-Profile written by Paul Stacey
+> 
+> The Rijksmuseum is a Dutch national museum dedicated to art and history.
+> Founded in 1800 in the Netherlands
+> 
+> [](http://www.rijksmuseum.nl)
+> 
+> **Revenue model**: grants and government funding, charging for in-person
+> version
+> (museum admission), selling merchandise
+> 
+> **Interview date**: December 11, 2015
+> 
+> **Interviewee**: Lizzy Jongma, the data manager of the collections
+> information department
+> 
+> Profile written by Paul Stacey

 
 The Rijksmuseum, a national museum in the Netherlands dedicated to art
 and history, has been housed in its current building since 1885. The
 
 The Rijksmuseum, a national museum in the Netherlands dedicated to art
 and history, has been housed in its current building since 1885. The


@@ -6046,14 +6046,14 @@ emerged a new and more open model for the museum.
 
 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
 
 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
+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.
 
 It was effective but a bit boring. It was just data. A hackathon they
 card-catalog like database of the entire collection online.
 
 It was effective but a bit boring. It was just data. A hackathon they


@@ -6064,8 +6064,8 @@ representations of the one hundred most important pieces in the
 Rijksmuseum collection? That eventually led to why not put the whole
 collection online?
 
 Rijksmuseum collection? That eventually led to why not put the whole
 collection online?
 

-Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
-library, museum, and archive for cultural heritage.1 As an online portal
+Then, Lizzy says, Europeana came along. Europeana is Europe's digital
+library, museum, and archive for cultural heritage.[^Rijksmuseum-1] As an online portal

 to museum collections all across Europe, Europeana had become an
 important online platform. In October 2010 Creative Commons released CC0
 and its public-domain mark as tools people could use to identify works
 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


@@ -6076,13 +6076,13 @@ 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.
 
 scary, but at the same time it stimulated even more discussion on
 whether the Rijksmuseum should follow suit.
 

-They realized that they don’t “own” the collection and couldn’t
+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
 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
+and versions of Vermeer's Milkmaid (part of their collection) were

 already online, many of them of very poor quality. They could spend time
 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
+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.
 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.


@@ -6111,14 +6111,14 @@ collection online.
 
 Releasing these high-quality images for free reduced the number of
 poor-quality images that were proliferating. The high-quality image of
 
 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
+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
 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
+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.
 
 work of art becomes so famous that people want to see it in real life by
 visiting the actual museum.
 


@@ -6130,28 +6130,28 @@ fee has long been a way to generate revenue generation, including for
 the Rijksmuseum.
 
 As museums create a digital presence for themselves and put up digital
 the Rijksmuseum.
 
 As museums create a digital presence for themselves and put up digital

-representations of their collection online, there’s frequently a worry
+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
 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,
+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
 people also see what museum the image comes from and this increases the

-museum’s visibility.
+museum's visibility.

 
 In 2011 the Rijksmuseum received €1 million from the Dutch lottery to
 create a new web presence that would be different from any other
 
 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
+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
 friendly and responsive to devices like the iPad, the Rijksmuseum also
 created the Rijksstudio, where users and artists could use and do

-various things with the Rijksmuseum collection.2
+various things with the Rijksmuseum collection.[^Rijksmuseum-2]

 
 The Rijksstudio gives users access to over two hundred thousand
 high-quality digital representations of masterworks from the collection.
 Users can zoom in to any work and even clip small parts of images they
 
 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
+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
 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


@@ -6164,7 +6164,7 @@ created for educational purposes including use for school exams.
 
 Some contemporary artists who have works in the Rijksmuseum collection
 contacted them to ask why their works were not included in the
 
 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
+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
 bound by copyright. The Rijksmuseum does encourage contemporary artists
 to use a Creative Commons license for their works, usually a CC BY-SA
 license


@@ -6176,14 +6176,14 @@ 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 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
+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
 marketplace Etsy to inspire people to sell their creations. One great
 example you can find on Etsy is a kimono designed by Angie Johnson, who
 used an image of an elaborate cabinet along with an oil painting by Jan

-Asselijn called The Threatened Swan.3
+Asselijn called The Threatened Swan.[^Rijksmuseum-3]

 
 In 2013 the Rijksmuseum organized their first high-profile design
 
 In 2013 the Rijksmuseum organized their first high-profile design

-competition, known as the Rijksstudio Award.4 With the call to action
+competition, known as the Rijksstudio Award.[^Rijksmuseum-4] With the call to action

 Make Your Own Masterpiece, the competition invites the public to use
 Rijksstudio images to make new creative designs. A jury of renowned
 designers and curators selects ten finalists and three winners. The
 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


@@ -6191,7 +6191,7 @@ 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
 attracted a staggering 892 top-class entries. Some award winners end up
 with their work sold through the Rijksmuseum store, such as the 2014
 entry featuring makeup based on a specific color scheme of a work of

-art.5 The Rijksmuseum has been thrilled with the results. Entries range
+art.[^Rijksmuseum-5] The Rijksmuseum has been thrilled with the results. Entries range

 from the fun to the weird to the inspirational. The third international
 edition of the Rijksstudio Award started in September 2016.
 
 from the fun to the weird to the inspirational. The third international
 edition of the Rijksstudio Award started in September 2016.
 


@@ -6202,7 +6202,7 @@ and enhanced social elements so users can interact with each other more.
 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
 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,
+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.
 
 dramatically increased visits to their website from thirty-five thousand
 visits per month to three hundred thousand.
 


@@ -6219,132 +6219,132 @@ to the scientific community at the time of the painting.
 
 For the Rijksmuseum, adopting an open business model was scary. They
 came up with many worst-case scenarios, imagining all kinds of awful
 
 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
+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
 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
+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
 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.”
+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."

 
 

-Web links
+### Web links

 
 

-1.  www.europeana.eu/portal/en
-2.  www.rijksmuseum.nl/en/rijksstudio
-3.  www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe
-4.  www.rijksmuseum.nl/en/rijksstudio-award; the 2014 award:
-    www.rijksmuseum.nl/en/rijksstudio-award-2014; the 2015 award:
-    www.rijksmuseum.nl/en/rijksstudio-award-2015
-5.  www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4
+[^Rijksmuseum-1]:  [](http://www.europeana.eu/portal/en)
+[^Rijksmuseum-2]:  [](http://www.rijksmuseum.nl/en/rijksstudio)
+[^Rijksmuseum-3]:  [](http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe)
+[^Rijksmuseum-4]:  [](http://www.rijksmuseum.nl/en/rijksstudio-award); the 2014 award:
+    [](http://www.rijksmuseum.nl/en/rijksstudio-award-2014); the 2015 award:
+    [](http://www.rijksmuseum.nl/en/rijksstudio-award-2015)
+[^Rijksmuseum-5]:  [](http://www.rijksmuseum.nl/nl/rijksstudio/142328\--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4)

 
 ## Shareable
 
 ## Shareable

-
-Shareable is an online magazine about sharing. Founded in 2009 in the
-U.S.
-
-www.shareable.net
-
-Revenue model: grant funding, crowdfunding (project-based), donations,
-sponsorships
-
-Interview date: February 24, 2016
-
-Interviewee: Neal Gorenflo, cofounder and executive editor
-
-Profile written by Sarah Hinchliff Pearson
+> 
+> Shareable is an online magazine about sharing. Founded in 2009 in the
+> U.S.
+> 
+> [](http://www.shareable.net)
+> 
+> **Revenue model**: grant funding, crowdfunding (project-based), donations,
+> sponsorships
+> 
+> **Interview date**: February 24, 2016
+> 
+> **Interviewee**: Neal Gorenflo, cofounder and executive editor
+> 
+> Profile written by Sarah Hinchliff Pearson

 
 In 2013, Shareable faced an impasse. The nonprofit online publication
 had helped start a sharing movement four years prior, but over time,
 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
 
 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
+"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.
 
 As an organization, Shareable decided to draw a line in the sand. In
 2013, the cofounder and executive editor Neal Gorenflo wrote an opinion
 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.
 
 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
+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
 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.’”
+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.'"

 
 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
 
 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
+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
 a small, mission-driven organization. We would never have been able to

-weather the criticism that Airbnb and Uber are getting now.”
+weather the criticism that Airbnb and Uber are getting now."

 
 Interestingly, impassioned supporters are only a small sliver of
 
 Interestingly, impassioned supporters are only a small sliver of

-Shareable’s total audience. Most are casual readers who come across a
+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 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
+Shareable's credibility. Although they became detached from the

 corporate sharing economy, the online magazine became the voice of the
 corporate sharing economy, the online magazine became the voice of the

-“real sharing economy” and continued to grow their audience.
+"real sharing economy" and continued to grow their audience.

 
 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
 
 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
+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
 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
+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
 believed sharing could be central to solving some of the major problems

-human beings face—resource inequality, social isolation, and global
+human beings face---resource inequality, social isolation, and global

 warming.
 
 They have worked hard to find ways to tell stories that show different
 warming.
 
 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
+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
 focus on sharing generally, today they emphasize stories about the

-physical commons like “sharing cities” (i.e., urban areas managed in a
+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.
 
 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.
 

-More than half of Shareable’s stories are written by paid journalists
-that are contracted by the magazine. “Particularly in content areas that
+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
 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
+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
 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
+use and promote each other's stories. Much of the content created by the

 network is licensed with Creative Commons.
 
 network is licensed with Creative Commons.
 

-All of Shareable’s original content is published under the Attribution
+All of Shareable's original content is published under the Attribution

 license (CC BY), meaning it can be used for any purpose as long as
 credit is given to Shareable. Creative Commons licensing is aligned with
 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
+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
 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
+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
 media properties, but most of the outlets who republish our work have

-much bigger audiences than we do.”
+much bigger audiences than we do."

 
 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
 
 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.
+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.

 
 In 2016, Shareable self-published a book of curated Shareable stories
 called How to: Share, Save Money and Have Fun. The book was available
 
 In 2016, Shareable self-published a book of curated Shareable stories
 called How to: Share, Save Money and Have Fun. The book was available


@@ -6361,19 +6361,19 @@ community-supported will better represent their vision of the world.
 
 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.
 
 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
+"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
 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
+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
 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.”
+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."

 
 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
 
 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
+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.
 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.


@@ -6387,9 +6387,9 @@ their readers and supporters.
 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
 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
+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
 risk and huge staffing needs, plus only a fraction of our community

-could travel to the event,” Neal said. Enabling others to create their
+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
 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


@@ -6404,20 +6404,20 @@ 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.
 
 ## Siyavula
 for people take the ideas and adapt them to their own communities.
 
 ## Siyavula

-
-Siyavula is a for-profit educational-technology company that creates
-textbooks and integrated learning experiences. Founded in 2012 in South
-Africa.
-
-www.siyavula.com
-
-Revenue model: charging for custom services, sponsorships
-
-Interview date: April 5, 2016
-
-Interviewee: Mark Horner, CEO
-
-Profile written by Paul Stacey
+> 
+> Siyavula is a for-profit educational-technology company that creates
+> textbooks and integrated learning experiences. Founded in 2012 in South
+> Africa.
+> 
+> [](http://www.siyavula.com)
+> 
+> **Revenue model**: charging for custom services, sponsorships
+> 
+> **Interview date**: April 5, 2016
+> 
+> **Interviewee**: Mark Horner, CEO
+> 
+> Profile written by Paul Stacey

 
 Openness is a key principle for Siyavula. They believe that every
 learner and teacher should have access to high-quality educational
 
 Openness is a key principle for Siyavula. They believe that every
 learner and teacher should have access to high-quality educational


@@ -6426,20 +6426,20 @@ Siyavula has been a pioneer in creating high-quality open textbooks on
 mathematics and science subjects for grades 4 to 12 in South Africa.
 
 In terms of creating an open business model that involves Creative
 mathematics and science subjects for grades 4 to 12 in South Africa.
 
 In terms of creating an open business model that involves Creative

-Commons, Siyavula—and its founder, Mark Horner—have been around the
+Commons, Siyavula---and its founder, Mark Horner---have been around the

 block a few times. Siyavula has significantly shifted directions and
 block a few times. Siyavula has significantly shifted directions and

-strategies to survive and prosper. Mark says it’s been very organic.
+strategies to survive and prosper. Mark says it's been very organic.

 
 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
 
 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
+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.
 
 As physicists, Mark and his colleagues were advocates of open-source
 software. To make the books open and free, they adopted the Free
 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.
 
 As physicists, Mark and his colleagues were advocates of open-source
 software. To make the books open and free, they adopted the Free

-Software Foundation’s GNU Free Documentation License.1 They chose LaTeX,
+Software Foundation's GNU Free Documentation License.[^Siyavula-1] They chose LaTeX,

 a typesetting program used to publish scientific documents, to author
 the books. Over a period of five years, the Free High School Science
 Texts project produced math and physical-science textbooks for grades 10
 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


@@ -6448,12 +6448,12 @@ to 12.
 In 2007, the Shuttleworth Foundation offered funding support to make the
 textbooks available for trial use at more schools. Surveys before and
 after the textbooks were adopted showed there were no substantial
 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
+criticisms of the textbooks' pedagogical content. This pleased both the

 authors and Shuttleworth; Mark remains incredibly proud of this
 accomplishment.
 
 But the development of new textbooks froze at this stage. Mark shifted
 authors and Shuttleworth; Mark remains incredibly proud of this
 accomplishment.
 
 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
+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.
 
 looked into the printing and distribution options. A few sponsors came
 on board but not enough to meet the need.
 


@@ -6461,24 +6461,24 @@ 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
 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
+movement grow.[^Siyavula-2] Shuttleworth also invited Mark to run a project writing
+open content for all subjects for K--12 in English. That project became

 Siyavula.
 
 They wrote six original textbooks. A small publishing company offered
 Siyavula.
 
 They wrote six original textbooks. A small publishing company offered

-Shuttleworth the option to buy out the publisher’s existing K–9 content
+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.
 
 Mark wanted to build out the remaining curricula collaboratively through
 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.
 
 Mark wanted to build out the remaining curricula collaboratively through

-communities of practice—that is, with fellow educators and writers.
+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
 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
+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
 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


@@ -6488,14 +6488,14 @@ free from legal repercussions.
 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.
 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
+They ended up putting all the books they'd acquired and authored on a
+platform called Connexions.[^Siyavula-3] Siyavula trained many teachers to use

 Connexions, but it proved to be too complex and the textbooks were
 rarely edited.
 
 Then the Shuttleworth Foundation decided to completely restructure its
 work as a foundation into a fellowship model (for reasons completely
 Connexions, but it proved to be too complex and the textbooks were
 rarely edited.
 
 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
+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.
 
 inherited Siyavula as an independent entity and took ownership over it
 as a Shuttleworth fellow.
 


@@ -6518,16 +6518,16 @@ 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
 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
+learners to access them using any device---computer, tablet, or mobile

 phone.
 
 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
 phone.
 
 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,
+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
 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
+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.
 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.


@@ -6542,13 +6542,13 @@ 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
 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
+Siyavula's Intelligent Practice service inadvertently became low-income

 learners.
 
 learners.
 

-Siyavula’s site did see a dramatic increase in traffic. They got five
+Siyavula's site did see a dramatic increase in traffic. They got five

 hundred thousand visitors per month to their math site and the same
 number to their science site. Two-fifths of the traffic was reading on a
 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
+"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.
 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.


@@ -6557,37 +6557,37 @@ 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,
 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,
+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.
 
 what the price is, and what the barriers to entry are.
 

-Mark describes this as the first version of Siyavula’s business model:
+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.
 
 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.
 

-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
+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.
 
 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.
 

-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.
+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.

 
 Teachers get a dashboard that allows them to monitor the progress of an
 
 Teachers get a dashboard that allows them to monitor the progress of an

-entire class or view an individual learner’s results. They can see the
+entire class or view an individual learner's results. They can see the

 questions that learners are working on, identify areas of difficulty,
 and be more strategic in their teaching. Students also have their own
 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
+personalized dashboard, where they can view the sections they've
+practiced, how many points they've earned, and how their performance is

 improving.
 
 Based on the success of this effort, Siyavula decided to substantially
 improving.
 
 Based on the success of this effort, Siyavula decided to substantially


@@ -6599,7 +6599,7 @@ books created for grades 4 to 6 and later grades 7 to 9.
 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
 In partnership with, and sponsored by, the Sasol Inzalo Foundation,
 Siyavula produced a series of natural sciences and technology workbooks
 for grades 4 to 6 called Thunderbolt Kids that uses a fun comic-book

-style.4 It’s a complete curriculum that also comes with teacher’s guides
+style.[^Siyavula-4] It's a complete curriculum that also comes with teacher's guides

 and other resources.
 
 Through this experience, Siyavula learned they could get sponsors to
 and other resources.
 
 Through this experience, Siyavula learned they could get sponsors to


@@ -6611,8 +6611,8 @@ exposure their brand got. For roughly \$150,000, their logo would be
 visible on books distributed to over one million students.
 
 The Siyavula books that are reviewed, approved, and branded by the
 visible on books distributed to over one million students.
 
 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
+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.
 books cannot be modified. Non-government-branded books are available
 under an Attribution license (CC BY), allowing others to modify and
 redistribute the books.


@@ -6638,12 +6638,12 @@ 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
 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
+guarantee that Siyavula's would be chosen. This scared away potential

 sponsors.
 
 Rather than producing more textbooks, Siyavula focused on improving its
 Intelligent Practice technology for its existing books. Mark calls this
 sponsors.
 
 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
+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
 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


@@ -6663,9 +6663,9 @@ Practice free to all kids by selling the nonpersonal data Intelligent
 Practice collects.
 
 Siyavula is a for-profit business but one with a social mission. Their
 Practice collects.
 
 Siyavula is a for-profit business but one with a social mission. Their

-shareholders’ agreement lists lots of requirements around openness for
+shareholders' agreement lists lots of requirements around openness for

 Siyavula, including stipulations that content always be put under an
 Siyavula, including stipulations that content always be put under an

-open license and that they can’t charge for something that people
+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
 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


@@ -6675,27 +6675,27 @@ 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.
 
 Siyavula may have been around the block a few times, but both he and the
 company are stronger for it.
 

-Web links
-
-1.  www.gnu.org/licenses/fdl
-2.  www.capetowndeclaration.org
-3.  cnx.org
-4.  www.siyavula.com/products-primary-school.html
-
-## Sparkfun
-
-SparkFun is an online electronics retailer specializing in open
-hardware. Founded in 2003 in the U.S.
-
-www.sparkfun.com
-
-Revenue model: charging for physical copies (electronics sales)
-
-Interview date: February 29, 2016
-
-Interviewee: Nathan Seidle, founder
-
-Profile written by Sarah Hinchliff Pearson
+### Web links
+
+[^Siyavula-1]:  [](http://www.gnu.org/licenses/fdl)
+[^Siyavula-2]:  [](http://www.capetowndeclaration.org)
+[^Siyavula-3]:  [](http://cnx.org)
+[^Siyavula-4]:  [](http://www.siyavula.com/products-primary-school.html)
+
+## SparkFun
+> 
+> SparkFun is an online electronics retailer specializing in open
+> hardware. Founded in 2003 in the U.S.
+> 
+> [](http://www.sparkfun.com)
+> 
+> **Revenue model**: charging for physical copies (electronics sales)
+> 
+> **Interview date**: February 29, 2016
+> 
+> **Interviewee**: Nathan Seidle, founder
+> 
+> Profile written by Sarah Hinchliff Pearson

 
 SparkFun founder and former CEO Nathan Seidle has a picture of himself
 holding up a clone of a SparkFun product in an electronics market in
 
 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


@@ -6703,10 +6703,10 @@ 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.
 
 came across their LilyPad wearable technology being made by someone
 else. His reaction was glee.
 

-“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
+"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
 were never going to get access to otherwise. It was evidence of our

-impact on the world.”
+impact on the world."

 
 This worldview runs through everything SparkFun does. SparkFun is an
 electronics manufacturer. The company sells its products directly to the
 
 This worldview runs through everything SparkFun does. SparkFun is an
 electronics manufacturer. The company sells its products directly to the


@@ -6716,56 +6716,56 @@ of its schematics, images, tutorial content, and curricula, so anyone
 can make their products on their own. Being copied is part of the
 design.
 
 can make their products on their own. Being copied is part of the
 design.
 

-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
+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.
 
 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.
 

-“We compete on business principles,” Nathan said. “Claiming your
+"We compete on business principles," Nathan said. "Claiming your

 territory with intellectual property allows you to get comfy and rest on
 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.”
+your laurels. It gives you a safety net. We took away that safety net."

 
 The result is an intense company-wide focus on product development and
 
 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
+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
 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.”
+for us, it's better for the customers."

 
 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
 
 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.”
+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."

 
 

-SparkFun’s company history began in Nathan’s college dorm room. He spent
+SparkFun's company history began in Nathan's college dorm room. He spent

 a lot of time experimenting with and building electronics, and he
 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
+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 [](http://sparkfun.com) and started reselling

 products out of his bedroom. After he graduated, he started making and
 selling his own products.
 
 Once he started designing his own products, he began putting the
 software and schematics online to help with technical support. After
 doing some research on licensing options, he chose Creative Commons
 products out of his bedroom. After he graduated, he started making and
 selling his own products.
 
 Once he started designing his own products, he began putting the
 software and schematics online to help with technical support. After
 doing some research on licensing options, he chose Creative Commons

-licenses because he was drawn to the “human-readable deeds” that explain
+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.
 
 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
 the licensing terms in simple terms. SparkFun still uses CC licenses for
 all of the schematics and firmware for the products they create.
 
 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
+a major part of SparkFun's business. They sell their own products, but

 they also partner with Arduino (also profiled in this book) by
 they also partner with Arduino (also profiled in this book) by

-manufacturing boards for resale using Arduino’s brand.
+manufacturing boards for resale using Arduino's brand.

 
 SparkFun also has an educational department dedicated to creating a
 hands-on curriculum to teach students about electronics using
 
 SparkFun also has an educational department dedicated to creating a
 hands-on curriculum to teach students about electronics using


@@ -6774,16 +6774,16 @@ 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.
 
 more recent focus on introducing young people to technology is a natural
 extension of their core business.
 

-“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.”
+"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."

 
 

-The Creative Commons license underlying all of SparkFun’s products is
+The Creative Commons license underlying all of SparkFun's products is

 central to this mission. The license not only signals a willingness to
 share, but it also expresses a desire for others to get in and tinker
 with their products, both to learn and to make their products better.
 SparkFun uses the Attribution-ShareAlike license (CC BY-SA), which is a
 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
+"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.
 
 long as they provide credit and make any adaptations available under the
 same licensing terms.
 


@@ -6800,52 +6800,52 @@ 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
 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
+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
 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
+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.
 
 Nathan has worked hard to imbue a deeper meaning into the work SparkFun
 does. The company is, of course, focused on being fiscally responsible,
 infuses their work with a human element, which makes it more meaningful.
 
 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
+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.
 
 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
 singularly focused on the bottom line.
 
 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.
+don't find only unchanging content.

 
 

-SparkFun’s customer base is largely made up of industrious electronics
+SparkFun's customer base is largely made up of industrious electronics

 enthusiasts. They have customers who are regularly involved in the
 enthusiasts. They have customers who are regularly involved in the

-company’s customer support, independently responding to questions in
+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
 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.”
+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."

 
 However, this sort of customer engagement does not always translate to
 
 However, this sort of customer engagement does not always translate to

-people actively contributing to SparkFun’s projects. The company has a
+people actively contributing to SparkFun's projects. The company has a

 public repository of software code for each of its devices online. On a
 particularly active project, there will only be about two dozen people
 contributing significant improvements. The vast majority of projects are
 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.”
+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."

 
 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
 
 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
+and improve things independently. "What gives me joy is when people take

 open-source layouts and then build their own circuit boards from our
 open-source layouts and then build their own circuit boards from our

-designs,” Nathan said.
+designs," Nathan said.

 
 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
 
 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


@@ -6860,20 +6860,20 @@ innovative business. In other words, it makes them the kind of company
 they set out to be.
 
 ## TeachAIDS
 they set out to be.
 
 ## TeachAIDS

-
-TeachAIDS is a nonprofit that creates educational materials designed to
-teach people around the world about HIV and AIDS. Founded in 2005 in the
-U.S.
-
-teachaids.org
-
-Revenue model: sponsorships
-
-Interview date: March 24, 2016
-
-Interviewees: Piya Sorcar, the CEO, and Shuman Ghosemajumder, the chair
-
-Profile written by Sarah Hinchliff Pearson
+> 
+> TeachAIDS is a nonprofit that creates educational materials designed to
+> teach people around the world about HIV and AIDS. Founded in 2005 in the
+> U.S.
+> 
+> [](http://teachaids.org)
+> 
+> **Revenue model**: sponsorships
+> 
+> **Interview date**: March 24, 2016
+> 
+> **Interviewees**: Piya Sorcar, the CEO, and Shuman Ghosemajumder, the chair
+> 
+> Profile written by Sarah Hinchliff Pearson

 
 TeachAIDS is an unconventional media company with a conventional revenue
 model. Like most media companies, they are subsidized by advertising.
 
 TeachAIDS is an unconventional media company with a conventional revenue
 model. Like most media companies, they are subsidized by advertising.


@@ -6912,14 +6912,14 @@ receiving bits and pieces of information.
 In late 2005, Piya and her team used research-based design to create new
 educational materials and worked with local partners in India to help
 distribute them. As soon as the animated software was posted online,
 In late 2005, Piya and her team used research-based design to create new
 educational materials and worked with local partners in India to help
 distribute them. As soon as the animated software was posted online,

-Piya’s team started receiving requests from individuals and governments
-who were interested in bringing this model to more countries. “We
+Piya's team started receiving requests from individuals and governments
+who were interested in bringing this model to more countries. "We

 realized fairly quickly that educating large populations about a topic
 that was considered taboo would be challenging. We began by identifying
 optimal local partners and worked toward creating an effective,
 realized fairly quickly that educating large populations about a topic
 that was considered taboo would be challenging. We began by identifying
 optimal local partners and worked toward creating an effective,

-culturally appropriate education,” Piya said.
+culturally appropriate education," Piya said.

 
 

-Very shortly after the initial release, Piya’s team decided to spin the
+Very shortly after the initial release, Piya's team decided to spin the

 endeavor into an independent nonprofit out of Stanford University. They
 also decided to use Creative Commons licenses on the materials.
 
 endeavor into an independent nonprofit out of Stanford University. They
 also decided to use Creative Commons licenses on the materials.
 


@@ -6928,20 +6928,20 @@ seeing the materials as widely shared as possible. But they also needed
 to preserve the integrity of the medical information in the content.
 They chose the Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND),
 which essentially gives the public the right to distribute only verbatim
 to preserve the integrity of the medical information in the content.
 They chose the Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND),
 which essentially gives the public the right to distribute only verbatim

-copies of the content, and for noncommercial purposes. “We wanted
-attribution for TeachAIDS, and we couldn’t stand by derivatives without
-vetting them,” the cofounder and chair Shuman Ghosemajumder said. “It
+copies of the content, and for noncommercial purposes. "We wanted
+attribution for TeachAIDS, and we couldn't stand by derivatives without
+vetting them," the cofounder and chair Shuman Ghosemajumder said. "It

 was almost a no-brainer to go with a CC license because it was a
 plug-and-play solution to this exact problem. It has allowed us to scale
 our materials safely and quickly worldwide while preserving our content
 was almost a no-brainer to go with a CC license because it was a
 plug-and-play solution to this exact problem. It has allowed us to scale
 our materials safely and quickly worldwide while preserving our content

-and protecting us at the same time.”
+and protecting us at the same time."

 
 Choosing a license that does not allow adaptation of the content was an
 outgrowth of the careful precision with which TeachAIDS crafts their
 content. The organization invests heavily in research and testing to
 
 Choosing a license that does not allow adaptation of the content was an
 outgrowth of the careful precision with which TeachAIDS crafts their
 content. The organization invests heavily in research and testing to

-determine the best method of conveying the information. “Creating
-high-quality content is what matters most to us,” Piya said. “Research
-drives everything we do.”
+determine the best method of conveying the information. "Creating
+high-quality content is what matters most to us," Piya said. "Research
+drives everything we do."

 
 One important finding was that people accept the message best when it
 comes from familiar voices they trust and admire. To achieve this,
 
 One important finding was that people accept the message best when it
 comes from familiar voices they trust and admire. To achieve this,


@@ -6989,21 +6989,21 @@ understand. The inclusive, but highly controlled, creative process is
 undertaken entirely by people who are specifically brought on to help
 with a particular project, rather than ongoing staff. The final product
 they create is designed to require zero training for people to implement
 undertaken entirely by people who are specifically brought on to help
 with a particular project, rather than ongoing staff. The final product
 they create is designed to require zero training for people to implement

-in practice. “In our research, we found we can’t depend on people
+in practice. "In our research, we found we can't depend on people

 passing on the information correctly, even if they have the best of
 passing on the information correctly, even if they have the best of

-intentions,” Piya said. “We need materials where you can push play and
-they will work.”
+intentions," Piya said. "We need materials where you can push play and
+they will work."

 
 

-Piya’s team was able to produce all of these versions over several years
+Piya's team was able to produce all of these versions over several years

 with a head count that never exceeded eight full-time employees. The
 organization is able to reduce costs by relying heavily on volunteers
 and in-kind donations. Nevertheless, the nonprofit needed a sustainable
 revenue model to subsidize content creation and physical distribution of
 the materials. Charging even a low price was simply not an option.
 with a head count that never exceeded eight full-time employees. The
 organization is able to reduce costs by relying heavily on volunteers
 and in-kind donations. Nevertheless, the nonprofit needed a sustainable
 revenue model to subsidize content creation and physical distribution of
 the materials. Charging even a low price was simply not an option.

-“Educators from various nonprofits around the world were just creating
-their own materials using whatever they could find for free online,”
-Shuman said. “The only way to persuade them to use our highly effective
-model was to make it completely free.”
+"Educators from various nonprofits around the world were just creating
+their own materials using whatever they could find for free online,"
+Shuman said. "The only way to persuade them to use our highly effective
+model was to make it completely free."

 
 Like many content creators offering their work for free, they settled on
 advertising as a funding model. But they were extremely careful not to
 
 Like many content creators offering their work for free, they settled on
 advertising as a funding model. But they were extremely careful not to


@@ -7018,13 +7018,13 @@ TeachAIDS is careful not to seek funding to cover the costs of a
 specific project. Instead, sponsorships are structured as unrestricted
 donations to the nonprofit. This gives the nonprofit more stability, but
 even more importantly, it enables them to subsidize projects being
 specific project. Instead, sponsorships are structured as unrestricted
 donations to the nonprofit. This gives the nonprofit more stability, but
 even more importantly, it enables them to subsidize projects being

-localized for an area with no sponsors. “If we just created versions
+localized for an area with no sponsors. "If we just created versions

 based on where we could get sponsorships, we would only have materials
 based on where we could get sponsorships, we would only have materials

-for wealthier countries,” Shuman said.
+for wealthier countries," Shuman said.

 
 

-As of 2016, TeachAIDS has dozens of sponsors. “When we go into a new
-country, various companies hear about us and reach out to us,” Piya
-said. “We don’t have to do much to find or attract them.” They believe
+As of 2016, TeachAIDS has dozens of sponsors. "When we go into a new
+country, various companies hear about us and reach out to us," Piya
+said. "We don't have to do much to find or attract them." They believe

 the sponsorships are easy to sell because they offer so much value to
 sponsors. TeachAIDS sponsorships give corporations the chance to reach
 new eyeballs with their brand, but at a much lower cost than other
 the sponsorships are easy to sell because they offer so much value to
 sponsors. TeachAIDS sponsorships give corporations the chance to reach
 new eyeballs with their brand, but at a much lower cost than other


@@ -7035,33 +7035,33 @@ investment in a sponsorship can benefit a brand for many years to come.
 
 Importantly, the value to corporate sponsors goes beyond commercial
 considerations. As a nonprofit with a clearly articulated social
 
 Importantly, the value to corporate sponsors goes beyond commercial
 considerations. As a nonprofit with a clearly articulated social

-mission, corporate sponsorships are donations to a cause. “This is
-something companies can be proud of internally,” Shuman said. Some
+mission, corporate sponsorships are donations to a cause. "This is
+something companies can be proud of internally," Shuman said. Some

 companies have even built publicity campaigns around the fact that they
 have sponsored these initiatives.
 
 companies have even built publicity campaigns around the fact that they
 have sponsored these initiatives.
 

-The core mission of TeachAIDS—ensuring global access to life-saving
-education—is at the root of everything the organization does. It
+The core mission of TeachAIDS---ensuring global access to life-saving
+education---is at the root of everything the organization does. It

 underpins the work; it motivates the funders. The CC license on the
 materials they create furthers that mission, allowing them to safely and
 underpins the work; it motivates the funders. The CC license on the
 materials they create furthers that mission, allowing them to safely and

-quickly scale their materials worldwide. “The Creative Commons license
-has been a game changer for TeachAIDS,” Piya said.
+quickly scale their materials worldwide. "The Creative Commons license
+has been a game changer for TeachAIDS," Piya said.

 
 ## Tribe of Noise
 
 ## Tribe of Noise

-
-Tribe of Noise is a for-profit online music platform serving the film,
-TV, video, gaming, and in-store-media industries. Founded in 2008 in the
-Netherlands.
-
-www.tribeofnoise.com
-
-Revenue model: charging a transaction fee
-
-Interview date: January 26, 2016
-
-Interviewee: Hessel van Oorschot, cofounder
-
-Profile written by Paul Stacey
+> 
+> Tribe of Noise is a for-profit online music platform serving the film,
+> TV, video, gaming, and in-store-media industries. Founded in 2008 in the
+> Netherlands.
+> 
+> [](http://www.tribeofnoise.com)
+> 
+> **Revenue model**: charging a transaction fee
+> 
+> **Interview date**: January 26, 2016
+> 
+> **Interviewee**: Hessel van Oorschot, cofounder
+> 
+> Profile written by Paul Stacey

 
 In the early 2000s, Hessel van Oorschot was an entrepreneur running a
 business where he coached other midsize entrepreneurs how to create an
 
 In the early 2000s, Hessel van Oorschot was an entrepreneur running a
 business where he coached other midsize entrepreneurs how to create an


@@ -7082,9 +7082,9 @@ holder was not readily available.
 They hired two lawyers to investigate further, and while they uncovered
 five or six examples, Hessel found the business models lacking. The
 lawyers expressed interest in being their legal team should they decide
 They hired two lawyers to investigate further, and while they uncovered
 five or six examples, Hessel found the business models lacking. The
 lawyers expressed interest in being their legal team should they decide

-to pursue this as an entrepreneurial opportunity. Hessel says, “When
+to pursue this as an entrepreneurial opportunity. Hessel says, "When

 lawyers are interested in a venture like this, you might have something
 lawyers are interested in a venture like this, you might have something

-special.” So after some more research, in early 2008, Hessel and Sandra
+special." So after some more research, in early 2008, Hessel and Sandra

 decided to build a platform.
 
 Building a platform posed a real chicken-and-egg problem. The platform
 decided to build a platform.
 
 Building a platform posed a real chicken-and-egg problem. The platform


@@ -7106,7 +7106,7 @@ music licensed with Creative Commons that they could use. Stores need
 quality, good-listening music but not necessarily hits, a bit like a
 radio show without the DJ. This opened a new opportunity for Tribe of
 Noise. They started their In-store Music Service, using music (licensed
 quality, good-listening music but not necessarily hits, a bit like a
 radio show without the DJ. This opened a new opportunity for Tribe of
 Noise. They started their In-store Music Service, using music (licensed

-with CC BY-SA) uploaded by the Tribe of Noise community of musicians.1
+with CC BY-SA) uploaded by the Tribe of Noise community of musicians.[^Tribe-of-Noise-1]

 
 In most countries, artists, authors, and musicians join a collecting
 society that manages the licensing and helps collect the royalties.
 
 In most countries, artists, authors, and musicians join a collecting
 society that manages the licensing and helps collect the royalties.


@@ -7118,40 +7118,40 @@ Noise, who wants to represent artists, or at least a portion of their
 repertoire. Hessel and his legal team reached out to collecting
 societies, starting with those in the Netherlands. What would be the
 best legal way forward that would respect the wishes of composers and
 repertoire. Hessel and his legal team reached out to collecting
 societies, starting with those in the Netherlands. What would be the
 best legal way forward that would respect the wishes of composers and

-musicians who’d be interested in trying out new models like the In-store
+musicians who'd be interested in trying out new models like the In-store

 Music Service? Collecting societies at first were hesitant and said no,
 but Tribe of Noise persisted arguing that they primarily work with
 unknown artists and provide them exposure in parts of the world where
 Music Service? Collecting societies at first were hesitant and said no,
 but Tribe of Noise persisted arguing that they primarily work with
 unknown artists and provide them exposure in parts of the world where

-they don’t get airtime normally and a source of revenue—and this
-convinced them that it was OK. However, Hessel says, “We are still
-fighting for a good cause every single day.”
+they don't get airtime normally and a source of revenue---and this
+convinced them that it was OK. However, Hessel says, "We are still
+fighting for a good cause every single day."

 
 Instead of building a large sales force, Tribe of Noise partnered with
 big organizations who have lots of clients and can act as a kind of
 Tribe of Noise reseller. The largest telecom network in the Netherlands,
 
 Instead of building a large sales force, Tribe of Noise partnered with
 big organizations who have lots of clients and can act as a kind of
 Tribe of Noise reseller. The largest telecom network in the Netherlands,

-for example, sells Tribe’s In-store Music Service subscriptions to their
+for example, sells Tribe's In-store Music Service subscriptions to their

 business clients, which include fashion retailers and fitness centers.
 They have a similar deal with the leading trade association representing
 business clients, which include fashion retailers and fitness centers.
 They have a similar deal with the leading trade association representing

-hotels and restaurants in the country. Hessel hopes to “copy and paste”
+hotels and restaurants in the country. Hessel hopes to "copy and paste"

 this service into other countries where collecting societies understand
 what you can do with Creative Commons. Outside of the Netherlands, early
 adoptions have happened in Scandinavia, Belgium, and the U.S.
 
 this service into other countries where collecting societies understand
 what you can do with Creative Commons. Outside of the Netherlands, early
 adoptions have happened in Scandinavia, Belgium, and the U.S.
 

-Tribe of Noise doesn’t pay the musicians up front; they get paid when
-their music ends up in Tribe of Noise’s in-store music channels. The
-musicians’ share is 42.5 percent. It’s not uncommon in a traditional
+Tribe of Noise doesn't pay the musicians up front; they get paid when
+their music ends up in Tribe of Noise's in-store music channels. The
+musicians' share is 42.5 percent. It's not uncommon in a traditional

 model for the artist to get only 5 to 10 percent, so a share of over 40
 model for the artist to get only 5 to 10 percent, so a share of over 40

-percent is a significantly better deal. Here’s how they give an example
+percent is a significantly better deal. Here's how they give an example

 on their website:
 
 A few of your songs \[licensed with CC BY-SA\], for example five in
 total, are selected for a bespoke in-store music channel broadcasting at
 a large retailer with 1,000 stores nationwide. In this case the overall
 on their website:
 
 A few of your songs \[licensed with CC BY-SA\], for example five in
 total, are selected for a bespoke in-store music channel broadcasting at
 a large retailer with 1,000 stores nationwide. In this case the overall

-playlist contains 350 songs so the musician’s share is 5/350 = 1.43%.
+playlist contains 350 songs so the musician's share is 5/350 = 1.43%.

 The license fee agreed with this retailer is US\$12 per month per
 play-out. So if 42.5% is shared with the Tribe musicians in this
 playlist and your share is 1.43%, you end up with US\$12 \* 1000 stores
 The license fee agreed with this retailer is US\$12 per month per
 play-out. So if 42.5% is shared with the Tribe musicians in this
 playlist and your share is 1.43%, you end up with US\$12 \* 1000 stores

-\* 0.425 \* 0.0143 = US\$73 per month.2
+\* 0.425 \* 0.0143 = US\$73 per month.[^Tribe-of-Noise-2]

 
 Tribe of Noise has another model that does not involve Creative Commons.
 In a survey with members, most said they liked the exposure using
 
 Tribe of Noise has another model that does not involve Creative Commons.
 In a survey with members, most said they liked the exposure using


@@ -7162,24 +7162,24 @@ mind-set that one day one of their songs may become an overnight hit. If
 that happened the CC BY-SA license would preclude them getting rich off
 the sale of that song.
 
 that happened the CC BY-SA license would preclude them getting rich off
 the sale of that song.
 

-Hessel’s legal team took this feedback and created a second model and
+Hessel's legal team took this feedback and created a second model and

 separate area of the platform called Tribe of Noise Pro. Songs uploaded
 separate area of the platform called Tribe of Noise Pro. Songs uploaded

-to Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise
-has instead created a “nonexclusive exploitation” contract, similar to a
+to Tribe of Noise Pro aren't Creative Commons licensed; Tribe of Noise
+has instead created a "nonexclusive exploitation" contract, similar to a

 Creative Commons license but allowing musicians to opt out whenever they
 want. When you opt out, Tribe of Noise agrees to take your music off the
 Tribe of Noise platform within one to two months. This lets the musician
 reuse their song for a better deal.
 
 Tribe of Noise Pro is primarily geared toward media makers who are
 Creative Commons license but allowing musicians to opt out whenever they
 want. When you opt out, Tribe of Noise agrees to take your music off the
 Tribe of Noise platform within one to two months. This lets the musician
 reuse their song for a better deal.
 
 Tribe of Noise Pro is primarily geared toward media makers who are

-looking for music. If they buy a license from this catalog, they don’t
+looking for music. If they buy a license from this catalog, they don't

 have to state the name of the creator; they just license the song for a
 specific amount. This is a big plus for media makers. And musicians can
 pull their repertoire at any time. Hessel sees this as a more direct and
 clean deal.
 
 Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro
 have to state the name of the creator; they just license the song for a
 specific amount. This is a big plus for media makers. And musicians can
 pull their repertoire at any time. Hessel sees this as a more direct and
 clean deal.
 
 Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro

-and the community area of Tribe of Noises. There aren’t that many
+and the community area of Tribe of Noises. There aren't that many

 artists who upload only to Tribe of Noise Pro, which has a smaller
 repertoire of music than the community area.
 
 artists who upload only to Tribe of Noise Pro, which has a smaller
 repertoire of music than the community area.
 


@@ -7218,7 +7218,7 @@ are pursuing a hybrid model by licensing some of their songs under CC
 BY-SA and opting in others with collecting societies like
 ASCAP or BMI.
 
 BY-SA and opting in others with collecting societies like
 ASCAP or BMI.
 

-It’s not uncommon for performance-rights organizations, record labels,
+It's not uncommon for performance-rights organizations, record labels,

 or music publishers to sign contracts with musicians based on
 exclusivity. Such an arrangement prevents those musicians from uploading
 their music to Tribe of Noise. In the United States, you can have a
 or music publishers to sign contracts with musicians based on
 exclusivity. Such an arrangement prevents those musicians from uploading
 their music to Tribe of Noise. In the United States, you can have a


@@ -7233,35 +7233,35 @@ nice add-on, generating more exposure and revenue for the musicians they
 represent. So far, Tribe of Noise has been able to make all this work
 without litigation.
 
 represent. So far, Tribe of Noise has been able to make all this work
 without litigation.
 

-For Hessel the key to Tribe of Noise’s success is trust. The fact that
+For Hessel the key to Tribe of Noise's success is trust. The fact that

 Creative Commons licenses work the same way all over the world and have
 been translated into all languages really helps build that trust. Tribe
 of Noise believes in creating a model where they work together with
 musicians. They can only do that if they have a live and kicking
 community, with people who think that the Tribe of Noise team has their
 best interests in mind. Creative Commons makes it possible to create a
 Creative Commons licenses work the same way all over the world and have
 been translated into all languages really helps build that trust. Tribe
 of Noise believes in creating a model where they work together with
 musicians. They can only do that if they have a live and kicking
 community, with people who think that the Tribe of Noise team has their
 best interests in mind. Creative Commons makes it possible to create a

-new business model for music, a model that’s based on trust.
+new business model for music, a model that's based on trust.

 
 

-Web links
+### Web links

 
 

-1.  www.instoremusicservice.com
-2.  www.tribeofnoise.com/info\_instoremusic.php
+[^Tribe-of-Noise-1]:  [](http://www.instoremusicservice.com)
+[^Tribe-of-Noise-2]:  [](http://www.tribeofnoise.com/info\_instoremusic.php)

 
 ## Wikimedia Foundation
 
 ## Wikimedia Foundation

-
-The Wikimedia Foundation is the nonprofit organization that hosts
-Wikipedia and its sister projects. Founded in 2003 in the U.S.
-
-wikimediafoundation.org
-
-Revenue model: donations
-
-Interview date: December 18, 2015
-
-Interviewees: Luis Villa, former Chief Officer of Community Engagement,
-and Stephen LaPorte, legal counsel
-
-Profile written by Sarah Hinchliff Pearson
+> 
+> The Wikimedia Foundation is the nonprofit organization that hosts
+> Wikipedia and its sister projects. Founded in 2003 in the U.S.
+> 
+> [](http://wikimediafoundation.org)
+> 
+> **Revenue model**: donations
+> 
+> **Interview date**: December 18, 2015
+> 
+> **Interviewees**: Luis Villa, former Chief Officer of Community Engagement,
+> and Stephen LaPorte, legal counsel
+> 
+> Profile written by Sarah Hinchliff Pearson

 
 Nearly every person with an online presence knows Wikipedia.
 
 
 Nearly every person with an online presence knows Wikipedia.
 


@@ -7272,8 +7272,8 @@ of the content is released under a Creative Commons license that enables
 people to reuse and adapt it for any purpose.
 
 As of December 2016, there were more than forty-two million articles in
 people to reuse and adapt it for any purpose.
 
 As of December 2016, there were more than forty-two million articles in

-the 295 language editions of the online encyclopedia, according to—what
-else?—the Wikipedia article about Wikipedia.
+the 295 language editions of the online encyclopedia, according
+to---what else?---the Wikipedia article about Wikipedia.

 
 The Wikimedia Foundation is a U.S.-based nonprofit organization that
 owns the Wikipedia domain name and hosts the site, along with many other
 
 The Wikimedia Foundation is a U.S.-based nonprofit organization that
 owns the Wikipedia domain name and hosts the site, along with many other


@@ -7287,17 +7287,17 @@ ways across the globe, including formal Wikimedia chapters (mostly
 national), groups focused on a particular theme, user groups, and many
 thousands who are not connected to a particular organization.
 
 national), groups focused on a particular theme, user groups, and many
 thousands who are not connected to a particular organization.
 

-As Wikimedia legal counsel Stephen LaPorte told us, “There is a common
-saying that Wikipedia works in practice but not in theory.” While it
+As Wikimedia legal counsel Stephen LaPorte told us, "There is a common
+saying that Wikipedia works in practice but not in theory." While it

 undoubtedly has its challenges and flaws, Wikipedia and its sister
 projects are a striking testament to the power of human collaboration.
 
 Because of its extraordinary breadth and scope, it does feel a bit like
 a unicorn. Indeed, there is nothing else like Wikipedia. Still, much of
 undoubtedly has its challenges and flaws, Wikipedia and its sister
 projects are a striking testament to the power of human collaboration.
 
 Because of its extraordinary breadth and scope, it does feel a bit like
 a unicorn. Indeed, there is nothing else like Wikipedia. Still, much of

-what makes the projects successful—community, transparency, a strong
-mission, trust—are consistent with what it takes to be successfully Made
-with Creative Commons more generally. With Wikipedia, everything just
-happens at an unprecedented scale.
+what makes the projects successful---community, transparency, a strong
+mission, trust---are consistent with what it takes to be successfully
+Made with Creative Commons more generally. With Wikipedia, everything
+just happens at an unprecedented scale.

 
 The story of Wikipedia has been told many times. For our purposes, it is
 enough to know the experiment started in 2001 at a small scale, inspired
 
 The story of Wikipedia has been told many times. For our purposes, it is
 enough to know the experiment started in 2001 at a small scale, inspired


@@ -7310,8 +7310,8 @@ cocreation. Every day, seven thousand new articles are created on
 Wikipedia, and nearly fifteen thousand edits are made every hour.
 
 The nature of the content the community creates is ideal for
 Wikipedia, and nearly fifteen thousand edits are made every hour.
 
 The nature of the content the community creates is ideal for

-asynchronous cocreation. “An encyclopedia is something where incremental
-community improvement really works,” Luis Villa, former Chief Officer of
+asynchronous cocreation. "An encyclopedia is something where incremental
+community improvement really works," Luis Villa, former Chief Officer of

 Community Engagement, told us. The rules and processes that govern
 cocreation on Wikipedia and its sister projects are all community-driven
 and vary by language edition. There are entire books written on the
 Community Engagement, told us. The rules and processes that govern
 cocreation on Wikipedia and its sister projects are all community-driven
 and vary by language edition. There are entire books written on the


@@ -7320,27 +7320,27 @@ exceptions to the rule that anyone can edit any article, even without an
 account on their system. The extensive peer-review process includes
 elaborate systems to resolve disputes, methods for managing particularly
 controversial subject areas, talk pages explaining decisions, and much,
 account on their system. The extensive peer-review process includes
 elaborate systems to resolve disputes, methods for managing particularly
 controversial subject areas, talk pages explaining decisions, and much,

-much more. The Wikimedia Foundation’s decision to leave governance of
-the projects to the community is very deliberate. “We look at the things
+much more. The Wikimedia Foundation's decision to leave governance of
+the projects to the community is very deliberate. "We look at the things

 that the community can do well, and we want to let them do those
 that the community can do well, and we want to let them do those

-things,” Stephen told us. Instead, the foundation focuses its time and
+things," Stephen told us. Instead, the foundation focuses its time and

 resources on what the community cannot do as effectively, like the
 software engineering that supports the technical infrastructure of the
 resources on what the community cannot do as effectively, like the
 software engineering that supports the technical infrastructure of the

-sites. In 2015-16, about half of the foundation’s budget went to direct
+sites. In 2015-16, about half of the foundation's budget went to direct

 support for the Wikimedia sites.
 
 Some of that is directed at servers and general IT support, but the
 foundation also invests a significant amount on architecture designed to
 support for the Wikimedia sites.
 
 Some of that is directed at servers and general IT support, but the
 foundation also invests a significant amount on architecture designed to

-help the site function as effectively as possible. “There is a
+help the site function as effectively as possible. "There is a

 constantly evolving system to keep the balance in place to avoid
 constantly evolving system to keep the balance in place to avoid

-Wikipedia becoming the world’s biggest graffiti wall,” Luis said.
+Wikipedia becoming the world's biggest graffiti wall," Luis said.

 Depending on how you measure it, somewhere between 90 to 98 percent of
 edits to Wikipedia are positive. Some portion of that success is
 attributable to the tools Wikimedia has in place to try to incentivize
 Depending on how you measure it, somewhere between 90 to 98 percent of
 edits to Wikipedia are positive. Some portion of that success is
 attributable to the tools Wikimedia has in place to try to incentivize

-good actors. “The secret to having any healthy community is bringing
-back the right people,” Luis said. “Vandals tend to get bored and go
+good actors. "The secret to having any healthy community is bringing
+back the right people," Luis said. "Vandals tend to get bored and go

 away. That is partially our model working, and partially just human
 away. That is partially our model working, and partially just human

-nature.” Most of the time, people want to do the right thing.
+nature." Most of the time, people want to do the right thing.

 
 Wikipedia not only relies on good behavior within its community and on
 its sites, but also by everyone else once the content leaves Wikipedia.
 
 Wikipedia not only relies on good behavior within its community and on
 its sites, but also by everyone else once the content leaves Wikipedia.


@@ -7349,25 +7349,25 @@ Attribution-ShareAlike license (CC BY-SA), which means it can be used
 for any purpose and modified so long as credit is given and anything new
 is shared back with the public under the same license. In theory, that
 means anyone can copy the content and start a new Wikipedia. But as
 for any purpose and modified so long as credit is given and anything new
 is shared back with the public under the same license. In theory, that
 means anyone can copy the content and start a new Wikipedia. But as

-Stephen explained, “Being open has only made Wikipedia bigger and
+Stephen explained, "Being open has only made Wikipedia bigger and

 stronger. The desire to protect is not always what is best for
 stronger. The desire to protect is not always what is best for

-everyone.”
+everyone."

 
 Of course, the primary reason no one has successfully co-opted Wikipedia
 is that copycat efforts do not have the Wikipedia community to sustain
 what they do. Wikipedia is not simply a source of up-to-the-minute
 
 Of course, the primary reason no one has successfully co-opted Wikipedia
 is that copycat efforts do not have the Wikipedia community to sustain
 what they do. Wikipedia is not simply a source of up-to-the-minute

-content on every given topic—it is also a global patchwork of humans
+content on every given topic---it is also a global patchwork of humans

 working together in a million different ways, in a million different
 capacities, for a million different reasons. While many have tried to
 guess what makes Wikipedia work as well it does, the fact is there is no
 working together in a million different ways, in a million different
 capacities, for a million different reasons. While many have tried to
 guess what makes Wikipedia work as well it does, the fact is there is no

-single explanation. “In a movement as large as ours, there is an
-incredible diversity of motivations,” Stephen said. For example, there
+single explanation. "In a movement as large as ours, there is an
+incredible diversity of motivations," Stephen said. For example, there

 is one editor of the English Wikipedia edition who has corrected a
 single grammatical error in articles more than forty-eight thousand
 is one editor of the English Wikipedia edition who has corrected a
 single grammatical error in articles more than forty-eight thousand

-times.1 Only a fraction of Wikipedia users are also editors. But editing
-is not the only way to contribute to Wikipedia. “Some donate text, some
-donate images, some donate financially,” Stephen told us. “They are all
-contributors.”
+times.[^Wikimedia-Foundation-1] Only a fraction of Wikipedia users are also editors. But editing
+is not the only way to contribute to Wikipedia. "Some donate text, some
+donate images, some donate financially," Stephen told us. "They are all
+contributors."

 
 But the vast majority of us who use Wikipedia are not contributors; we
 are passive readers. The Wikimedia Foundation survives primarily on
 
 But the vast majority of us who use Wikipedia are not contributors; we
 are passive readers. The Wikimedia Foundation survives primarily on


@@ -7401,74 +7401,75 @@ instills trust in their community.
 
 Any given edit on Wikipedia could be motivated by nearly an infinite
 number of reasons. But the social mission of the project is what binds
 
 Any given edit on Wikipedia could be motivated by nearly an infinite
 number of reasons. But the social mission of the project is what binds

-the global community together. “Wikipedia is an example of how a mission
-can motivate an entire movement,” Stephen told us.
+the global community together. "Wikipedia is an example of how a mission
+can motivate an entire movement," Stephen told us.

 
 

-Of course, what results from that movement is one of the Internet’s
-great public resources. “The Internet has a lot of businesses and
+Of course, what results from that movement is one of the Internet's
+great public resources. "The Internet has a lot of businesses and

 stores, but it is missing the digital equivalent of parks and open
 stores, but it is missing the digital equivalent of parks and open

-public spaces,” Stephen said. “Wikipedia has found a way to be that open
-public space.”
+public spaces," Stephen said. "Wikipedia has found a way to be that open
+public space."

 
 

-Web link
+### Web link

 
 

-1.  gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/
+[^Wikimedia-Foundation-1]:  [](http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/)

 
 

-## Bibliography
+# Bibliography

 
 Alperovitz, Gar. What Then Must We Do? Straight Talk about the Next
 American Revolution; Democratizing Wealth and Building a
 Community-Sustaining Economy from the Ground Up. White River Junction,
 VT: Chelsea Green, 2013.
 
 
 Alperovitz, Gar. What Then Must We Do? Straight Talk about the Next
 American Revolution; Democratizing Wealth and Building a
 Community-Sustaining Economy from the Ground Up. White River Junction,
 VT: Chelsea Green, 2013.
 

-Anderson, Chris. Free: How Today’s Smartest Businesses Profit by Giving
+Anderson, Chris. Free: How Today's Smartest Businesses Profit by Giving

 Something for Nothing, reprint with new preface. New York: Hyperion,
 2010.
 
 Something for Nothing, reprint with new preface. New York: Hyperion,
 2010.
 

-———. Makers: The New Industrial Revolution. New York: Signal, 2012.
+---------. Makers: The New Industrial Revolution. New York: Signal,
+2012.

 
 Ariely, Dan. Predictably Irrational: The Hidden Forces That Shape Our
 Decisions. Rev. ed. New York: Harper Perennial, 2010.
 
 
 Ariely, Dan. Predictably Irrational: The Hidden Forces That Shape Our
 Decisions. Rev. ed. New York: Harper Perennial, 2010.
 

-Bacon, Jono. The Art of Community. 2nd ed. Sebastopol, CA: O’Reilly
+Bacon, Jono. The Art of Community. 2nd ed. Sebastopol, CA: O'Reilly

 Media, 2012.
 
 Benkler, Yochai. The Wealth of Networks: How Social Production
 Transforms Markets and Freedom. New Haven: Yale University Press, 2006.
 Media, 2012.
 
 Benkler, Yochai. The Wealth of Networks: How Social Production
 Transforms Markets and Freedom. New Haven: Yale University Press, 2006.

-www.benkler.org/Benkler\_Wealth\_Of\_Networks.pdf (licensed under CC
+[](http://www.benkler.org/Benkler\_Wealth\_Of\_Networks.pdf) (licensed under CC

 BY-NC-SA).
 
 Benyayer, Louis-David, ed. Open Models: Business Models of the Open
 Economy. Cachan, France: Without Model, 2016.
 BY-NC-SA).
 
 Benyayer, Louis-David, ed. Open Models: Business Models of the Open
 Economy. Cachan, France: Without Model, 2016.

-www.slideshare.net/WithoutModel/open-models-book-64463892 (licensed
+[](http://www.slideshare.net/WithoutModel/open-models-book-64463892) (licensed

 under CC BY-SA).
 
 Bollier, David. Commoning as a Transformative Social Paradigm. Paper
 commissioned by the Next Systems Project. Washington, DC: Democracy
 Collaborative, 2016.
 under CC BY-SA).
 
 Bollier, David. Commoning as a Transformative Social Paradigm. Paper
 commissioned by the Next Systems Project. Washington, DC: Democracy
 Collaborative, 2016.

-thenextsystem.org/commoning-as-a-transformative-social-paradigm/.
+[](http://thenextsystem.org/commoning-as-a-transformative-social-paradigm/).

 
 

-———. Think Like a Commoner: A Short Introduction to the Life of the
-Commons. Gabriola Island, BC: New Society, 2014.
+---------. Think Like a Commoner: A Short Introduction to the Life of
+the Commons. Gabriola Island, BC: New Society, 2014.

 
 Bollier, David, and Pat Conaty. Democratic Money and Capital for the
 Commons: Strategies for Transforming Neoliberal Finance through
 Commons-Based Alternatives. A report on a Commons Strategies Group
 Workshop in cooperation with the Heinrich Böll Foundation, Berlin,
 Germany, 2015.
 
 Bollier, David, and Pat Conaty. Democratic Money and Capital for the
 Commons: Strategies for Transforming Neoliberal Finance through
 Commons-Based Alternatives. A report on a Commons Strategies Group
 Workshop in cooperation with the Heinrich Böll Foundation, Berlin,
 Germany, 2015.

-bollier.org/democratic-money-and-capital-commons-report-pdf. For more
-information, see bollier.org/blog/democratic-money-and-capital-commons.
+[](http://bollier.org/democratic-money-and-capital-commons-report-pdf). For more
+information, see [](http://bollier.org/blog/democratic-money-and-capital-commons).

 
 Bollier, David, and Silke Helfrich, eds. The Wealth of the Commons: A
 World Beyond Market and State. Amherst, MA: Levellers Press, 2012.
 
 
 Bollier, David, and Silke Helfrich, eds. The Wealth of the Commons: A
 World Beyond Market and State. Amherst, MA: Levellers Press, 2012.
 

-Botsman, Rachel, and Roo Rogers. What’s Mine Is Yours: The Rise of
+Botsman, Rachel, and Roo Rogers. What's Mine Is Yours: The Rise of

 Collaborative Consumption. New York: Harper Business, 2010.
 
 Boyle, James. The Public Domain: Enclosing the Commons of the Mind. New
 Haven: Yale University Press, 2008.
 
 Collaborative Consumption. New York: Harper Business, 2010.
 
 Boyle, James. The Public Domain: Enclosing the Commons of the Mind. New
 Haven: Yale University Press, 2008.
 

-www.thepublicdomain.org/download/ (licensed under CC BY-NC-SA).
+[](http://www.thepublicdomain.org/download/) (licensed under CC BY-NC-SA).

 
 Capra, Fritjof, and Ugo Mattei. The Ecology of Law: Toward a Legal
 System in Tune with Nature and Community. Oakland, CA: Berrett-Koehler,
 
 Capra, Fritjof, and Ugo Mattei. The Ecology of Law: Toward a Legal
 System in Tune with Nature and Community. Oakland, CA: Berrett-Koehler,


@@ -7477,43 +7478,43 @@ System in Tune with Nature and Community. Oakland, CA: Berrett-Koehler,
 Chesbrough, Henry. Open Business Models: How to Thrive in the New
 Innovation Landscape. Boston: Harvard Business School Press, 2006.
 
 Chesbrough, Henry. Open Business Models: How to Thrive in the New
 Innovation Landscape. Boston: Harvard Business School Press, 2006.
 

-———. Open Innovation: The New Imperative for Creating and Profiting from
-Technology. Boston: Harvard Business Review Press, 2006.
+---------. Open Innovation: The New Imperative for Creating and
+Profiting from Technology. Boston: Harvard Business Review Press, 2006.

 
 City of Bologna. Regulation on Collaboration between Citizens and the
 City for the Care and Regeneration of Urban Commons. Translated by
 LabGov (LABoratory for the GOVernance of Commons). Bologna, Italy: City
 of Bologna, 2014).
 
 City of Bologna. Regulation on Collaboration between Citizens and the
 City for the Care and Regeneration of Urban Commons. Translated by
 LabGov (LABoratory for the GOVernance of Commons). Bologna, Italy: City
 of Bologna, 2014).

-www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf.
+[](http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf).

 
 

-Cole, Daniel H. “Learning from Lin: Lessons and Cautions from the
-Natural Commons for the Knowledge Commons.” Chap. 2 in Frischmann,
+Cole, Daniel H. "Learning from Lin: Lessons and Cautions from the
+Natural Commons for the Knowledge Commons." Chap. 2 in Frischmann,

 Madison, and Strandburg, Governing Knowledge Commons.
 
 Creative Commons. 2015 State of the Commons. Mountain View, CA: Creative
 Madison, and Strandburg, Governing Knowledge Commons.
 
 Creative Commons. 2015 State of the Commons. Mountain View, CA: Creative

-Commons, 2015. stateof.creativecommons.org/2015/.
+Commons, 2015. [](http://stateof.creativecommons.org/2015/).

 
 

-Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the
-Internet Age. San Francisco: McSweeney’s, 2014.
+Doctorow, Cory. Information Doesn't Want to Be Free: Laws for the
+Internet Age. San Francisco: McSweeney's, 2014.

 
 

-Eckhardt, Giana, and Fleura Bardhi. “The Sharing Economy Isn’t about
-Sharing at All.” Harvard Business Review, January 28, 2015.
-hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all.
+Eckhardt, Giana, and Fleura Bardhi. "The Sharing Economy Isn't about
+Sharing at All." Harvard Business Review, January 28, 2015.
+[](http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all).

 
 Elliott, Patricia W., and Daryl H. Hepting, eds. (2015). Free Knowledge:
 Confronting the Commodification of Human Discovery. Regina, SK:
 University of Regina Press, 2015.
 
 Elliott, Patricia W., and Daryl H. Hepting, eds. (2015). Free Knowledge:
 Confronting the Commodification of Human Discovery. Regina, SK:
 University of Regina Press, 2015.

-uofrpress.ca/publications/Free-Knowledge (licensed under CC BY-NC-ND).
+[](http://uofrpress.ca/publications/Free-Knowledge) (licensed under CC BY-NC-ND).

 
 Eyal, Nir. Hooked: How to Build Habit-Forming Products. With Ryan
 Hoover. New York: Portfolio, 2014.
 
 
 Eyal, Nir. Hooked: How to Build Habit-Forming Products. With Ryan
 Hoover. New York: Portfolio, 2014.
 

-Farley, Joshua, and Ida Kubiszewski. “The Economics of Information in a
-Post-Carbon Economy.” Chap. 11 in Elliott and Hepting, Free Knowledge.
+Farley, Joshua, and Ida Kubiszewski. "The Economics of Information in a
+Post-Carbon Economy." Chap. 11 in Elliott and Hepting, Free Knowledge.

 
 

-Foster, William Landes, Peter Kim, and Barbara Christiansen. “Ten
-Nonprofit Funding Models.” Stanford Social Innovation Review, Spring
-2009. ssir.org/articles/entry/ten\_nonprofit\_funding\_models.
+Foster, William Landes, Peter Kim, and Barbara Christiansen. "Ten
+Nonprofit Funding Models." Stanford Social Innovation Review, Spring
+2009. [](http://ssir.org/articles/entry/ten\_nonprofit\_funding\_models).

 
 Frischmann, Brett M. Infrastructure: The Social Value of Shared
 Resources. New York: Oxford University Press, 2012.
 
 Frischmann, Brett M. Infrastructure: The Social Value of Shared
 Resources. New York: Oxford University Press, 2012.


@@ -7523,7 +7524,7 @@ eds. Governing Knowledge Commons. New York: Oxford University Press,
 2014.
 
 Frischmann, Brett M., Michael J. Madison, and Katherine J. Strandburg.
 2014.
 
 Frischmann, Brett M., Michael J. Madison, and Katherine J. Strandburg.

-“Governing Knowledge Commons.” Chap. 1 in Frischmann, Madison, and
+"Governing Knowledge Commons." Chap. 1 in Frischmann, Madison, and

 Strandburg, Governing Knowledge Commons.
 
 Gansky, Lisa. The Mesh: Why the Future of Business Is Sharing. Reprint
 Strandburg, Governing Knowledge Commons.
 
 Gansky, Lisa. The Mesh: Why the Future of Business Is Sharing. Reprint


@@ -7545,7 +7546,7 @@ Toronto: Doubleday Canada, 2014.
 Hyde, Lewis. Common as Air: Revolution, Art, and Ownership. New York:
 Farrar, Straus and Giroux, 2010.
 
 Hyde, Lewis. Common as Air: Revolution, Art, and Ownership. New York:
 Farrar, Straus and Giroux, 2010.
 

-———. The Gift: Creativity and the Artist in the Modern World. 2nd
+---------. The Gift: Creativity and the Artist in the Modern World. 2nd

 Vintage Books edition. New York: Vintage Books, 2007.
 
 Kelley, Tom, and David Kelley. Creative Confidence: Unleashing the
 Vintage Books edition. New York: Vintage Books, 2007.
 
 Kelley, Tom, and David Kelley. Creative Confidence: Unleashing the


@@ -7553,20 +7554,19 @@ Potential within Us All. New York: Crown, 2013.
 
 Kelly, Marjorie. Owning Our Future: The Emerging Ownership Revolution;
 Journeys to a Generative Economy. San Francisco:
 
 Kelly, Marjorie. Owning Our Future: The Emerging Ownership Revolution;
 Journeys to a Generative Economy. San Francisco:

-

 Berrett-Koehler, 2012.
 
 Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and Get
 Discovered. New York: Workman, 2014.
 
 Berrett-Koehler, 2012.
 
 Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and Get
 Discovered. New York: Workman, 2014.
 

-———. Steal Like an Artist: 10 Things Nobody Told You about Being
+---------. Steal Like an Artist: 10 Things Nobody Told You about Being

 Creative. New York: Workman, 2012.
 
 Kramer, Bryan. Shareology: How Sharing Is Powering the Human Economy.
 New York: Morgan James, 2016.
 
 Creative. New York: Workman, 2012.
 
 Kramer, Bryan. Shareology: How Sharing Is Powering the Human Economy.
 New York: Morgan James, 2016.
 

-Lee, David. “Inside Medium: An Attempt to Bring Civility to the
-Internet.” BBC News, March 3, 2016. www.bbc.com/news/technology-35709680
+Lee, David. "Inside Medium: An Attempt to Bring Civility to the
+Internet." BBC News, March 3, 2016. [](http://www.bbc.com/news/technology-35709680)

 
 Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid
 Economy. New York: Penguin Press, 2008.
 
 Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid
 Economy. New York: Penguin Press, 2008.


@@ -7579,15 +7579,15 @@ Straus and Giroux, 2015.
 
 New York Times Customer Insight Group. The Psychology of Sharing: Why Do
 People Share Online? New York: New York Times Customer Insight Group,
 
 New York Times Customer Insight Group. The Psychology of Sharing: Why Do
 People Share Online? New York: New York Times Customer Insight Group,

-2011. www.iab.net/media/file/POSWhitePaper.pdf.
+2011. [](http://www.iab.net/media/file/POSWhitePaper.pdf).

 
 Osterwalder, Alex, and Yves Pigneur. Business Model Generation. Hoboken,
 NJ: John Wiley and Sons, 2010. A preview of the book is available at
 
 Osterwalder, Alex, and Yves Pigneur. Business Model Generation. Hoboken,
 NJ: John Wiley and Sons, 2010. A preview of the book is available at

-strategyzer.com/books/business-model-generation.
+[](http://strategyzer.com/books/business-model-generation).

 
 Osterwalder, Alex, Yves Pigneur, Greg Bernarda, and Adam Smith. Value
 Proposition Design. Hoboken, NJ: John Wiley and Sons, 2014. A preview of
 
 Osterwalder, Alex, Yves Pigneur, Greg Bernarda, and Adam Smith. Value
 Proposition Design. Hoboken, NJ: John Wiley and Sons, 2014. A preview of

-the book is available at strategyzer.com/books/value-proposition-design.
+the book is available at [](http://strategyzer.com/books/value-proposition-design).

 
 Palmer, Amanda. The Art of Asking: Or How I Learned to Stop Worrying and
 Let People Help. New York: Grand Central, 2014.
 
 Palmer, Amanda. The Art of Asking: Or How I Learned to Stop Worrying and
 Let People Help. New York: Grand Central, 2014.


@@ -7595,20 +7595,20 @@ Let People Help. New York: Grand Central, 2014.
 Pekel, Joris. Democratising the Rijksmuseum: Why Did the Rijksmuseum
 Make Available Their Highest Quality Material without Restrictions, and
 What Are the Results? The Hague, Netherlands: Europeana Foundation,
 Pekel, Joris. Democratising the Rijksmuseum: Why Did the Rijksmuseum
 Make Available Their Highest Quality Material without Restrictions, and
 What Are the Results? The Hague, Netherlands: Europeana Foundation,

-2014. pro.europeana.eu/publication/democratising-the-rijksmuseum
+2014. [](http://pro.europeana.eu/publication/democratising-the-rijksmuseum)

 (licensed under CC BY-SA).
 
 Ramos, José Maria, ed. The City as Commons: A Policy Reader. Melbourne,
 Australia: Commons Transition Coalition, 2016.
 (licensed under CC BY-SA).
 
 Ramos, José Maria, ed. The City as Commons: A Policy Reader. Melbourne,
 Australia: Commons Transition Coalition, 2016.

-www.academia.edu/27143172/The\_City\_as\_Commons\_a\_Policy\_Reader
+[](http://www.academia.edu/27143172/The\_City\_as\_Commons\_a\_Policy\_Reader)

 (licensed under CC BY-NC-ND).
 
 Raymond, Eric S. The Cathedral and the Bazaar: Musings on Linux and Open
 (licensed under CC BY-NC-ND).
 
 Raymond, Eric S. The Cathedral and the Bazaar: Musings on Linux and Open

-Source by an Accidental Revolutionary. Rev. ed. Sebastopol, CA: O’Reilly
-Media, 2001. See esp. “The Magic Cauldron.”
-www.catb.org/esr/writings/cathedral-bazaar/.
+Source by an Accidental Revolutionary. Rev. ed. Sebastopol, CA: O'Reilly
+Media, 2001. See esp. "The Magic Cauldron."
+[](http://www.catb.org/esr/writings/cathedral-bazaar/).

 
 

-Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous
+Ries, Eric. The Lean Startup: How Today's Entrepreneurs Use Continuous

 Innovation to Create Radically Successful Businesses. New York: Crown
 Business, 2011.
 
 Innovation to Create Radically Successful Businesses. New York: Crown
 Business, 2011.
 


@@ -7621,13 +7621,13 @@ Rowe, Jonathan. Our Common Wealth. San Francisco: Berrett-Koehler, 2013.
 Rushkoff, Douglas. Throwing Rocks at the Google Bus: How Growth Became
 the Enemy of Prosperity. New York: Portfolio, 2016.
 
 Rushkoff, Douglas. Throwing Rocks at the Google Bus: How Growth Became
 the Enemy of Prosperity. New York: Portfolio, 2016.
 

-Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets.
+Sandel, Michael J. What Money Can't Buy: The Moral Limits of Markets.

 New York: Farrar, Straus and Giroux, 2012.
 
 Shirky, Clay. Cognitive Surplus: How Technology Makes Consumers into
 Collaborators. London, England: Penguin Books, 2010.
 
 New York: Farrar, Straus and Giroux, 2012.
 
 Shirky, Clay. Cognitive Surplus: How Technology Makes Consumers into
 Collaborators. London, England: Penguin Books, 2010.
 

-Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York:
+Slee, Tom. What's Yours Is Mine: Against the Sharing Economy. New York:

 OR Books, 2015.
 
 Stephany, Alex. The Business of Sharing: Making in the New Sharing
 OR Books, 2015.
 
 Stephany, Alex. The Business of Sharing: Making in the New Sharing


@@ -7658,19 +7658,19 @@ Van Abel, Bass, Lucas Evers, Roel Klaassen, and Peter Troxler, eds. Open
 Design Now: Why Design Cannot Remain Exclusive. Amsterdam: BIS
 Publishers, with Creative Commons Netherlands; Premsela, the Netherlands
 Institute for Design and Fashion; and the Waag Society, 2011.
 Design Now: Why Design Cannot Remain Exclusive. Amsterdam: BIS
 Publishers, with Creative Commons Netherlands; Premsela, the Netherlands
 Institute for Design and Fashion; and the Waag Society, 2011.

-opendesignnow.org (licensed under CC BY-NC-SA).
+[](http://opendesignnow.org) (licensed under CC BY-NC-SA).

 
 Van den Hoff, Ronald. Mastering the Global Transition on Our Way to
 Society 3.0. Utrecht, the Netherlands: Society 3.0 Foundation, 2014.
 
 Van den Hoff, Ronald. Mastering the Global Transition on Our Way to
 Society 3.0. Utrecht, the Netherlands: Society 3.0 Foundation, 2014.

-society30.com/get-the-book/ (licensed under CC BY-NC-ND).
+[](http://society30.com/get-the-book/) (licensed under CC BY-NC-ND).

 
 Von Hippel, Eric. Democratizing Innovation. London: MIT Press, 2005.
 
 Von Hippel, Eric. Democratizing Innovation. London: MIT Press, 2005.

-web.mit.edu/evhippel/www/democ1.htm (licensed under CC BY-NC-ND).
+[](http://web.mit.edu/evhippel/www/democ1.htm) (licensed under CC BY-NC-ND).

 
 Whitehurst, Jim. The Open Organization: Igniting Passion and
 Performance. Boston: Harvard Business Review Press, 2015.
 
 
 Whitehurst, Jim. The Open Organization: Igniting Passion and
 Performance. Boston: Harvard Business Review Press, 2015.
 

-## Acknowledgments
+# Acknowledgments

 
 We extend special thanks to Creative Commons CEO Ryan Merkley, the
 Creative Commons Board, and all of our Creative Commons colleagues for
 
 We extend special thanks to Creative Commons CEO Ryan Merkley, the
 Creative Commons Board, and all of our Creative Commons colleagues for


@@ -7713,7 +7713,7 @@ Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie
 Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo,
 Jay M Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna,
 Jérôme Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim
 Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo,
 Jay M Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna,
 Jérôme Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim

-O’Flaherty, Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz,
+O'Flaherty, Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz,

 Johan Adda, John Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP
 Rangaswami, Juan Carlos Belair, Justin Christian, Justin Szlasa, Kate
 Chapman, Kate Stewart, Kellie Higginbottom, Kendra Byrne, Kevin Coates,
 Johan Adda, John Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP
 Rangaswami, Juan Carlos Belair, Justin Christian, Justin Szlasa, Kate
 Chapman, Kate Stewart, Kellie Higginbottom, Kendra Byrne, Kevin Coates,


@@ -7746,7 +7746,7 @@ Taherivand, Adam Croom, Adam Finer, Adam Hansen, Adam Morris, Adam
 Procter, Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam
 Zimmerman, Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al
 Sweigart, Alain Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank,
 Procter, Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam
 Zimmerman, Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al
 Sweigart, Alain Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank,

-Alan Vonlanthen, Albert O’Connor, Alec Foster, Alejandro Suarez Cebrian,
+Alan Vonlanthen, Albert O'Connor, Alec Foster, Alejandro Suarez Cebrian,

 Aleks Degtyarev, Alex Blood, Alex C. Ion, Alex Ross Shaw, Alexander
 Bartl, Alexander Brown, Alexander Brunner, Alexander Eliesen, Alexander
 Hawson, Alexander Klar, Alexander Neumann, Alexander Plaum, Alexander
 Aleks Degtyarev, Alex Blood, Alex C. Ion, Alex Ross Shaw, Alexander
 Bartl, Alexander Brown, Alexander Brunner, Alexander Eliesen, Alexander
 Hawson, Alexander Klar, Alexander Neumann, Alexander Plaum, Alexander


@@ -7780,8 +7780,8 @@ Shields, Bill Slankard, BJ Becker, Bjorn Freeman-Benson, Bjørn Otto
 Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo Sprotte Kofod, Bob Doran, Bob
 Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak, Boriss Lariushin, Borjan
 Tchakaloff, Brad Kik, Braden Hassett, Bradford Benn, Bradley Keyes,
 Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo Sprotte Kofod, Bob Doran, Bob
 Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak, Boriss Lariushin, Borjan
 Tchakaloff, Brad Kik, Braden Hassett, Bradford Benn, Bradley Keyes,

-Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka Tokic, Brant
-Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel, Brett
+Bradley L'Herrou, Brady Forrest, Brandon McGaha, Branka Tokic, Brant
+Anderson, Brenda Sullivan, Brendan O'Brien, Brendan Schlagel, Brett

 Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian
 S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke
 Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin,
 Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian
 S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke
 Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin,


@@ -7794,7 +7794,7 @@ Wiedenhoeft, Carol Long, Carol marquardsen, Caroline Calomme, Caroline
 Mailloux, Carolyn Hinchliff, Carolyn Rude, Carrie Cousins, Carrie
 Watkins, Casey Hunt, Casey Milford, Casey Powell Shorthouse, Cat Cooper,
 Cecilie Maria, Cedric Howe, Cefn Hoile,
 Mailloux, Carolyn Hinchliff, Carolyn Rude, Carrie Cousins, Carrie
 Watkins, Casey Hunt, Casey Milford, Casey Powell Shorthouse, Cat Cooper,
 Cecilie Maria, Cedric Howe, Cefn Hoile,

-@ShrimpingIt, Celia Muller, Ces Keller, Chad Anderson, Charles Butler,
+\@ShrimpingIt, Celia Muller, Ces Keller, Chad Anderson, Charles Butler,

 Charles Carstensen, Charles Chi Thoi Le, Charles Kobbe, Charles S.
 Tritt, Charles Stanhope, Charlotte Ong-Wisener, Chealsye Bowley, Chelle
 Destefano, Chenpang Chou, Cheryl Corte, Cheryl Todd, Chip Dickerson,
 Charles Carstensen, Charles Chi Thoi Le, Charles Kobbe, Charles S.
 Tritt, Charles Stanhope, Charlotte Ong-Wisener, Chealsye Bowley, Chelle
 Destefano, Chenpang Chou, Cheryl Corte, Cheryl Todd, Chip Dickerson,


@@ -7809,7 +7809,7 @@ Christopher Clay, Christopher Harris, Christopher Opiah, Christopher
 Swenson, Christos Keramitsis, Chuck Roslof, Chutika Udomsinn, Claire
 Wardle, Clare Forrest, Claudia Cristiani, Claudio Gallo, Claudio Ruiz,
 Clayton Dewey, Clement Delort, Cliff Church, Clint Lalonde, Clint
 Swenson, Christos Keramitsis, Chuck Roslof, Chutika Udomsinn, Claire
 Wardle, Clare Forrest, Claudia Cristiani, Claudio Gallo, Claudio Ruiz,
 Clayton Dewey, Clement Delort, Cliff Church, Clint Lalonde, Clint

-O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin Campbell, Colin
+O'Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin Campbell, Colin

 Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie Roberts,
 Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
 Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney,
 Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie Roberts,
 Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
 Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney,


@@ -7837,7 +7837,7 @@ Domi Enders, Domingo Gallardo, Dominic de Haas, Dominique Karadjian,
 Dongpo Deng, Donnovan Knight, Door de Flines, Doug Fitzpatrick, Doug
 Hoover, Douglas Craver, Douglas Van Camp, Douglas Van Houweling, Dr.
 Braddlee, Drew Spencer, Duncan
 Dongpo Deng, Donnovan Knight, Door de Flines, Doug Fitzpatrick, Doug
 Hoover, Douglas Craver, Douglas Van Camp, Douglas Van Houweling, Dr.
 Braddlee, Drew Spencer, Duncan

-Sample, Durand D’souza, Dylan Field, E C Humphries, Eamon Caddigan,
+Sample, Durand D'souza, Dylan Field, E C Humphries, Eamon Caddigan,

 Earleen Smith, Eden Sarid, Eden Spodek, Eduardo Belinchon, Eduardo
 Castro, Edwin Vandam, Einar Joergensen, Ejnar Brendsdal, Elad Wieder,
 Elar Haljas, Elena Valhalla, Eli Doran, Elias Bouchi, Elie Calhoun,
 Earleen Smith, Eden Sarid, Eden Spodek, Eduardo Belinchon, Eduardo
 Castro, Edwin Vandam, Einar Joergensen, Ejnar Brendsdal, Elad Wieder,
 Elar Haljas, Elena Valhalla, Eli Doran, Elias Bouchi, Elie Calhoun,


@@ -7895,7 +7895,7 @@ Garcia, Jens Erat, Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell,
 Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme
 Mizeret, Jessica Dickinson Goodman, Jessica Litman, Jessica Mackay,
 Jessy Kate Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim
 Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme
 Mizeret, Jessica Dickinson Goodman, Jessica Litman, Jessica Mackay,
 Jessy Kate Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim

-Meloy, Jim O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří
+Meloy, Jim O'Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří

 Marek, Jo Allum, Joachim Brandon LeBlanc, Joachim Pileborg, Joachim von
 Goetz, Joakim Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen
 Muetsch, Jodi Sandfort, Joe Cardillo, Joe Carpita, Joe Moross, Joerg
 Marek, Jo Allum, Joachim Brandon LeBlanc, Joachim Pileborg, Joachim von
 Goetz, Joakim Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen
 Muetsch, Jodi Sandfort, Joe Cardillo, Joe Carpita, Joe Moross, Joerg


@@ -7924,7 +7924,7 @@ Teague, Katrina Hennessy, Katriona Main, Kavan Antani, Keith Adams,
 Keith Berndtson, MD, Keith Luebke, Kellie Higginbottom, Ken Friis
 Larsen, Ken Haase, Ken Torbeck, Kendel Ratley, Kendra Byrne, Kerry
 Hicks, Kevin Brown, Kevin Coates, Kevin Flynn, Kevin Rumon, Kevin
 Keith Berndtson, MD, Keith Luebke, Kellie Higginbottom, Ken Friis
 Larsen, Ken Haase, Ken Torbeck, Kendel Ratley, Kendra Byrne, Kerry
 Hicks, Kevin Brown, Kevin Coates, Kevin Flynn, Kevin Rumon, Kevin

-Shannon, Kevin Taylor, Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane l’Azin,
+Shannon, Kevin Taylor, Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane l'Azin,

 Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
 Rennert, Kris Kasianovitz, Kristian Lundquist, Kristin Buxton, Kristina
 Popova, Kristofer Bratt, Kristoffer Steen, Kumar McMillan, Kurt
 Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
 Rennert, Kris Kasianovitz, Kristian Lundquist, Kristin Buxton, Kristina
 Popova, Kristofer Bratt, Kristoffer Steen, Kumar McMillan, Kurt


@@ -7981,7 +7981,7 @@ Heeyeon You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike Chelen,
 Mike Habicher, Mike Maloney, Mike Masnick, Mike McDaniel, Mike
 Pouraryan, Mike Sheldon, Mike Stop Continues, Mike Stringer, Mike
 Wittenstein, Mikkel Ovesen, Mikołaj Podlaszewski, Millie Gonzalez, Mindi
 Mike Habicher, Mike Maloney, Mike Masnick, Mike McDaniel, Mike
 Pouraryan, Mike Sheldon, Mike Stop Continues, Mike Stringer, Mike
 Wittenstein, Mikkel Ovesen, Mikołaj Podlaszewski, Millie Gonzalez, Mindi

-Lovell, Mindy Lin, Mirko “Macro” Fichtner, Mitch Featherston, Mitchell
+Lovell, Mindy Lin, Mirko "Macro" Fichtner, Mitch Featherston, Mitchell

 Adams, Molika Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan
 Loomis, Moritz Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K
 Calik, MD, Myk Pilgrim, Myra Harmer, Nadine Forget-Dubois, Nagle
 Adams, Molika Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan
 Loomis, Moritz Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K
 Calik, MD, Myk Pilgrim, Myra Harmer, Nadine Forget-Dubois, Nagle


@@ -8008,7 +8008,7 @@ Hibbitts, Paul Jacobson, Paul Keller, Paul Rowe, Paul Timpson, Paul
 Walker, Pavel Dostál, Peeter Sällström Randsalu, Peggy Frith, Pen-Yuan
 Hsing, Penny Pearson, Per Åström, Perry Jetter, Péter Fankhauser, Peter
 Hirtle, Peter Humphries, Peter Jenkins, Peter Langmar, Peter le Roux,
 Walker, Pavel Dostál, Peeter Sällström Randsalu, Peggy Frith, Pen-Yuan
 Hsing, Penny Pearson, Per Åström, Perry Jetter, Péter Fankhauser, Peter
 Hirtle, Peter Humphries, Peter Jenkins, Peter Langmar, Peter le Roux,

-Peter Marinari, Peter Mengelers, Peter O’Brien, Peter Pinch, Peter S.
+Peter Marinari, Peter Mengelers, Peter O'Brien, Peter Pinch, Peter S.

 Crosby, Peter Wells, Petr Fristedt, Petr Viktorin, Petronella Jeurissen,
 Phil Flickinger, Philip Chung, Philip Pangrac, Philip R. Skaggs Jr.,
 Philip Young, Philippa Lorne Channer, Philippe Vandenbroeck, Pierluigi
 Crosby, Peter Wells, Petr Fristedt, Petr Viktorin, Petronella Jeurissen,
 Phil Flickinger, Philip Chung, Philip Pangrac, Philip R. Skaggs Jr.,
 Philip Young, Philippa Lorne Channer, Philippe Vandenbroeck, Pierluigi


@@ -8019,7 +8019,7 @@ Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani, Ralph Chapoteau,
 Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël Schröder, Rasmus
 Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar, Rebecca Lendl,
 Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich McCue, Richard
 Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël Schröder, Rasmus
 Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar, Rebecca Lendl,
 Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich McCue, Richard

-“TalkToMeGuy” Olson, Richard Best, Richard Blumberg, Richard Fannon,
+"TalkToMeGuy" Olson, Richard Best, Richard Blumberg, Richard Fannon,

 Richard Heying, Richard Karnesky, Richard Kelly, Richard Littauer,
 Richard Sobey, Richard White, Richard Winchell, Rik ToeWater, Rita
 Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley, Rob
 Richard Heying, Richard Karnesky, Richard Kelly, Richard Littauer,
 Richard Sobey, Richard White, Richard Winchell, Rik ToeWater, Rita
 Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley, Rob


@@ -8082,7 +8082,7 @@ Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy, Tyler
 Occhiogrosso, Udo Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum,
 Vaughan jenkins, Veethika Mishra, Vic King, Vickie Goode, Victor DePina,
 Victor Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture,
 Occhiogrosso, Udo Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum,
 Vaughan jenkins, Veethika Mishra, Vic King, Vickie Goode, Victor DePina,
 Victor Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture,

-Vikas Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet,
+Vikas Shah, Vinayak S.Kaujalgi, Vincent O'Leary, Violette Paquet,

 Virginia Gentilini, Virginia Kopelman, Vitor Menezes, Vivian Marthell,
 Wayne Mackintosh, Wendy Keenan, Werner Wiethege, Wesley Derbyshire,
 Widar Hellwig, Willa Köerner, William Bettridge-Radford, William
 Virginia Gentilini, Virginia Kopelman, Vitor Menezes, Vivian Marthell,
 Wayne Mackintosh, Wendy Keenan, Werner Wiethege, Wesley Derbyshire,
 Widar Hellwig, Willa Köerner, William Bettridge-Radford, William


@@ -8092,4 +8092,3 @@ Antoviaque, Xavier Hugonet, Xavier Moisant, Xueqi Li, Yancey Strickler,
 Yann Heurtaux, Yasmine Hajjar, Yu-Hsian Sun, Yves Deruisseau, Zach
 Chandler, Zak Zebrowski, Zane Amiralis and Joshua de Haan, ZeMarmot Open
 Movie
 Yann Heurtaux, Yasmine Hajjar, Yu-Hsian Sun, Yves Deruisseau, Zach
 Chandler, Zak Zebrowski, Zane Amiralis and Joshua de Haan, ZeMarmot Open
 Movie

-