Translated using Weblate (Spanish)

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

diff --git a/MadewithCreativeCommonsmostup-to-dateversion.md b/MadewithCreativeCommonsmostup-to-dateversion.md
index 16ec64d7c3d5ea14e7710156d7a3aa65eec2865b..1fc1e036ec9b3b86a0d7300ba5d91bc08e6732a3 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:
 


@@ -31,7 +31,7 @@ Husumgade 10, 5.
 
 Denmark
 
 
 Denmark
 

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

 
 hey@cadb.dk
 
 
 hey@cadb.dk
 


@@ -51,24 +51,25 @@ 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. . .
-The way that I think about these things, and in terms of what I can do
-is. . . essays like this are occasions to watch somebody reasonably
-bright but also reasonably average pay far closer attention and think at
-far more length about all sorts of different stuff than most of us have
-a chance to in our daily lives.”
-
-
+# Dedication {-}
+> “I don’t know a whole lot about nonfiction journalism. . .
+> The way that I think about these things, and in terms of what I can do
+> is. . . essays like this are occasions to watch somebody reasonably
+> bright but also reasonably average pay far closer attention and think at
+> far more length about all sorts of different stuff than most of us have
+> a chance to in our daily lives.”
+> 
+> 
+> 
+> — *David Foster Wallace*

 
 

-- David Foster Wallace
-
-## Foreword
+# Foreword

 
 Three years ago, just after I was hired as CEO of Creative Commons, I
 met with Cory Doctorow in the hotel bar of Toronto’s Gladstone Hotel. As
 
 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


@@ -213,7 +214,7 @@ That’s the true value of things that are Made with Creative Commons.
 
 *CEO, Creative Commons*
 
 
 *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.


@@ -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
 


@@ -324,7 +324,7 @@ 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
 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


@@ -337,11 +337,11 @@ Creative Commons to share their resources online over the Internet.
 
 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 commons is not just about shared resources, however. It’s also about
 the social practices and values that manage them. A resource is a noun,

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

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


@@ -351,13 +351,13 @@ sustainability.
 Historically, there have been three ways to manage resources and share
 wealth: the commons (managed collectively), the state (i.e., the
 government), and the market—with the last two being the dominant forms
 Historically, there have been three ways to manage resources and share
 wealth: the commons (managed collectively), the state (i.e., the
 government), and the market—with the last two being the dominant forms

-today.4
+today.[^The-New-World-of-Digital-Commons-4]

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


@@ -387,8 +387,8 @@ 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="100%"
+}

 
 It’s helpful to understand how the commons, market, and state manage
 resources differently, and not just for those who consider themselves
 
 It’s helpful to understand how the commons, market, and state manage
 resources differently, and not just for those who consider themselves


@@ -401,7 +401,7 @@ for success.
 ### The Four Aspects of a Resource
 
 As part of her Nobel Prize–winning work, Elinor Ostrom developed a
 ### The Four Aspects of a Resource
 
 As part of her Nobel Prize–winning work, Elinor Ostrom developed a

-framework for analyzing how natural resources are managed in a commons.6
+framework for analyzing how natural resources are managed in a commons.[^The-New-World-of-Digital-Commons-6]

 Her framework considered things like the biophysical characteristics of
 common resources, the community’s actors and the interactions that take
 place between them, rules-in-use, and outcomes. That framework has been
 Her framework considered things like the biophysical characteristics of
 common resources, the community’s actors and the interactions that take
 place between them, rules-in-use, and outcomes. That framework has been


@@ -414,8 +414,8 @@ 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).
 
 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="100%"
+}

 
 #### Characteristics
 
 
 #### Characteristics
 


@@ -487,7 +487,7 @@ 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


@@ -500,8 +500,8 @@ Commons require users to give the original creator credit. Knowing the
 person behind a resource makes the commons less anonymous and more
 personal.
 
 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="100%"
+}

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


@@ -525,7 +525,7 @@ 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
 


@@ -537,7 +537,7 @@ 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
 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.
 


@@ -577,21 +577,21 @@ something of its history.
 
 For centuries, indigenous people and preindustrialized societies managed
 resources, including water, food, firewood, irrigation, fish, wild game,
 
 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="100%"
+}

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


@@ -607,8 +607,8 @@ 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="100%"
+}

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


@@ -638,7 +638,7 @@ relationship and history with it, and are therefore best situated to
 manage it. Ostrom’s approach to the governance of natural resources
 broke with convention; she recognized the importance of the commons as
 an alternative to the market or state for solving problems of collective
 manage it. Ostrom’s approach to the governance of natural resources
 broke with convention; she recognized the importance of the commons as
 an alternative to the market or state for solving problems of collective

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

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


@@ -652,7 +652,7 @@ Market.
 
 Hardin’s story is based on the premise of depletable resources.
 Economists have focused almost exclusively on scarcity-based markets.
 
 Hardin’s story is based on the premise of depletable resources.
 Economists have focused almost exclusively on scarcity-based markets.

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

 information technology and the Internet has led to an explosion in
 digital resources and new means of sharing and distribution. Digital
 resources can never be depleted. An absence of a theory or model for how
 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="100%"
+}

 
 ### 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.


@@ -694,7 +694,7 @@ 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
 open source gave them control without being locked into a closed,
 proprietary technology. Free and open-source software also generated a
 network effect where the value of a product or service increases with

-the number of people using it.17 The dramatic growth of the Internet
+the number of people using it.[^The-New-World-of-Digital-Commons-17] The dramatic growth of the Internet

 itself owes much to the fact that nobody has a proprietary lock on core
 Internet protocols.
 
 itself owes much to the fact that nobody has a proprietary lock on core
 Internet protocols.
 


@@ -704,7 +704,7 @@ 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
 analyzing the economics and business models associated with open-source
 that managed software code on principles of abundance rather than
 scarcity. Eric Raymond’s essay “The Magic Cauldron” does a great job of
 analyzing the economics and business models associated with open-source

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

 for those Made with Creative Commons.
 
 It isn’t just about an abundant availability of digital assets but also
 for those Made with Creative Commons.
 
 It isn’t just about an abundant availability of digital assets but also


@@ -722,7 +722,7 @@ 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
 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
 


@@ -742,7 +742,7 @@ read and quickly understand. It acts as a user-friendly interface to the
 legal-code layer beneath. The third layer is the machine-readable one,
 making it easy for the Web to know a work is Creative Commons–licensed
 by expressing permissions in a way that software systems, search
 legal-code layer beneath. The third layer is the machine-readable one,
 making it easy for the Web to know a work is Creative Commons–licensed
 by expressing permissions in a way that software systems, search

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

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


@@ -794,27 +794,27 @@ 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
+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
 call themselves “sharing cities,” looking to make sustainable and more
 efficient use of scarce resources. They see sharing as a way to improve

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

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


@@ -824,7 +824,7 @@ 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
 like a traditional business seeking financial gain. Much of the sharing
 economy is not about the commons or building an alternative to a
 corporate-driven market economy; it’s about extending the deregulated

-free market into new areas of our lives.28 While none of the people we
+free market into new areas of our lives.[^The-New-World-of-Digital-Commons-28] While none of the people we

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


@@ -872,26 +872,26 @@ 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
 Kickstarter campaign. We used a handbook called Business Model
 Generation as our reference for defining just what a business model is.
 Developed over nine years using an “open process” involving 470
 coauthors from forty-five countries, it is useful as a framework for
 
 “A book on open business models” is how we described it in this book’s
 Kickstarter campaign. We used a handbook called Business Model
 Generation as our reference for defining just what a business model is.
 Developed over nine years using an “open process” involving 470
 coauthors from forty-five countries, it is useful as a framework for

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

 
 It contains a “business model canvas,” which conceives of a business
 
 It contains a “business model canvas,” which conceives of a business

-model as having nine building blocks.34 This blank canvas can serve as a
+model as having nine building blocks.[^The-New-World-of-Digital-Commons-34] This blank canvas can serve as a

 tool for anyone to design their own business model. We remixed this
 business model canvas into an open business model canvas, adding three
 more building blocks relevant to hybrid market, commons enterprises:
 social good, Creative Commons license, and “type of open environment
 tool for anyone to design their own business model. We remixed this
 business model canvas into an open business model canvas, adding three
 more building blocks relevant to hybrid market, commons enterprises:
 social good, Creative Commons license, and “type of open environment

-that the business fits in.”35 This enhanced canvas proved useful when we
+that the business fits in.”[^The-New-World-of-Digital-Commons-35] This enhanced canvas proved useful when we

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


@@ -911,7 +911,7 @@ 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
 free but physical for a fee,” crowdfunding, matchmaking, value-add
 services, patrons . . . the list goes on and on. (Initial description of
 how to earn revenue available through reference note. For latest

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

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


@@ -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.


@@ -1068,103 +1068,103 @@ 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
+[^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.
     Natural Commons for the Knowledge Commons,” in Governing Knowledge
     Commons, eds. Brett M. Frischmann, Michael J. Madison, and
     Katherine J. Strandburg (New York: Oxford University Press,
     2014), 53.

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

     Creativity and the Commons (New York: Zed Books, 2014), 93.
     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
+[^The-New-World-of-Digital-Commons-9]:  Bollier, Think Like a Commoner, 175.
+[^The-New-World-of-Digital-Commons-10]: Joshua Farley and Ida Kubiszewski, “The Economics of Information in

     a Post-Carbon Economy,” in Free Knowledge: Confronting the
     Commodification of Human Discovery, eds. Patricia W. Elliott and
     Daryl H. Hepting (Regina, SK: University of Regina Press, 2015),
     201–4.
     a Post-Carbon Economy,” in Free Knowledge: Confronting the
     Commodification of Human Discovery, eds. Patricia W. Elliott and
     Daryl H. Hepting (Regina, SK: University of Regina Press, 2015),
     201–4.

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

     Commons for the Common Good: A Memoir and Manifesto (Gabriola
     Island, BC: New Society, 2014), 42–43.
     Commons for the Common Good: A Memoir and Manifesto (Gabriola
     Island, BC: New Society, 2014), 42–43.

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

     System in Tune with Nature and Community (Oakland, CA:
     Berrett-Koehler, 2015), 46–57; and Bollier, Think Like a
     Commoner, 88.
     System in Tune with Nature and Community (Oakland, CA:
     Berrett-Koehler, 2015), 46–57; and Bollier, Think Like a
     Commoner, 88.

-14. Brett M. Frischmann, Michael J. Madison, and Katherine J.
+[^The-New-World-of-Digital-Commons-14]: Brett M. Frischmann, Michael J. Madison, and Katherine J.

     Strandburg, “Governing Knowledge Commons,” in Frischmann, Madison,
     and Strandburg Governing Knowledge Commons, 12.
     Strandburg, “Governing Knowledge Commons,” in Frischmann, Madison,
     and Strandburg Governing Knowledge Commons, 12.

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

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

-16. “What Is Free Software?” GNU Operating System, the Free Software
+[^The-New-World-of-Digital-Commons-16]: “What Is Free Software?” GNU Operating System, the Free Software

     Foundation’s Licensing and Compliance Lab, accessed December 30,
     Foundation’s Licensing and Compliance Lab, accessed December 30,

-    2016, www.gnu.org/philosophy/free-sw.
-17. Wikipedia, s.v. “Open-source software,” last modified November
+    2016, [](http://www.gnu.org/philosophy/free-sw).
+[^The-New-World-of-Digital-Commons-17]: Wikipedia, s.v. “Open-source software,” last modified November

     22, 2016.
     22, 2016.

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

     Bazaar: Musings on Linux and Open Source by an Accidental
     Revolutionary, rev. ed. (Sebastopol, CA: O’Reilly Media, 2001),
     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:
+    [](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
+    [](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,
     Statement” accessed February 15, 2017,

-    sida.se/globalassets/sida/eng/press/stockholm-statement.pdf
-26. City of Bologna, Regulation on Collaboration between Citizens and
+    [](http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf)
+[^The-New-World-of-Digital-Commons-26]: City of Bologna, Regulation on Collaboration between Citizens and

     the City for the Care and Regeneration of Urban Commons, trans.
     LabGov (LABoratory for the GOVernance of Commons) (Bologna, Italy:
     City of Bologna, 2014),
     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:
     Berrett-Koehler, 2012), 8–9.
     Revolution; Journeys to a Generative Economy (San Francisco:
     Berrett-Koehler, 2012), 8–9.

-33. Alex Osterwalder and Yves Pigneur, Business Model Generation
+[^The-New-World-of-Digital-Commons-33]: Alex Osterwalder and Yves Pigneur, Business Model Generation

     (Hoboken, NJ: John Wiley and Sons, 2010). A preview of the book is
     (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
+    [](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
     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://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15).
+[^The-New-World-of-Digital-Commons-37]: Henry Chesbrough, Open Innovation: The New Imperative for Creating

     and Profiting from Technology (Boston: Harvard Business Review
     Press, 2006), 31–44.
 
     and Profiting from Technology (Boston: Harvard Business Review
     Press, 2006), 31–44.
 


@@ -1209,7 +1209,7 @@ only a business lens.
 
 According to the seminal handbook Business Model Generation, a business
 model “describes the rationale of how an organization creates, delivers,
 
 According to the seminal handbook Business Model Generation, a business
 model “describes the rationale of how an organization creates, delivers,

-and captures value.”1 Thinking about sharing in terms of creating and
+and captures value.”[^How-to-Be-Made-with-Creative-Commons-1] Thinking about sharing in terms of creating and

 capturing value always felt inappropriately transactional and out of
 place, something we heard time and time again in our interviews. And as
 Cory Doctorow told us in our interview with him, “Business model can
 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


@@ -1274,7 +1274,7 @@ 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
 some ways, this is nothing new. As Doctorow has written, “Creators
 The driving motivation varies depending on the type of endeavor. For
 individual creators, it is most often about personal inspiration. In
 some ways, this is nothing new. As Doctorow has written, “Creators

-usually start doing what they do for love.”2 But when you share your
+usually start doing what they do for love.”[^How-to-Be-Made-with-Creative-Commons-2] But when you share your

 creative work under a CC license, that dynamic is even more pronounced.
 Similarly, for technological innovators, it is often less about creating
 a specific new thing that will make you rich and more about solving a
 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


@@ -1317,7 +1317,7 @@ Some creation costs are the same as they always were. It takes the same
 amount of time and money to write a peer-reviewed journal article or
 paint a painting. Technology can’t change that. But other costs are
 dramatically reduced by technology, particularly in production-heavy
 amount of time and money to write a peer-reviewed journal article or
 paint a painting. Technology can’t change that. But other costs are
 dramatically reduced by technology, particularly in production-heavy

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

 domain, as well as the work of volunteer collaborators, can also
 dramatically reduce costs if they’re being used as resources to create
 something new. And, of course, there is the reality that some content
 domain, as well as the work of volunteer collaborators, can also
 dramatically reduce costs if they’re being used as resources to create
 something new. And, of course, there is the reality that some content


@@ -1326,7 +1326,7 @@ labor of love.
 
 Distributing content is almost universally cheaper than ever. Once
 content is created, the costs to distribute copies digitally are
 
 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


@@ -1342,7 +1342,7 @@ 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.


@@ -1373,7 +1373,7 @@ business in fairly predictable ways. The first is how it helps solve
 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
 Once you create or collect your content, the next step is finding users,
 customers, fans—in other words, your people. As Amanda Palmer wrote, “It
 has to start with the art. The songs had to touch people initially, and

-mean something, for anything to work at all.”6 There isn’t any magic to
+mean something, for anything to work at all.”[^How-to-Be-Made-with-Creative-Commons-6] There isn’t any magic to

 finding your people, and there is certainly no formula. Your work has to
 connect with people and offer them some artistic and/or utilitarian
 value. In some ways, this is easier than ever. Online we are not limited
 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


@@ -1382,7 +1382,7 @@ 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
 different, with different wants and needs, and the Internet now has a
 consumption becomes less about mainstream mass “hits” and more about
 micromarkets for every particular niche. As Anderson wrote, “We are all
 different, with different wants and needs, and the Internet now has a

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

 no longer limited to what appeals to the masses.
 
 While finding “your people” online is theoretically easier than in the
 no longer limited to what appeals to the masses.
 
 While finding “your people” online is theoretically easier than in the


@@ -1391,11 +1391,11 @@ 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
 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
+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
 the rest of their lives, too—“friends, family, music playlists, soccer

-games, and nights on the town.”10 Somehow, some way, you have to get
+games, and nights on the town.”[^How-to-Be-Made-with-Creative-Commons-10] Somehow, some way, you have to get

 noticed by the right people.
 
 When you come to the Internet armed with an all-rights-reserved
 noticed by the right people.
 
 When you come to the Internet armed with an all-rights-reserved


@@ -1404,7 +1404,7 @@ before there is even any demand for it. In many cases, requiring payment
 for your work is part of the traditional copyright system. Even a tiny
 cost has a big effect on demand. It’s called the penny gap—the large
 difference in demand between something that is available at the price of
 for your work is part of the traditional copyright system. Even a tiny
 cost has a big effect on demand. It’s called the penny gap—the large
 difference in demand between something that is available at the price of

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

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


@@ -1413,7 +1413,7 @@ 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
 
 Of course, it’s not that being discovered by people who like your work
 will make you rich—far from it. But as Cory Doctorow says, “Recognition

-is one of many necessary preconditions for artistic success.”12
+is one of many necessary preconditions for artistic success.”[^How-to-Be-Made-with-Creative-Commons-12]

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


@@ -1429,7 +1429,7 @@ 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
 creative work. If people like your work, their natural instinct will be
 to share it with others. But as David Bollier wrote, “Our natural human
 impulses to imitate and share—the essence of culture—have been

-criminalized.”13
+criminalized.”[^How-to-Be-Made-with-Creative-Commons-13]

 
 The fact that copying can carry criminal penalties undoubtedly deters
 copying it, but copying with the click of a button is too easy and
 
 The fact that copying can carry criminal penalties undoubtedly deters
 copying it, but copying with the click of a button is too easy and


@@ -1455,7 +1455,7 @@ 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
 and colleague Eric Steuer once said, “Using CC licenses shows you get
 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


@@ -1463,7 +1463,7 @@ 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


@@ -1497,7 +1497,7 @@ max strategy, adopted by Google and other technology companies.
 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
 According to Google’s Eric Schmidt, the idea is simple: “Take whatever
 it is you are doing and do it at the max in terms of distribution. The
 other way of saying this is that since marginal cost of distribution is

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

 often motivates companies to make their products and services free
 (i.e., no cost), but the same logic applies to making content freely
 shareable. Because CC-licensed content is free (as in cost) and can be
 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 +1507,10 @@ 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 +1523,7 @@ 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


@@ -1579,7 +1579,7 @@ 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


@@ -1608,7 +1608,7 @@ otherwise adapt the work. Depending on the context, adaptation can mean
 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
 wildly different things—translating, updating, localizing, improving,
 transforming. It enables a work to be customized for particular needs,
 uses, people, and communities, which is another distinct value to offer

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

 others. With educational materials, the ability to customize and update
 the content is critically important for its usefulness. For photography,
 the ability to adapt a photo is less important.
 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.


@@ -1616,21 +1616,21 @@ 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
 This is a way to counteract a potential downside of the abundance of
 free and open content described above. As Anderson wrote in Free,
 “People often don’t care as much about things they don’t pay for, and as

-a result they don’t think as much about how they consume them.”22 If
+a result they don’t think as much about how they consume them.”[^How-to-Be-Made-with-Creative-Commons-22] If

 even the tiny act of volition of paying one penny for something changes
 our perception of that thing, then surely the act of remixing it
 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,
 Cognitive Surplus, Clay Shirky says, “To participate is to act as if
 your presence matters, as if, when you see something or hear something,
 
 Actively engaging with the content helps us avoid the type of aimless
 consumption that anyone who has absentmindedly scrolled through their
 social-media feeds for an hour knows all too well. In his book,
 Cognitive Surplus, Clay Shirky says, “To participate is to act as if
 your presence matters, as if, when you see something or hear something,

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

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


@@ -1640,7 +1640,7 @@ 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
 strategies that are embedded in the traditional copyright system, like
 using digital rights management (DRM) and signing exclusivity contracts,
 can tie the hands of creators, often at the expense of the creator’s

-best interest.27 Being Made with Creative Commons means you can function
+best interest.[^How-to-Be-Made-with-Creative-Commons-27] Being Made with Creative Commons means you can function

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


@@ -1655,7 +1655,7 @@ 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


@@ -1670,7 +1670,7 @@ 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
 knowing when markets are an optimal way of organizing interactions and
 costs are particularly high, and then finding a different revenue stream
 (or streams) for ongoing expenses. As Shirky wrote, “The trick is in
 knowing when markets are an optimal way of organizing interactions and

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

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


@@ -1682,11 +1682,11 @@ 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


@@ -1695,7 +1695,7 @@ 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
 owning it. In Free, Anderson wrote, “Copyright protection schemes,
 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,


@@ -1709,7 +1709,7 @@ largely have in the digital age, other things become more valuable.
 “Every abundance creates a new scarcity,” he wrote. You just have to
 find some way other than the content to provide value to your audience
 or customers. As Anderson says, “It’s easy to compete with Free: simply
 “Every abundance creates a new scarcity,” he wrote. You just have to
 find some way other than the content to provide value to your audience
 or customers. As Anderson says, “It’s easy to compete with Free: simply

-offer something better or at least different from the free version.”33
+offer something better or at least different from the free version.”[^How-to-Be-Made-with-Creative-Commons-33]

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


@@ -1726,22 +1726,22 @@ 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
 trick is finding content that matches our needs and wants, so customized
 services are particularly valuable. As Anderson wrote, “Commodity
 information (everybody gets the same version) wants to be free.
 Customized information (you get something unique and meaningful to you)
 
 In this age of information abundance, we don’t lack for content. The
 trick is finding content that matches our needs and wants, so customized
 services are particularly valuable. As Anderson wrote, “Commodity
 information (everybody gets the same version) wants to be free.
 Customized information (you get something unique and meaningful to you)

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

 cultural consulting services provided by Ártica to the custom-song
 business of Jonathan “Song-A-Day” Mann.
 
 cultural consulting services provided by Ártica to the custom-song
 business of Jonathan “Song-A-Day” Mann.
 

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

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

-content and atoms refer to a physical object).35 This is particularly
+content and atoms refer to a physical object).[^How-to-Be-Made-with-Creative-Commons-35] This is particularly

 successful in domains where the digital version of the content isn’t as
 valuable as the analog version, like book publishing where a significant
 subset of people still prefer reading something they can hold in their
 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


@@ -1760,7 +1760,7 @@ 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 +1770,7 @@ 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


@@ -1785,23 +1785,23 @@ 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
+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.
 
 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
 
 Another type of multisided platform is where the content creators
 themselves pay to be featured on the platform. Obviously, this revenue


@@ -1813,10 +1813,10 @@ 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.
 
 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 +1825,7 @@ 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 +1834,7 @@ 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


@@ -1869,9 +1869,9 @@ of human identity, community and culture. It is a vital brain function
 that helps the human species survive and evolve.”
 
 What is rare is to incorporate this sort of relationship into an
 that helps the human species survive and evolve.”
 
 What is rare is to incorporate this sort of relationship into an

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

 think of relationships in the market as being centered on an even-steven
 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 *\[RECIPROCITY-BASED\]*
 


@@ -1982,7 +1982,7 @@ 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


@@ -1998,7 +1998,7 @@ 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
 made them. The stories you tell about the work you do have a huge effect
 on how people feel and what they understand about your work, and how
 people feel and what they understand about your work affects how they

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

 
 A critical component to doing this effectively is not worrying about
 being a “brand.” That means not being afraid to be vulnerable. Amanda
 
 A critical component to doing this effectively is not worrying about
 being a “brand.” That means not being afraid to be vulnerable. Amanda


@@ -2016,7 +2016,7 @@ 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
+“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
 gimmick. You can’t fake being human.
 
 #### Be open and accountable


@@ -2026,20 +2026,20 @@ 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
 told us, “One of the most surprising things you can do in capitalism is
 just be honest with people.” That means sharing the good and the bad. As
 Amanda Palmer wrote, “You can fix almost anything by authentically

-communicating.”45 It isn’t about trying to satisfy everyone or trying to
+communicating.”[^How-to-Be-Made-with-Creative-Commons-45] It isn’t about trying to satisfy everyone or trying to

 sugarcoat mistakes or bad news, but instead about explaining your
 rationale and then being prepared to defend it when people are
 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
 don’t go through the effort to actually respond to the input 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
+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.


@@ -2047,10 +2047,10 @@ 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
+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
 knows this is a fiction—we are much more complicated beings with a whole
 range of needs, emotions, and motivations. In fact, we are hardwired to

-work together and ensure fairness.50 Being Made with Creative Commons
+work together and ensure fairness.[^How-to-Be-Made-with-Creative-Commons-50] Being Made with Creative Commons

 requires an assumption that people will largely act on those social
 motivations, motivations that would be considered “irrational” in an
 economic sense. As Knowledge Unlatched’s Pinter told us, “It is best to
 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


@@ -2063,7 +2063,7 @@ The assumption that people will largely do the right thing can be a
 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
 self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, “Systems
 that assume people will act in ways that create public goods, and that
 give them opportunities and rewards for doing so, often let them work

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

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


@@ -2076,18 +2076,18 @@ alone to make sure citizens act honestly and responsibly. And it’s
 impossible for any organization to rely on contracts alone to make sure
 that its managers and workers live up to their obligation.” Instead, we
 largely trust that people—mostly strangers—will do what they are
 impossible for any organization to rely on contracts alone to make sure
 that its managers and workers live up to their obligation.” Instead, we
 largely trust that people—mostly strangers—will do what they are

-supposed to do.52 And most often, they do.
+supposed to do.[^How-to-Be-Made-with-Creative-Commons-52] And most often, they do.

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


@@ -2097,14 +2097,14 @@ 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
 too easy to destroy them if you make the mistake of treating people as
 When we treat people like humans, they typically return the gift in
 kind. It’s called karma. But social relationships are fragile. It is all
 too easy to destroy them if you make the mistake of treating people as

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

 contributors are especially at risk of creating an exploitative dynamic.
 It is important to find ways to acknowledge and pay back the value that
 contributors generate. That does not mean you can solve this problem by
 simply paying contributors for their time or contributions. As soon as
 we introduce money into a relationship—at least when it takes a form of
 paying monetary value in exchange for other value—it can dramatically
 contributors are especially at risk of creating an exploitative dynamic.
 It is important to find ways to acknowledge and pay back the value that
 contributors generate. That does not mean you can solve this problem by
 simply paying contributors for their time or contributions. As soon as
 we introduce money into a relationship—at least when it takes a form of
 paying monetary value in exchange for other value—it can dramatically

-change the dynamic.56
+change the dynamic.[^How-to-Be-Made-with-Creative-Commons-56]

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


@@ -2130,7 +2130,7 @@ 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
 when you have a sense of purpose that transcends your own
 When your end goal is not about making a profit, people trust that you
 aren’t just trying to extract value for your own gain. People notice
 when you have a sense of purpose that transcends your own

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

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


@@ -2139,7 +2139,7 @@ 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
 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


@@ -2150,12 +2150,12 @@ have to care—about you and each other. One critical piece to this is
 fostering a sense of belonging. As Jono Bacon writes in The Art of
 Community, “If there is no belonging, there is no community.” For Amanda
 Palmer and her band, that meant creating an accepting and inclusive
 fostering a sense of belonging. As Jono Bacon writes in The Art of
 Community, “If there is no belonging, there is no community.” For Amanda
 Palmer and her band, that meant creating an accepting and inclusive

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

 For organizations like Red Hat, that means connecting around common
 beliefs or goals. As the CEO Jim Whitehurst wrote in The Open
 Organization, “Tapping into passion is especially important in building
 the kinds of participative communities that drive open
 For organizations like Red Hat, that means connecting around common
 beliefs or goals. As the CEO Jim Whitehurst wrote in The Open
 Organization, “Tapping into passion is especially important in building
 the kinds of participative communities that drive open

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

 
 Communities that collaborate together take deliberate planning.
 Surowiecki wrote, “It takes a lot of work to put the group together.
 
 Communities that collaborate together take deliberate planning.
 Surowiecki wrote, “It takes a lot of work to put the group together.


@@ -2163,9 +2163,9 @@ 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
 and not in their own. And when there’s a lack of trust between the
 members of the group (which isn’t surprising given that they don’t
 really know each other), considerable energy is wasted trying to

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

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

-rules that govern the community.62 If the rules are created and imposed
+rules that govern the community.[^How-to-Be-Made-with-Creative-Commons-62] If the rules are created and imposed

 in a top-down manner, people feel like they don’t have a voice, which in
 turn leads to disengagement.
 
 in a top-down manner, people feel like they don’t have a voice, which in
 turn leads to disengagement.
 


@@ -2181,10 +2181,10 @@ 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
 explained how the anonymous market-driven trans-actions in most
 the Harvard Business Review website called “The Sharing Economy Isn’t
 about Sharing at All,” authors Giana Eckhardt and Fleura Bardhi
 explained how the anonymous market-driven trans-actions in most

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

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

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

 
 Sharing requires adding as much or more value to the ecosystem than you
 take. You can’t simply treat open content as a free pool of resources
 
 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


@@ -2194,7 +2194,7 @@ 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 +2210,15 @@ 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


@@ -2227,7 +2227,7 @@ 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
 sorts of small contributions would be less useful for many other types
 of creative work, and people are inherently less motivated to contribute
 when it doesn’t appear that their efforts will make much of a

-difference.69
+difference.[^How-to-Be-Made-with-Creative-Commons-69]

 
 It is easy to romanticize the opportunities for global cocreation made
 possible by the Internet, and, indeed, the successful examples of it are
 
 It is easy to romanticize the opportunities for global cocreation made
 possible by the Internet, and, indeed, the successful examples of it are


@@ -2235,7 +2235,7 @@ 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
 circumstances—perhaps more often than not—community cocreation is not
 part of the equation, even within endeavors built on CC content. Shirky
 wrote, “Sometimes the value of professional work trumps the value of

-amateur sharing or a feeling of belonging.70 The textbook publisher
+amateur sharing or a feeling of belonging.[^How-to-Be-Made-with-Creative-Commons-70] The textbook publisher

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


@@ -2244,129 +2244,129 @@ 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
 they do, community cocreation is only rarely a part of the picture. Even
 musician Amanda Palmer, who is famous for her openness and involvement
 with her fans, said, “The only department where I wasn’t open to input

-was the writing, the music itself.”71
+was the writing, the music itself.”[^How-to-Be-Made-with-Creative-Commons-71]

 
 While we tend to immediately think of cocreation and remixing when we
 hear the word collaboration, you can also involve others in your
 creative process in more informal ways, by sharing half-baked ideas and
 early drafts, and interacting with the public to incubate ideas and get
 feedback. So-called “making in public” opens the door to letting people
 
 While we tend to immediately think of cocreation and remixing when we
 hear the word collaboration, you can also involve others in your
 creative process in more informal ways, by sharing half-baked ideas and
 early drafts, and interacting with the public to incubate ideas and get
 feedback. So-called “making in public” opens the door to letting people

-feel more invested in your creative work.72 And it shows a
+feel more invested in your creative work.[^How-to-Be-Made-with-Creative-Commons-72] And it shows a

 nonterritorial approach to ideas and information. Stephen Covey (of The
 7 Habits of Highly Effective People fame) calls this the abundance
 mentality—treating ideas like something plentiful—and it can create an
 nonterritorial approach to ideas and information. Stephen Covey (of The
 7 Habits of Highly Effective People fame) calls this the abundance
 mentality—treating ideas like something plentiful—and it can create an

-environment where collaboration flourishes.73
+environment where collaboration flourishes.[^How-to-Be-Made-with-Creative-Commons-73]

 
 There is no one way to involve people in what you do. They key is
 finding a way for people to contribute on their terms, compelled by
 
 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
+    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.
     Internet Age (San Francisco, CA: McSweeney’s, 2014) 68.

-3.  Ibid., 55.
-4.  Chris Anderson, Free: How Today’s Smartest Businesses Profit by
+[^How-to-Be-Made-with-Creative-Commons-3]:  Ibid., 55.
+[^How-to-Be-Made-with-Creative-Commons-4]:  Chris Anderson, Free: How Today’s Smartest Businesses Profit by

     Giving Something for Nothing, reprint with new preface (New York:
     Hyperion, 2010), 224.
     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,
+[^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.”
     2005), 124. Surowiecki says, “The measure of success of laws and
     contracts is how rarely they are invoked.”

-20. Anderson, Free, 44.
-21. Osterwalder and Pigneur, Business Model Generation, 23.
-22. Anderson, Free, 67.
-23. Ibid., 58.
-24. Anderson, Makers, 71.
-25. Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into
+[^How-to-Be-Made-with-Creative-Commons-20]: Anderson, Free, 44.
+[^How-to-Be-Made-with-Creative-Commons-21]: Osterwalder and Pigneur, Business Model Generation, 23.
+[^How-to-Be-Made-with-Creative-Commons-22]: Anderson, Free, 67.
+[^How-to-Be-Made-with-Creative-Commons-23]: Ibid., 58.
+[^How-to-Be-Made-with-Creative-Commons-24]: Anderson, Makers, 71.
+[^How-to-Be-Made-with-Creative-Commons-25]: Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into

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

-26. Ibid., 21.
-27. Doctorow, Information Doesn’t Want to Be Free, 43.
-28. William Landes Foster, Peter Kim, and Barbara Christiansen, “Ten
+[^How-to-Be-Made-with-Creative-Commons-26]: Ibid., 21.
+[^How-to-Be-Made-with-Creative-Commons-27]: Doctorow, Information Doesn’t Want to Be Free, 43.
+[^How-to-Be-Made-with-Creative-Commons-28]: William Landes Foster, Peter Kim, and Barbara Christiansen, “Ten

     Nonprofit Funding Models,” Stanford Social Innovation Review, Spring
     Nonprofit Funding Models,” Stanford Social Innovation Review, Spring

-    2009, ssir.org/articles/entry/ten\_nonprofit\_funding\_models.
-29. Shirky, Cognitive Surplus, 111.
-30. Osterwalder and Pigneur, Business Model Generation, 30.
-31. Jim Whitehurst, The Open Organization: Igniting Passion and
+    2009, [](http://ssir.org/articles/entry/ten\_nonprofit\_funding\_models).
+[^How-to-Be-Made-with-Creative-Commons-29]: Shirky, Cognitive Surplus, 111.
+[^How-to-Be-Made-with-Creative-Commons-30]: Osterwalder and Pigneur, Business Model Generation, 30.
+[^How-to-Be-Made-with-Creative-Commons-31]: Jim Whitehurst, The Open Organization: Igniting Passion and

     Performance (Boston: Harvard Business Review Press, 2015), 202.
     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
+[^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,
     Sharing at All,” Harvard Business Review (website), January 28,

-    2015, hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all.
-64. Lisa Gansky, The Mesh: Why the Future of Business Is Sharing,
+    2015, [](http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all).
+[^How-to-Be-Made-with-Creative-Commons-64]: Lisa Gansky, The Mesh: Why the Future of Business Is Sharing,

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

-65. David Lee, “Inside Medium: An Attempt to Bring Civility to 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,
     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
+    [](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 +2386,8 @@ 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


@@ -2395,8 +2395,8 @@ 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
 
 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


@@ -2405,30 +2405,30 @@ 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
 works must also acknowledge you, they don’t have to license their
 derivative works on the same terms.
 
 
 The Attribution-NonCommercial license (CC BY-NC) lets others remix,
 tweak, and build upon your work noncommercially. Although their new
 works must also acknowledge you, they don’t have to license their
 derivative works on the same terms.
 

-![](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
 
 The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
 restrictive of our six main licenses, only allowing others to download


@@ -2440,14 +2440,14 @@ 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:
 
 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
 worldwide public domain (“no rights reserved”).
 
 
 CC0 enables authors and copyright owners to dedicate their works to the
 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


@@ -2506,10 +2506,8 @@ 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
 “Share Your Work” at
 For more about the licenses including examples and tips on sharing your
 work in the digital commons, start with the Creative Commons page called
 “Share Your Work” at

+[](http://creativecommons.org/share-your-work/).

 
 

-creativecommons.org/share-your-work/.
-
-# Part 2

 
 # The Case Studies
 
 
 # The Case Studies
 


@@ -2528,21 +2526,21 @@ 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
 
 In 2005, at the Interaction Design Institute Ivrea in northern Italy,
 teachers and students needed an easy way to use electronics and


@@ -2659,7 +2657,7 @@ 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
 materials, and the building of community; this focus is one of the keys
 
 Arduino’s focus is on high-quality boards, well-designed support
 materials, and the building of community; this focus is one of the keys


@@ -2708,7 +2706,7 @@ based on open sharing and which are closed. An Arduino blog post from
 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


@@ -2726,26 +2724,26 @@ 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
+> 
+> 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 story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is
 the ultimate example of DIY. Not only are they successful entrepreneurs,


@@ -2882,20 +2880,20 @@ success, they will get frustrated,” Mariana said. “We try to show them
 another image of what it looks like.”
 
 ## Blender Institute
 another image of what it looks like.”
 
 ## Blender Institute

-
-The Blender Institute is an animation studio that creates 3-D films
-using Blender software. Founded in 2006 in the Netherlands.
-
-www.blender.org
-
-Revenue model: crowdfunding (subscription-based), charging for physical
-copies, selling merchandise
-
-Interview date: March 8, 2016
-
-Interviewee: Francesco Siddi, production coordinator
-
-Profile written by Sarah Hinchliff Pearson
+> 
+> The Blender Institute is an animation studio that creates 3-D films
+> using Blender software. Founded in 2006 in the Netherlands.
+> 
+> [](http://www.blender.org)
+> 
+> **Revenue model**: crowdfunding (subscription-based), charging for physical
+> copies, selling merchandise
+> 
+> **Interview date**: March 8, 2016
+> 
+> **Interviewee**: Francesco Siddi, production coordinator
+> 
+> Profile written by Sarah Hinchliff Pearson

 
 For Ton Roosendaal, the creator of Blender software and its related
 entities, sharing is practical. Making their 3-D content creation
 
 For Ton Roosendaal, the creator of Blender software and its related
 entities, sharing is practical. Making their 3-D content creation


@@ -3038,19 +3036,19 @@ 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
 interesting about the Cards Against Humanity business model. “We make a
 
 If you ask cofounder Max Temkin, there is nothing particularly
 interesting about the Cards Against Humanity business model. “We make a


@@ -3211,21 +3209,21 @@ best strategy. This kind of business model, though, speaks to your
 values, and who you are and why you’re making things.”
 
 ## The Conversation
 values, and who you are and why you’re making things.”
 
 ## The Conversation

-
-The Conversation is an independent source of news, sourced from the
-academic and research community and delivered direct to the public over
-the Internet. Founded in 2011 in Australia.
-
-theconversation.com
-
-Revenue model: charging content creators (universities pay membership
-fees to have their faculties serve as writers), grant funding
-
-Interview date: February 4, 2016
-
-Interviewee: Andrew Jaspan, founder
-
-Profile written by Paul Stacey
+> 
+> The Conversation is an independent source of news, sourced from the
+> academic and research community and delivered direct to the public over
+> the Internet. Founded in 2011 in Australia.
+> 
+> [](http://theconversation.com)
+> 
+> **Revenue model**: charging content creators (universities pay membership
+> fees to have their faculties serve as writers), grant funding
+> 
+> **Interview date**: February 4, 2016
+> 
+> **Interviewee**: Andrew Jaspan, founder
+> 
+> Profile written by Paul Stacey

 
 Andrew Jaspan spent years as an editor of major newspapers including the
 Observer in London, the Sunday Herald in Glasgow, and the Age in
 
 Andrew Jaspan spent years as an editor of major newspapers including the
 Observer in London, the Sunday Herald in Glasgow, and the Age in


@@ -3292,7 +3290,7 @@ 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
 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


@@ -3375,23 +3373,23 @@ citizenry and improved democracy around the world. Its open business
 model and use of Creative Commons show how it’s possible to generate
 both a public good and operational revenue at the same time.
 
 model and use of Creative Commons show how it’s possible to generate
 both a public good and operational revenue at the same time.
 

-Web link
+### Web link

 
 

-1.  theconversation.com/us/charter
+[^The-Conversation-1]:  [](http://theconversation.com/us/charter)

 
 ## Cory Doctorow
 
 ## Cory Doctorow

-
-Cory Doctorow is a science fiction writer, activist, blogger, and
-journalist. Based in the U.S.
-
-craphound.com and boingboing.net
-
-Revenue model: charging for physical copies (book sales),
-pay-what-you-want, selling translation rights to books
-
-Interview date: January 12, 2016
-
-Profile written by Sarah Hinchliff Pearson
+> 
+> Cory Doctorow is a science fiction writer, activist, blogger, and
+> journalist. Based in the U.S.
+> 
+> [](http://craphound.com) and [](http://boingboing.net)
+> 
+> **Revenue model**: charging for physical copies (book sales),
+> pay-what-you-want, selling translation rights to books
+> 
+> **Interview date**: January 12, 2016
+> 
+> Profile written by Sarah Hinchliff Pearson

 
 Cory Doctorow hates the term “business model,” and he is adamant that he
 is not a brand. “To me, branding is the idea that you can take a thing
 
 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


@@ -3566,21 +3564,21 @@ 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 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
 
 Figshare’s mission is to change the face of academic publishing through
 improved dissemination, discoverability, and reusability of scholarly


@@ -3720,10 +3718,10 @@ 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


@@ -3739,7 +3737,7 @@ Mark says his success is partly about being in the right place at the
 right time. He also believes that the diversification of Figshare’s
 model over time has been key to success. Figshare now offers a
 comprehensive set of services to researchers, publishers, and
 right time. He also believes that the diversification of Figshare’s
 model over time has been key to success. Figshare now offers a
 comprehensive set of services to researchers, publishers, and

-institutions.3 If he had relied solely on revenue from premium
+institutions.[^Figshare-3] If he had relied solely on revenue from premium

 subscriptions, he believes Figshare would have struggled. In Figshare’s
 early days, their primary users were early-career and late-career
 academics. It has only been because funders mandated open licensing that
 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


@@ -3764,31 +3762,31 @@ 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.
 
 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
 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,
 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,


@@ -3848,7 +3846,7 @@ 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
 fortunate and important that decision turned out to be. New Zealand’s
 government has an open-access and licensing framework called NZGOAL,
 which provides guidance for agencies when they release copyrighted and

-noncopyrighted work and material.2 It aims to standardize the licensing
+noncopyrighted work and material.[^Figure.NZ-2] It aims to standardize the licensing

 of works with government copyright and how they can be reused, and it
 does this with Creative Commons licenses. As a result, 98 percent of all
 government-agency data is Creative Commons licensed, fitting in nicely
 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


@@ -3915,9 +3913,9 @@ A second line of business is what Figure.NZ calls partners. ASB Bank and
 Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
 example, with their support Figure.NZ has been able to create Business
 Figures, a special way for businesses to find useful data without having
 Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
 example, with their support Figure.NZ has been able to create Business
 Figures, a special way for businesses to find useful data without having

-to know what questions to ask.3
+to know what questions to ask.[^Figure.NZ-3]

 
 

-Figure.NZ also has patrons.4 Patrons donate to topic areas they care
+Figure.NZ also has patrons.[^Figure.NZ-4] Patrons donate to topic areas they care

 about, directly enabling Figure.NZ to get data together to flesh out
 those areas. Patrons do not direct what data is included or excluded.
 
 about, directly enabling Figure.NZ to get data together to flesh out
 those areas. Patrons do not direct what data is included or excluded.
 


@@ -4004,28 +4002,28 @@ users dramatically increasing value for themselves and for others
 through use of their service. Creative Commons is core to making the
 network effect possible.
 
 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


@@ -4114,7 +4112,7 @@ 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 +4123,7 @@ 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


@@ -4192,7 +4190,7 @@ 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
 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,


@@ -4241,35 +4239,35 @@ 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.


@@ -4484,26 +4482,24 @@ others wanting to pursue the open model are to make your commitment to
 open resources public, let people know where you stand, and don’t back
 away from it. It really is about trust.
 
 open resources public, let people know where you stand, and don’t back
 away from it. It really is about trust.
 

-Web link
+### Web link

 
 

-1.  lumenlearning.com/innovative-projects/
+[^Lumen-Learning-1]:  [](http://lumenlearning.com/innovative-projects/)

 
 ## Jonathan Mann
 
 ## Jonathan Mann

-
-Jonathan Mann is a singer and songwriter who is most well known as the
-“Song A Day” guy. Based in the U.S.
-
-jonathanmann.net and
-
-jonathanmann.bandcamp.com
-
-Revenue model: charging for custom services, pay-what-you-want,
-crowdfunding (subscription-based), charging for in-person version
-(speaking engagements and musical performances)
-
-Interview date: February 22, 2016
-
-Profile written by Sarah Hinchliff Pearson
+> 
+> Jonathan Mann is a singer and songwriter who is most well known as the
+> “Song A Day” guy. Based in the U.S.
+> 
+> [](http://jonathanmann.net) and [](http://jonathanmann.bandcamp.com)
+> 
+> **Revenue model**: charging for custom services, pay-what-you-want,
+> crowdfunding (subscription-based), charging for in-person version
+> (speaking engagements and musical performances)
+> 
+> **Interview date**: February 22, 2016
+> 
+> Profile written by Sarah Hinchliff Pearson

 
 Jonathan Mann thinks of his business model as “hustling”—seizing nearly
 every opportunity he sees to make money. The bulk of his income comes
 
 Jonathan Mann thinks of his business model as “hustling”—seizing nearly
 every opportunity he sees to make money. The bulk of his income comes


@@ -4659,20 +4655,20 @@ creative person is not ever going to feel completely satisfied because
 then so much of what drives you would be gone.”
 
 ## Noun Project
 then so much of what drives you would be gone.”
 
 ## Noun Project

-
-The Noun Project is a for-profit company offering an online platform to
-display visual icons from a global network of designers. Founded in 2010
-in the U.S.
-
-thenounproject.com
-
-Revenue model: charging a transaction fee, charging for custom services
-
-Interview date: October 6, 2015
-
-Interviewee: Edward Boatman, cofounder
-
-Profile written by Paul Stacey
+> 
+> The Noun Project is a for-profit company offering an online platform to
+> display visual icons from a global network of designers. Founded in 2010
+> in the U.S.
+> 
+> [](http://thenounproject.com)
+> 
+> **Revenue model**: charging a transaction fee, charging for custom services
+> 
+> **Interview date**: October 6, 2015
+> 
+> **Interviewee**: Edward Boatman, cofounder
+> 
+> Profile written by Paul Stacey

 
 The Noun Project creates and shares visual language. There are millions
 who use Noun Project symbols to simplify communication across borders,
 
 The Noun Project creates and shares visual language. There are millions
 who use Noun Project symbols to simplify communication across borders,


@@ -4701,7 +4697,7 @@ 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.


@@ -4789,7 +4785,7 @@ split 40 percent to the designer and 60 percent to the Noun Project.
 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
 share is higher this time as it’s providing more service to the user.
 
 The Noun Project tries to be completely transparent about their royalty

-structure.2 They tend to over communicate with creators about it because
+structure.[^Noun-Project-2] They tend to over communicate with creators about it because

 building trust is the top
 priority.
 
 building trust is the top
 priority.
 


@@ -4848,7 +4844,7 @@ 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
 also search the icons by the creator’s name.
 
 The Noun Project also builds community through Iconathons—hackathons for

-icons.2 In partnership with a sponsoring organization, the Noun Project
+icons.[^Noun-Project-2] In partnership with a sponsoring organization, the Noun Project

 comes up with a theme (e.g., sustainable energy, food bank, guerrilla
 gardening, human rights) and a list of icons that are needed, which
 designers are invited to create at the event. The results are
 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


@@ -4863,28 +4859,28 @@ 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.
 
 celebrating the world’s visual language. Integrating Creative Commons
 into their model has been key to that goal.
 

-Web links
+### Web links

 
 

-1.  www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description
-2.  thenounproject.com/handbook/royalties/\#getting\_paid
-3.  thenounproject.com/iconathon/
+[^Noun-Project-1]:  [](http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description)
+[^Noun-Project-2]:  [](http://thenounproject.com/handbook/royalties/\#getting\_paid)
+[^Noun-Project-3]:  [](http://thenounproject.com/iconathon/)

 
 ## Open Data Institute
 
 ## 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,
 
 Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
 London-based Open Data Institute (ODI) offers data-related training,


@@ -4915,7 +4911,7 @@ and open-data initiatives.) It goes on to say that the ODI wants to—
 -   develop the economic benefits case and business models for open
     data;
 -   help UK businesses use open data; and
 -   develop the economic benefits case and business models for open
     data;
 -   help UK businesses use open data; and

--   show how open data can improve public services.1
+-   show how open data can improve public services.[^Open-Data-Institute-1]

 
 ODI is very explicit about how it wants to make open business models,
 and defining what this means. Jeni Tennison, ODI’s technical director,
 
 ODI is very explicit about how it wants to make open business models,
 and defining what this means. Jeni Tennison, ODI’s technical director,


@@ -4956,7 +4952,7 @@ 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


@@ -5030,7 +5026,7 @@ 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.
 Memberships, training, summits, consulting services, nodes, and start-up
 
 A big part of ODI’s business model revolves around community building.
 Memberships, training, summits, consulting services, nodes, and start-up


@@ -5044,7 +5040,7 @@ ODI has created an online tool that organizations can use to assess the
 legal, practical, technical, and social aspects of their open data. If
 it is of high quality, the organization can earn ODI’s Open Data
 Certificate, a globally recognized mark that signals that their open
 legal, practical, technical, and social aspects of their open data. If
 it is of high quality, the organization can earn ODI’s Open Data
 Certificate, a globally recognized mark that signals that their open

-data is useful, reliable, accessible, discoverable, and supported.4
+data is useful, reliable, accessible, discoverable, and supported.[^Open-Data-Institute-4]

 
 Separate from commercial activities, the ODI generates funding through
 research grants. Research includes looking at evidence on the impact of
 
 Separate from commercial activities, the ODI generates funding through
 research grants. Research includes looking at evidence on the impact of


@@ -5086,32 +5082,32 @@ 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


@@ -5168,7 +5164,7 @@ 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
 For the most part, designers love the idea of sharing content. They
 understand that you get positive feedback when you’re attributed, what
 Nick and Joni called “reputational glow.” And Opendesk does an awesome

-job profiling the designers.1
+job profiling the designers.[^OpenDesk-1]

 
 While designers are largely OK with personal sharing, there is a concern
 that someone will take the design and manufacture the furniture in bulk,
 
 While designers are largely OK with personal sharing, there is a concern
 that someone will take the design and manufacture the furniture in bulk,


@@ -5190,7 +5186,7 @@ them. Joni said, “Finding a whole network and community of makers was
 pretty easy because we built a site where people could write in about
 their capabilities. Building the community by learning from the maker
 community is how we have moved forward.” Opendesk now has relationships
 pretty easy because we built a site where people could write in about
 their capabilities. Building the community by learning from the maker
 community is how we have moved forward.” Opendesk now has relationships

-with hundreds of makers in countries all around the world.2
+with hundreds of makers in countries all around the world.[^OpenDesk-2]

 
 The makers are a critical part of the Opendesk business model. Their
 model builds off the makers’ quotes. Here’s how it’s expressed on
 
 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


@@ -5219,7 +5215,7 @@ they pay:
     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)
     on-site assembly (additional services are discretionary—in many
     cases makers will be happy to quote for assembly on-site and
     designers may offer bespoke design options)

--   local sales taxes (variable by customer and maker location)3
+-   local sales taxes (variable by customer and maker location)[^OpenDesk-3]

 
 They then go into detail how makers’ quotes are created:
 
 
 They then go into detail how makers’ quotes are created:
 


@@ -5276,7 +5272,7 @@ Nick and Joni are taking a community-based approach to define and evolve
 Opendesk and the “open making” business model. They’re engaging thought
 leaders and practitioners to define this new movement. They have a
 separate Open Making site, which includes a manifesto, a field guide,
 Opendesk and the “open making” business model. They’re engaging thought
 leaders and practitioners to define this new movement. They have a
 separate Open Making site, which includes a manifesto, a field guide,

-and an invitation to get involved in the Open Making community.4 People
+and an invitation to get involved in the Open Making community.[^OpenDesk-4] People

 can submit ideas and discuss the principles and business practices
 they’d like to see used.
 
 can submit ideas and discuss the principles and business practices
 they’d like to see used.
 


@@ -5327,29 +5323,29 @@ 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.
 
 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


@@ -5387,7 +5383,7 @@ 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


@@ -5413,7 +5409,7 @@ 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
 calculator they can use to see how much students would save. OpenStax
 Institutions can stand out by offering students a lower-cost education
 through the use of OpenStax textbooks; there’s even a textbook-savings
 calculator they can use to see how much students would save. OpenStax

-keeps a running list of institutions that have adopted their textbooks.2
+keeps a running list of institutions that have adopted their textbooks.[^OpenStax-2]

 
 Unlike traditional publishers’ monolithic approach of controlling
 intellectual property, distribution, and so many other aspects, OpenStax
 
 Unlike traditional publishers’ monolithic approach of controlling
 intellectual property, distribution, and so many other aspects, OpenStax


@@ -5574,28 +5570,28 @@ 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
 calls a “journey with no roadmap,” continually experimenting to find new
 
 Since the beginning of her career, Amanda Palmer has been on what she
 calls a “journey with no roadmap,” continually experimenting to find new

-ways to sustain her creative work. 1
+ways to sustain her creative work.[^Amanda-Palmer-1]

 
 In her best-selling book, The Art of Asking, Amanda articulates exactly
 what she has been and continues to strive for—“the ideal sweet spot . .
 
 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 . .


@@ -5765,26 +5761,26 @@ 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.
 
 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
 scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started
 
 The Public Library of Science (PLOS) began in 2000 when three leading
 scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started


@@ -5977,11 +5973,11 @@ 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 +6003,28 @@ 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


@@ -6065,7 +6061,7 @@ Rijksmuseum collection? That eventually led to why not put the whole
 collection online?
 
 Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
 collection online?
 
 Then, Lizzy says, Europeana came along. Europeana is Europe’s digital

-library, museum, and archive for cultural heritage.1 As an online portal
+library, museum, and archive for cultural heritage.[^Rijksmuseum-1] As an online portal

 to museum collections all across Europe, Europeana had become an
 important online platform. In October 2010 Creative Commons released CC0
 and its public-domain mark as tools people could use to identify works
 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


@@ -6146,7 +6142,7 @@ create a new web presence that would be different from any other
 museum’s. In addition to redesigning their main website to be mobile
 friendly and responsive to devices like the iPad, the Rijksmuseum also
 created the Rijksstudio, where users and artists could use and do
 museum’s. In addition to redesigning their main website to be mobile
 friendly and responsive to devices like the iPad, the Rijksmuseum also
 created the Rijksstudio, where users and artists could use and do

-various things with the Rijksmuseum collection.2
+various things with the Rijksmuseum collection.[^Rijksmuseum-2]

 
 The Rijksstudio gives users access to over two hundred thousand
 high-quality digital representations of masterworks from the collection.
 
 The Rijksstudio gives users access to over two hundred thousand
 high-quality digital representations of masterworks from the collection.


@@ -6180,10 +6176,10 @@ 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 +6187,7 @@ 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.
 


@@ -6234,31 +6230,31 @@ 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.”
 
 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,
 
 In 2013, Shareable faced an impasse. The nonprofit online publication
 had helped start a sharing movement four years prior, but over time,


@@ -6404,20 +6400,20 @@ 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


@@ -6439,7 +6435,7 @@ available.
 
 As physicists, Mark and his colleagues were advocates of open-source
 software. To make the books open and free, they adopted the Free
 
 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


@@ -6461,7 +6457,7 @@ 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
+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.
 
 open content for all subjects for K–12 in English. That project became
 Siyavula.
 


@@ -6489,7 +6485,7 @@ 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
 teachers to be able to remix and edit the content. Mark and his team had
 to come up with an open editable format and provide tools for editing.
 They ended up putting all the books they’d acquired and authored on a

-platform called Connexions.3 Siyavula trained many teachers to use
+platform called Connexions.[^Siyavula-3] Siyavula trained many teachers to use

 Connexions, but it proved to be too complex and the textbooks were
 rarely edited.
 
 Connexions, but it proved to be too complex and the textbooks were
 rarely edited.
 


@@ -6599,7 +6595,7 @@ 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


@@ -6675,27 +6671,27 @@ 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


@@ -6749,7 +6745,7 @@ 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
 realized there was a void in the market. “If you wanted to place an
 order for something,” he said, “you first had to search far and wide to
 find it, and then you had to call or fax someone.” In 2003, during his

-third year of college, he registered sparkfun.com and started reselling
+third year of college, he registered [](http://sparkfun.com) and started reselling

 products out of his bedroom. After he graduated, he started making and
 selling his own products.
 
 products out of his bedroom. After he graduated, he started making and
 selling his own products.
 


@@ -6860,20 +6856,20 @@ 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.


@@ -7048,20 +7044,20 @@ quickly scale their materials worldwide. “The Creative Commons license
 has been a game changer for TeachAIDS,” Piya said.
 
 ## Tribe of Noise
 has been a game changer for TeachAIDS,” Piya said.
 
 ## Tribe of Noise

-
-Tribe of Noise is a for-profit online music platform serving the film,
-TV, video, gaming, and in-store-media industries. Founded in 2008 in the
-Netherlands.
-
-www.tribeofnoise.com
-
-Revenue model: charging a transaction fee
-
-Interview date: January 26, 2016
-
-Interviewee: Hessel van Oorschot, cofounder
-
-Profile written by Paul Stacey
+> 
+> Tribe of Noise is a for-profit online music platform serving the film,
+> TV, video, gaming, and in-store-media industries. Founded in 2008 in the
+> Netherlands.
+> 
+> [](http://www.tribeofnoise.com)
+> 
+> **Revenue model**: charging a transaction fee
+> 
+> **Interview date**: January 26, 2016
+> 
+> **Interviewee**: Hessel van Oorschot, cofounder
+> 
+> Profile written by Paul Stacey

 
 In the early 2000s, Hessel van Oorschot was an entrepreneur running a
 business where he coached other midsize entrepreneurs how to create an
 
 In the early 2000s, Hessel van Oorschot was an entrepreneur running a
 business where he coached other midsize entrepreneurs how to create an


@@ -7106,7 +7102,7 @@ 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.


@@ -7151,7 +7147,7 @@ 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


@@ -7242,26 +7238,26 @@ 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.
 
 best interests in mind. Creative Commons makes it possible to create a
 new business model for music, a model that’s based on trust.
 

-Web links
+### Web links

 
 

-1.  www.instoremusicservice.com
-2.  www.tribeofnoise.com/info\_instoremusic.php
+[^Tribe-of-Noise-1]:  [](http://www.instoremusicservice.com)
+[^Tribe-of-Noise-2]:  [](http://www.tribeofnoise.com/info\_instoremusic.php)

 
 ## Wikimedia Foundation
 
 ## 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.
 


@@ -7364,7 +7360,7 @@ 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
 incredible diversity of motivations,” Stephen said. For example, there
 is one editor of the English Wikipedia edition who has corrected a
 single grammatical error in articles more than forty-eight thousand

-times.1 Only a fraction of Wikipedia users are also editors. But editing
+times.[^Wikimedia-Foundation-1] Only a fraction of Wikipedia users are also editors. But editing

 is not the only way to contribute to Wikipedia. “Some donate text, some
 donate images, some donate financially,” Stephen told us. “They are all
 contributors.”
 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.”


@@ -7410,11 +7406,11 @@ 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
 
 Alperovitz, Gar. What Then Must We Do? Straight Talk about the Next
 American Revolution; Democratizing Wealth and Building a


@@ -7435,18 +7431,18 @@ Media, 2012.
 
 Benkler, Yochai. The Wealth of Networks: How Social Production
 Transforms Markets and Freedom. New Haven: Yale University Press, 2006.
 
 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.


@@ -7456,8 +7452,8 @@ 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.
 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.


@@ -7468,7 +7464,7 @@ Collaborative Consumption. New York: Harper Business, 2010.
 Boyle, James. The Public Domain: Enclosing the Commons of the Mind. New
 Haven: Yale University Press, 2008.
 
 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,


@@ -7484,26 +7480,26 @@ 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 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,
 Madison, and Strandburg, Governing Knowledge Commons.
 
 Creative Commons. 2015 State of the Commons. Mountain View, CA: Creative
 
 Cole, Daniel H. “Learning from Lin: Lessons and Cautions from the
 Natural Commons for the Knowledge Commons.” Chap. 2 in Frischmann,
 Madison, and Strandburg, Governing Knowledge Commons.
 
 Creative Commons. 2015 State of the Commons. Mountain View, CA: Creative

-Commons, 2015. stateof.creativecommons.org/2015/.
+Commons, 2015. [](http://stateof.creativecommons.org/2015/).

 
 Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the
 Internet Age. San Francisco: McSweeney’s, 2014.
 
 Eckhardt, Giana, and Fleura Bardhi. “The Sharing Economy Isn’t about
 Sharing at All.” Harvard Business Review, January 28, 2015.
 
 Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the
 Internet Age. San Francisco: McSweeney’s, 2014.
 
 Eckhardt, Giana, and Fleura Bardhi. “The Sharing Economy Isn’t about
 Sharing at All.” Harvard Business Review, January 28, 2015.

-hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all.
+[](http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all).

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


@@ -7513,7 +7509,7 @@ 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
 
 Foster, William Landes, Peter Kim, and Barbara Christiansen. “Ten
 Nonprofit Funding Models.” Stanford Social Innovation Review, Spring

-2009. ssir.org/articles/entry/ten\_nonprofit\_funding\_models.
+2009. [](http://ssir.org/articles/entry/ten\_nonprofit\_funding\_models).

 
 Frischmann, Brett M. Infrastructure: The Social Value of Shared
 Resources. New York: Oxford University Press, 2012.
 
 Frischmann, Brett M. Infrastructure: The Social Value of Shared
 Resources. New York: Oxford University Press, 2012.


@@ -7553,7 +7549,6 @@ 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
 Berrett-Koehler, 2012.
 
 Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and Get


@@ -7566,7 +7561,7 @@ 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
 New York: Morgan James, 2016.
 
 Lee, David. “Inside Medium: An Attempt to Bring Civility to the

-Internet.” BBC News, March 3, 2016. www.bbc.com/news/technology-35709680
+Internet.” BBC News, March 3, 2016. [](http://www.bbc.com/news/technology-35709680)

 
 Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid
 Economy. New York: Penguin Press, 2008.
 
 Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid
 Economy. New York: Penguin Press, 2008.


@@ -7579,15 +7574,15 @@ 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.


@@ -7595,18 +7590,18 @@ 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
 Source by an Accidental Revolutionary. Rev. ed. Sebastopol, CA: O’Reilly
 Media, 2001. See esp. “The Magic Cauldron.”
 (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/.
+[](http://www.catb.org/esr/writings/cathedral-bazaar/).

 
 Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous
 Innovation to Create Radically Successful Businesses. New York: Crown
 
 Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous
 Innovation to Create Radically Successful Businesses. New York: Crown


@@ -7658,19 +7653,19 @@ 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