-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2534
-msgid "<span id=\"anchor-69\"></span>Arduino"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2537
-msgid "Arduino is a for-profit open-source electronics platform and computer hardware and software company. Founded in 2005 in Italy."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2539
-msgid "www.arduino.cc"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2543
-msgid "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)"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2545 MadewithCreativeCommonsmostup-to-dateversion.md:3231
-msgid "Interview date: February 4, 2016"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2547
-msgid "Interviewees: David Cuartielles and Tom Igoe, cofounders"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2549 MadewithCreativeCommonsmostup-to-dateversion.md:3235 MadewithCreativeCommonsmostup-to-dateversion.md:3591 MadewithCreativeCommonsmostup-to-dateversion.md:3797 MadewithCreativeCommonsmostup-to-dateversion.md:4038 MadewithCreativeCommonsmostup-to-dateversion.md:4276 MadewithCreativeCommonsmostup-to-dateversion.md:4691 MadewithCreativeCommonsmostup-to-dateversion.md:4904 MadewithCreativeCommonsmostup-to-dateversion.md:5131 MadewithCreativeCommonsmostup-to-dateversion.md:5369 MadewithCreativeCommonsmostup-to-dateversion.md:5806 MadewithCreativeCommonsmostup-to-dateversion.md:6051 MadewithCreativeCommonsmostup-to-dateversion.md:6441 MadewithCreativeCommonsmostup-to-dateversion.md:7086
-msgid "Profile written by Paul Stacey"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2561
-msgid ""
-"In 2005, at the Interaction Design Institute Ivrea in northern Italy, teachers and students needed an easy way to use electronics and programming to quickly prototype design ideas. As musicians, artists, and designers, they needed a platform that didn’t require engineering expertise. A group of teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe, Gianluca Martino, and David Mellis, built a platform that combined different open technologies. They called it Arduino. The platform integrated software, hardware, microcontrollers, and electronics. All aspects of the platform were openly licensed: hardware designs and documentation with the Attribution-Share-Alike license (CC BY-SA), and software with the GNU "
-"General Public License."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2569
-msgid "Arduino boards are able to read inputs—light on a sensor, a finger on a button, or a Twitter message—and turn it into outputs—activating a motor, turning on an LED, publishing something online. You send a set of instructions to the microcontroller on the board by using the Arduino programming language and Arduino software (based on a piece of open-source software called Processing, a programming tool used to make visual art)."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2576
-msgid "“The reasons for making Arduino open source are complicated,” Tom says. Partly it was about supporting flexibility. The open-source nature of Arduino empowers users to modify it and create a lot of different variations, adding on top of what the founders build. David says this “ended up strengthening the platform far beyond what we had even thought of building.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2584
-msgid "For Tom another factor was the impending closure of the Ivrea design school. He’d seen other organizations close their doors and all their work and research just disappear. Open-sourcing ensured that Arduino would outlive the Ivrea closure. Persistence is one thing Tom really likes about open source. If key people leave, or a company shuts down, an open-source product lives on. In Tom’s view, “Open sourcing makes it easier to trust a"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2586
-msgid "product.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2593
-msgid "With the school closing, David and some of the other Arduino founders started a consulting firm and multidisciplinary design studio they called Tinker, in London. Tinker designed products and services that bridged the digital and the physical, and they taught people how to use new technologies in creative ways. Revenue from Tinker was invested in sustaining and enhancing Arduino."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2600
-msgid "For Tom, part of Arduino’s success is because the founders made themselves the first customer of their product. They made products they themselves personally wanted. It was a matter of “I need this thing,” not “If we make this, we’ll make a lot of money.” Tom notes that being your own first customer makes you more confident and convincing at selling your product."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2612
-msgid "Arduino’s business model has evolved over time—and Tom says model is a grandiose term for it. Originally, they just wanted to make a few boards and get them out into the world. They started out with two hundred boards, sold them, and made a little profit. They used that to make another thousand, which generated enough revenue to make five thousand. In the early days, they simply tried to generate enough funding to keep the venture going day to day. When they hit the ten thousand mark, they started to think about Arduino as a company. By then it was clear you can open-source the design but still manufacture the physical product. As long as it’s a quality product and sold at a reasonable price, people will buy it."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2625
-msgid ""
-"Arduino now has a worldwide community of makers—students, hobbyists, artists, programmers, and professionals. Arduino provides a wiki called Playground (a wiki is where all users can edit and add pages, contributing to and benefiting from collective research). People share code, circuit diagrams, tutorials, DIY instructions, and tips and tricks, and show off their projects. In addition, there’s a multilanguage discussion forum where users can get help using Arduino, discuss topics like robotics, and make suggestions for new Arduino product designs. As of January 2017, 324,928 members had made 2,989,489 posts on 379,044 topics. The worldwide community of makers has contributed an incredible amount of accessible knowledge helpful to "
-"novices and experts alike."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2632
-msgid "Transitioning Arduino from a project to a company was a big step. Other businesses who made boards were charging a lot of money for them. Arduino wanted to make theirs available at a low price to people across a wide range of industries. As with any business, pricing was key. They wanted prices that would get lots of customers but were also high enough to sustain the business."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2638
-msgid "For a business, getting to the end of the year and not being in the red is a success. Arduino may have an open-licensing strategy, but they are still a business, and all the things needed to successfully run one still apply. David says, “If you do those other things well, sharing things in an open-source way can only help you.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2648
-msgid "While openly licensing the designs, documentation, and software ensures longevity, it does have risks. There’s a possibility that others will create knockoffs, clones, and copies. The CC BY-SA license means anyone can produce copies of their boards, redesign them, and even sell boards that copy the design. They don’t have to pay a license fee to Arduino or even ask permission. However, if they republish the design of the board, they have to give attribution to Arduino. If they change the design, they must release the new design using the same Creative Commons license to ensure that the new version is equally free and open."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2658
-msgid "Tom and David say that a lot of people have built companies off of Arduino, with dozens of Arduino derivatives out there. But in contrast to closed business models that can wring money out of the system over many years because there is no competition, Arduino founders saw competition as keeping them honest, and aimed for an environment of collaboration. A benefit of open over closed is the many new ideas and designs others have contributed back to the Arduino ecosystem, ideas and designs that Arduino and the Arduino community use and incorporate into new products."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2667
-msgid "Over time, the range of Arduino products has diversified, changing and adapting to new needs and challenges. In addition to simple entry level boards, new products have been added ranging from enhanced boards that 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 plugged onto a board to give it extra features), and kits.1"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2678
-msgid "Arduino’s focus is on high-quality boards, well-designed support materials, and the building of community; this focus is one of the keys to their success. And being open lets you build a real community. David says Arduino’s community is a big strength and something that really does matter—in his words, “It’s good business.” When they started, the Arduino team had almost entirely no idea how to build a community. They started by conducting numerous workshops, working directly with people using the platform to make sure the hardware and software worked the way it was meant to work and solved people’s problems. The community grew organically from there."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2688
-msgid "A key decision for Arduino was trademarking the name. The founders needed a way to guarantee to people that they were buying a quality product from a company committed to open-source values and knowledge sharing. Trademarking the Arduino name and logo expresses that guarantee and helps customers easily identify their products, and the products sanctioned by them. If others want to sell boards using the Arduino name and logo, they have to pay a small fee to Arduino. This allows Arduino to scale up manufacturing and distribution while at the same time ensuring the Arduino brand isn’t hurt by low-quality copies."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2696
-msgid "Current official manufacturers are Smart Projects in Italy, SparkFun in the United States, and Dog Hunter in Taiwan/China. These are the only manufacturers that are allowed to use the Arduino logo on their boards. Trademarking their brand provided the founders with a way to protect Arduino, build it out further, and fund software and tutorial development. The trademark-licensing fee for the brand became Arduino’s revenue-generating model."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2703
-msgid "How far to open things up wasn’t always something the founders perfectly agreed on. David, who was always one to advocate for opening things up more, had some fears about protecting the Arduino name, thinking people would be mad if they policed their brand. There was some early backlash with a project called Freeduino, but overall, trademarking and branding has been a critical tool for Arduino."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2716
-msgid ""
-"David encourages people and businesses to start by sharing everything as a default strategy, and then think about whether there is anything that really needs to be protected and why. There are lots of good reasons to not open up certain elements. This strategy of sharing everything is certainly the complete opposite of how today’s world operates, where nothing is shared. Tom suggests a business formalize which elements are based on open sharing and which are closed. An Arduino blog post from 2013 entitled “Send In the Clones,” by one of the founders Massimo Banzi, does a great job of explaining the full complexities of how trademarking their brand has played out, distinguishing between official boards and those that are clones, "
-"derivatives, compatibles, and counterfeits.2"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2722
-msgid "For David, an exciting aspect of Arduino is the way lots of people can use it to adapt technology in many different ways. Technology is always making more things possible but doesn’t always focus on making it easy to use and adapt. This is where Arduino steps in. Arduino’s goal is “making things that help other people make things.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2728
-msgid "Arduino has been hugely successful in making technology and electronics reach a larger audience. For Tom, Arduino has been about “the democratization of technology.” Tom sees Arduino’s open-source strategy as helping the world get over the idea that technology has to be protected. Tom says, “Technology is a literacy everyone should learn.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2732
-msgid "Ultimately, for Arduino, going open has been good business—good for product development, good for distribution, good for pricing, and good for manufacturing."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2734 MadewithCreativeCommonsmostup-to-dateversion.md:3776 MadewithCreativeCommonsmostup-to-dateversion.md:4017 MadewithCreativeCommonsmostup-to-dateversion.md:4255 MadewithCreativeCommonsmostup-to-dateversion.md:4883 MadewithCreativeCommonsmostup-to-dateversion.md:5108 MadewithCreativeCommonsmostup-to-dateversion.md:5347 MadewithCreativeCommonsmostup-to-dateversion.md:5594 MadewithCreativeCommonsmostup-to-dateversion.md:6029 MadewithCreativeCommonsmostup-to-dateversion.md:6258 MadewithCreativeCommonsmostup-to-dateversion.md:6700 MadewithCreativeCommonsmostup-to-dateversion.md:7268
-msgid "Web links"
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2737
-msgid "www.arduino.cc/en/Main/Products"
-msgstr ""
-
-#. type: Bullet: '2. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2737
-msgid "blog.arduino.cc/2013/07/10/send-in-the-clones/"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2739
-msgid "<span id=\"anchor-70\"></span>Ártica"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2743
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2745
-msgid "www.articaonline.com"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2747
-msgid "Revenue model: charging for custom services"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2749
-msgid "Interview date: March 9, 2016"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2751
-msgid "Interviewees: Mariana Fossatti and Jorge Gemetto, cofounders"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2753 MadewithCreativeCommonsmostup-to-dateversion.md:2903 MadewithCreativeCommonsmostup-to-dateversion.md:3058 MadewithCreativeCommonsmostup-to-dateversion.md:3402 MadewithCreativeCommonsmostup-to-dateversion.md:4520 MadewithCreativeCommonsmostup-to-dateversion.md:5611 MadewithCreativeCommonsmostup-to-dateversion.md:6282 MadewithCreativeCommonsmostup-to-dateversion.md:6720 MadewithCreativeCommonsmostup-to-dateversion.md:6898 MadewithCreativeCommonsmostup-to-dateversion.md:7287
-msgid "Profile written by Sarah Hinchliff Pearson"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2758
-msgid "The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the ultimate example of DIY. Not only are they successful entrepreneurs, the niche in which their small business operates is essentially one they built themselves."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2760
-msgid "Their dream jobs didn’t exist, so they created them."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2770
-msgid "In 2011, Mariana was a sociologist working for an international organization to develop research and online education about rural-development issues. Jorge was a psychologist, also working in online education. Both were bloggers and heavy users of social media, and both had a passion for arts and culture. They decided to take their skills in digital technology and online learning and apply them to a topic area they loved. They launched Ártica, an online business that provides education and consulting for people and institutions creating artistic and cultural projects on the Internet."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2781
-msgid "Ártica feels like a uniquely twenty-first century business. The small company has a global online presence with no physical offices. Jorge and Mariana live in Uruguay, and the other two full-time employees, who Jorge and Mariana have never actually met in person, live in Spain. They started by creating a MOOC (massive open online course) about remix culture and collaboration in the arts, which gave them a direct way to reach an international audience, attracting students from across Latin America and Spain. In other words, it is the classic Internet story of being able to directly tap into an audience without relying upon gatekeepers or intermediaries."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2790
-msgid "Ártica offers personalized education and consulting services, and helps clients implement projects. All of these services are customized. They call it an “artisan” process because of the time and effort it takes to adapt their work for the particular needs of students and clients. “Each student or client is paying for a specific solution to his or her problems and questions,” Mariana said. Rather than sell access to their content, they provide it for free and charge for the personalized services."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2797
-msgid "When they started, they offered a smaller number of courses designed to attract large audiences. “Over the years, we realized that online communities are more specific than we thought,” Mariana said. Ártica now provides more options for classes and has lower enrollment in each course. This means they can provide more attention to individual students and offer classes on more specialized topics."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2803
-msgid "Online courses are their biggest revenue stream, but they also do more than a dozen consulting projects each year, ranging from digitization to event planning to marketing campaigns. Some are significant in scope, particularly when they work with cultural institutions, and some are smaller projects commissioned by individual artists."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2809
-msgid "Ártica also seeks out public and private funding for specific projects. Sometimes, even if they are unsuccessful in subsidizing a project like a new course or e-book, they will go ahead because they believe in it. They take the stance that every new project leads them to something new, every new resource they create opens new doors."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2823
-msgid ""
-"Ártica relies heavily on their free Creative Commons–licensed content to attract new students and clients. Everything they create—online education, blog posts, videos—is published under an Attribution-ShareAlike license (CC BY-SA). “We use a ShareAlike license because we want to give the greatest freedom to our students and readers, and we also want that freedom to be viral,” Jorge said. For them, giving others the right to reuse and remix their content is a fundamental value. “How can you offer an online educational service without giving permission to download, make and keep copies, or print the educational resources?” Jorge said. “If we want to do the best for our students—those who trust in us to the point that they are willing "
-"to pay online without face-to-face contact—we have to offer them a fair and ethical agreement.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2829
-msgid "They also believe sharing their ideas and expertise openly helps them build their reputation and visibility. People often share and cite their work. A few years ago, a publisher even picked up one of their e-books and distributed printed copies. Ártica views reuse of their work as a way to open up new opportunities for their business."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2838
-msgid "This belief that openness creates new opportunities reflects another belief—in serendipity. When describing their process for creating content, they spoke of all of the spontaneous and organic ways they find inspiration. “Sometimes, the collaborative process starts with a conversation between us, or with friends from other projects,” Jorge said. “That can be the first step for a new blog post or another simple piece of content, which can evolve to a more complex product in the future, like a course or a book.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2846
-msgid "Rather than planning their work in advance, they let their creative process be dynamic. “This doesn’t mean that we don’t need to work hard in order to get good professional results, but the design process is more flexible,” Jorge said. They share early and often, and they adjust based on what they learn, always exploring and testing new ideas and ways of operating. In many ways, for them, the process is just as important as the final product."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2852
-msgid "People and relationships are also just as important, sometimes more. “In the educational and cultural business, it is more important to pay attention to people and process, rather than content or specific formats or materials,” Mariana said. “Materials and content are fluid. The important thing is the relationships.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2856
-msgid "Ártica believes in the power of the network. They seek to make connections with people and institutions across the globe so they can learn from them and share their knowledge."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2867
-msgid "At the core of everything Ártica does is a set of values. “Good content is not enough,” Jorge said. “We also think that it is very important to take a stand for some things in the cultural sector.” Mariana and Jorge are activists. They defend free culture (the movement promoting the freedom to modify and distribute creative work) and work to demonstrate the intersection between free culture and other social-justice movements. Their efforts to involve people in their work and enable artists and cultural institutions to better use technology are all tied closely to their belief system. Ultimately, what drives their work is a mission to democratize art and culture."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2875
-msgid "Of course, Ártica also has to make enough money to cover its expenses. Human resources are, by far, their biggest expense. They tap a network of collaborators on a case-by-case basis and hire contractors for specific projects. Whenever possible, they draw from artistic and cultural resources in the commons, and they rely on free software. Their operation is small, efficient, and sustainable, and because of that, it is a success."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2881
-msgid "“There are lots of people offering online courses,” Jorge said. “But it is easy to differentiate us. We have an approach that is very specific and personal.” Ártica’s model is rooted in the personal at every level. For Mariana and Jorge, success means doing what brings them personal meaning and purpose, and doing it sustainably and collaboratively."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2887
-msgid "In their work with younger artists, Mariana and Jorge try to emphasize that this model of success is just as valuable as the picture of success we get from the media. “If they seek only the traditional type of success, they will get frustrated,” Mariana said. “We try to show them another image of what it looks like.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2889
-msgid "<span id=\"anchor-71\"></span>Blender Institute"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2892
-msgid "The Blender Institute is an animation studio that creates 3-D films using Blender software. Founded in 2006 in the Netherlands."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2894
-msgid "www.blender.org"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2897
-msgid "Revenue model: crowdfunding (subscription-based), charging for physical copies, selling merchandise"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2899
-msgid "Interview date: March 8, 2016"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2901
-msgid "Interviewee: Francesco Siddi, production coordinator"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2912
-msgid "For Ton Roosendaal, the creator of Blender software and its related entities, sharing is practical. Making their 3-D content creation software available under a free software license has been integral to its development and popularity. Using that software to make movies that were licensed with Creative Commons pushed that development even further. Sharing enables people to participate and to interact with and build upon the technology and content they create in a way that benefits Blender and its community in concrete ways."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2921
-msgid "Each open-movie project Blender runs produces a host of openly licensed outputs, not just the final film itself but all of the source material as well. The creative process also enhances the development of the Blender software because the technical team responds directly to the needs of the film production team, creating tools and features that make their lives easier. And, of course, each project involves a long, rewarding process for the creative and technical community working together."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2927
-msgid "Rather than just talking about the theoretical benefits of sharing and free culture, Ton is very much about doing and making free culture. Blender’s production coordinator Francesco Siddi told us, “Ton believes if you don’t make content using your tools, then you’re not doing anything.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2937
-msgid "Blender’s history begins in the late 1990s, when Ton created the Blender software. Originally, the software was an in-house resource for his animation studio based in the Netherlands. Investors became interested in the software, so he began marketing the software to the public, offering a free version in addition to a paid version. Sales were disappointing, and his investors gave up on the endeavor in the early 2000s. He made a deal with investors—if he could raise enough money, he could then make the Blender software available under the GNU General Public License."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2947
-msgid "This was long before Kickstarter and other online crowdfunding sites existed, but Ton ran his own version of a crowdfunding campaign and quickly raised the money he needed. The Blender software became freely available for anyone to use. Simply applying the General Public License to the software, however, was not enough to create a thriving community around it. Francesco told us, “Software of this complexity relies on people and their vision of how people work together. Ton is a fantastic community builder and manager, and he put a lot of work into fostering a community of developers so that the project could live.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2954
-msgid "Like any successful free and open-source software project, Blender developed quickly because the community could make fixes and improvements. “Software should be free and open to hack,” Francesco said. “Otherwise, everyone is doing the same thing in the dark for ten years.” Ton set up the Blender Foundation to oversee and steward the software development and maintenance."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2963
-msgid "After a few years, Ton began looking for new ways to push development of the software. He came up with the idea of creating CC-licensed films using the Blender software. Ton put a call online for all interested and skilled artists. Francesco said the idea was to get the best artists available, put them in a building together with the best developers, and have them work together. They would not only produce high-quality openly licensed content, they would improve the Blender software in the process."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2970
-msgid "They turned to crowdfunding to subsidize the costs of the project. They had about twenty people working full-time for six to ten months, so the costs were significant. Francesco said that when their crowdfunding campaign succeeded, people were astounded. “The idea that making money was possible by producing CC-licensed material was mind-blowing to people,” he said. “They were like, ‘I have to see it to believe it.’”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2976
-msgid "The first film, which was released in 2006, was an experiment. It was so successful that Ton decided to set up the Blender Institute, an entity dedicated to hosting open-movie projects. The Blender Institute’s next project was an even bigger success. The film, Big Buck Bunny, went viral, and its animated characters were picked up by marketers."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2987
-msgid "Francesco said that, over time, the Blender Institute projects have gotten bigger and more prominent. That means the filmmaking process has become more complex, combining technical experts and artists who focus on storytelling. Francesco says the process is almost on an industrial scale because of the number of moving parts. This requires a lot of specialized assistance, but the Blender Institute has no problem finding the talent it needs to help on projects. “Blender hardly does any recruiting for film projects because the talent emerges naturally,” Francesco said. “So many people want to work with us, and we can’t always hire them because of budget constraints.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2995
-msgid "Blender has had a lot of success raising money from its community over the years. In many ways, the pitch has gotten easier to make. Not only is crowdfunding simply more familiar to the public, but people know and trust Blender to deliver, and Ton has developed a reputation as an effective community leader and visionary for their work. “There is a whole community who sees and understands the benefit of these projects,” Francesco said."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3002
-msgid "While these benefits of each open-movie project make a compelling pitch for crowdfunding campaigns, Francesco told us the Blender Institute has found some limitations in the standard crowdfunding model where you propose a specific project and ask for funding. “Once a project is over, everyone goes home,” he said. “It is great fun, but then it ends. That is a problem.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3016
-msgid ""
-"To make their work more sustainable, they needed a way to receive ongoing support rather than on a project-by-project basis. Their solution is Blender Cloud, a subscription-style crowdfunding model akin to the online crowdfunding platform, Patreon. For about ten euros each month, subscribers get access to download everything the Blender Institute produces—software, art, training, and more. All of the assets are available under an Attribution license (CC BY) or placed in the public domain (CC0), but they are initially made available only to subscribers. Blender Cloud enables subscribers to follow Blender’s movie projects as they develop, sharing detailed information and content used in the creative process. Blender Cloud also has "
-"extensive training materials and libraries of characters and other assets used in various projects."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3021
-msgid "The continuous financial support provided by Blender Cloud subsidizes five to six full-time employees at the Blender Institute. Francesco says their goal is to grow their subscriber base. “This is our freedom,” he told us, “and for artists, freedom is everything.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3028
-msgid "Blender Cloud is the primary revenue stream of the Blender Institute. The Blender Foundation is funded primarily by donations, and that money goes toward software development and maintenance. The revenue streams of the Institute and Foundation are deliberately kept separate. Blender also has other revenue streams, such as the Blender Store, where people can purchase DVDs, T-shirts, and other Blender products."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3033
-msgid "Ton has worked on projects relating to his Blender software for nearly twenty years. Throughout most of that time, he has been committed to making the software and the content produced with the software free and open. Selling a license has never been part of the business model."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3041
-msgid "Since 2006, he has been making films available along with all of their source material. He says he has hardly ever seen people stepping into Blender’s shoes and trying to make money off of their content. Ton believes this is because the true value of what they do is in the creative and production process. “Even when you share everything, all your original sources, it still takes a lot of talent, skills, time, and budget to reproduce what you did,” Ton said."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3043
-msgid "For Ton and Blender, it all comes back to doing."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3045
-msgid "<span id=\"anchor-72\"></span>Cards Against Humanity"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3048
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3050
-msgid "www.cardsagainsthumanity.com"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3052
-msgid "Revenue model: charging for physical copies"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3054
-msgid "Interview date: February 3, 2016"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3056
-msgid "Interviewee: Max Temkin, cofounder"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3063
-msgid "If you ask cofounder Max Temkin, there is nothing particularly interesting about the Cards Against Humanity business model. “We make a product. We sell it for money. Then we spend less money than we make,” Max said."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3071
-msgid "He is right. Cards Against Humanity is a simple party game, modeled after the game Apples to Apples. To play, one player asks a question or fill-in-the-blank statement from a black card, and the other players submit their funniest white card in response. The catch is that all of the cards are filled with crude, gruesome, and otherwise awful things. For the right kind of people (“horrible people,” according to Cards Against Humanity advertising), this makes for a hilarious and fun game."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3077
-msgid "The revenue model is simple. Physical copies of the game are sold for a profit. And it works. At the time of this writing, Cards Against Humanity is the number-one best-selling item out of all toys and games on Amazon. There are official expansion packs available, and several official themed packs and international editions as well."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3082
-msgid "But Cards Against Humanity is also available for free. Anyone can download a digital version of the game on the Cards Against Humanity website. More than one million people have downloaded the game since the company began tracking the numbers."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3088
-msgid "The game is available under an Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA). That means, in addition to copying the game, anyone can create new versions of the game as long as they make it available under the same noncommercial terms. The ability to adapt the game is like an entire new game unto itself."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3091
-msgid "All together, these factors—the crass tone of the game and company, the free download, the"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3093
-msgid "openness to fans remixing the game—give"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3095
-msgid "the game a massive cult following."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3106
-msgid "Their success is not the result of a grand plan. Instead, Cards Against Humanity was the last in a long line of games and comedy projects that Max Temkin and his friends put together for their own amusement. As Max tells the story, they made the game so they could play it themselves on New Year’s Eve because they were too nerdy to be invited to other parties. The game was a hit, so they decided to put it up online as a free PDF. People started asking if they could pay to have the game printed for them, and eventually they decided to run a Kickstarter to fund the printing. They set their Kickstarter goal at \\$4,000—and raised \\$15,000. The game was officially released in May 2011."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3110
-msgid "The game caught on quickly, and it has only grown more popular over time. Max says the eight founders never had a meeting where they decided to make it an ongoing business. “It kind of just happened,” he said."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3115
-msgid "But this tale of a “happy accident” belies marketing genius. Just like the game, the Cards Against Humanity brand is irreverent and memorable. It is hard to forget a company that calls the FAQ on their website “Your dumb questions.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3127
-msgid ""
-"Like most quality satire, however, there is more to the joke than vulgarity and shock value. The company’s marketing efforts around Black Friday illustrate this particularly well. For those outside the United States, Black Friday is the term for the day after the Thanksgiving holiday, the biggest shopping day of the year. It is an incredibly important day for Cards Against Humanity, like it is for all U.S. retailers. Max said they struggled with what to do on Black Friday because they didn’t want to support what he called the “orgy of consumerism” the day has become, particularly since it follows a day that is about being grateful for what you have. In 2013, after deliberating, they decided to have an Everything Costs \\$5 More "
-"sale."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3131
-msgid "“We sweated it out the night before Black Friday, wondering if our fans were going to hate us for it,” he said. “But it made us laugh so we went with it. People totally caught the joke.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3136
-msgid "This sort of bold transparency delights the media, but more importantly, it engages their fans. “One of the most surprising things you can do in capitalism is just be honest with people,” Max said. “It shocks people that there is transparency about what you are doing.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3143
-msgid "Max also likened it to a grand improv scene. “If we do something a little subversive and unexpected, the public wants to be a part of the joke.” One year they did a Give Cards Against Humanity \\$5 event, where people literally paid them five dollars for no reason. Their fans wanted to make the joke funnier by making it successful. They made \\$70,000 in a single day."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3154
-msgid "This remarkable trust they have in their customers is what inspired their decision to apply a Creative Commons license to the game. Trusting your customers to reuse and remix your work requires a leap of faith. Cards Against Humanity obviously isn’t afraid of doing the unexpected, but there are lines even they do not want to cross. Before applying the license, Max said they worried that some fans would adapt the game to include all of the jokes they intentionally never made because they crossed that line. “It happened, and the world didn’t end,” Max said. “If that is the worst cost of using CC, I’d pay that a hundred times over because there are so many benefits.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3161
-msgid "Any successful product inspires its biggest fans to create remixes of it, but unsanctioned adaptations are more likely to fly under the radar. The Creative Commons license gives fans of Cards Against Humanity the freedom to run with the game and copy, adapt, and promote their creations openly. Today there are thousands of fan expansions of the game."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3166
-msgid "Max said, “CC was a no-brainer for us because it gets the most people involved. Making the game free and available under a CC license led to the unbelievable situation where we are one of the best-marketed games in the world, and we have never spent a dime on marketing.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3177
-msgid "Of course, there are limits to what the company allows its customers to do with the game. They chose the Attribution-NonCommercial-ShareAlike license because it restricts people from using the game to make money. It also requires that adaptations of the game be made available under the same licensing terms if they are shared publicly. Cards Against Humanity also polices its brand. “We feel like we’re the only ones who can use our brand and our game and make money off of it,” Max said. About 99.9 percent of the time, they just send an email to those making commercial use of the game, and that is the end of it. There have only been a handful of instances where they had to get a lawyer involved."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3185
-msgid "Just as there is more than meets the eye to the Cards Against Humanity business model, the same can be said of the game itself. To be playable, every white card has to work syntactically with enough black cards. The eight creators invest an incredible amount of work into creating new cards for the game. “We have daylong arguments about commas,” Max said. “The slacker tone of the cards gives people the impression that it is easy to write them, but it is actually a lot of work and quibbling.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3194
-msgid "That means cocreation with their fans really doesn’t work. The company has a submission mechanism on their website, and they get thousands of suggestions, but it is very rare that a submitted card is adopted. Instead, the eight initial creators remain the primary authors of expansion decks and other new products released by the company. Interestingly, the creativity of their customer base is really only an asset to the company once their original work is created and published when people make their own adaptations of the game."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3200
-msgid "For all of their success, the creators of Cards Against Humanity are only partially motivated by money. Max says they have always been interested in the Walt Disney philosophy of financial success. “We don’t make jokes and games to make money—we make money so we can make more jokes and games,” he said."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3207
-msgid "In fact, the company has given more than \\$4 million to various charities and causes. “Cards is not our life plan,” Max said. “We all have other interests and hobbies. We are passionate about other things going on in our lives. A lot of the activism we have done comes out of us taking things from the rest of our lives and channeling some of the excitement from the game into it.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3213
-msgid "Seeing money as fuel rather than the ultimate goal is what has enabled them to embrace Creative Commons licensing without reservation. CC licensing ended up being a savvy marketing move for the company, but nonetheless, giving up exclusive control of your work necessarily means giving up some opportunities to extract more money from customers."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3218
-msgid "“It’s not right for everyone to release everything under CC licensing,” Max said. “If your only goal is to make a lot of money, then CC is not best strategy. This kind of business model, though, speaks to your values, and who you are and why you’re making things.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3220
-msgid "<span id=\"anchor-73\"></span>The Conversation"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3224
-msgid "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."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3226
-msgid "theconversation.com"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3229
-msgid "Revenue model: charging content creators (universities pay membership fees to have their faculties serve as writers), grant funding"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3233
-msgid "Interviewee: Andrew Jaspan, founder"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3243
-msgid "Andrew Jaspan spent years as an editor of major newspapers including the Observer in London, the Sunday Herald in Glasgow, and the Age in Melbourne, Australia. He experienced firsthand the decline of newspapers, including the collapse of revenues, layoffs, and the constant pressure to reduce costs. After he left the Age in 2005, his concern for the future journalism didn’t go away. Andrew made a commitment to come up with an alternative model."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3249
-msgid "Around the time he left his job as editor of the Melbourne Age, Andrew wondered where citizens would get news grounded in fact and evidence rather than opinion or ideology. He believed there was still an appetite for journalism with depth and substance but was concerned about the increasing focus on the sensational and sexy."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3267
-msgid ""
-"While at the Age, he’d become friends with a vice-chancellor of a university in Melbourne who encouraged him to talk to smart people across campus—an astrophysicist, a Nobel laureate, earth scientists, economists . . . These were the kind of smart people he wished were more involved in informing the world about what is going on and correcting the errors that appear in media. However, they were reluctant to engage with mass media. Often, journalists didn’t understand what they said, or unilaterally chose what aspect of a story to tell, putting out a version that these people felt was wrong or mischaracterized. Newspapers want to attract a mass audience. Scholars want to communicate serious news, findings, and insights. It’s not a "
-"perfect match. Universities are massive repositories of knowledge, research, wisdom, and expertise. But a lot of that stays behind a wall of their own making—there are the walled garden and ivory tower metaphors, and in more literal terms, the paywall. Broadly speaking, universities are part of society but disconnected from it. They are an enormous public resource but not that good at presenting their expertise to the wider public."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3278
-msgid "Andrew believed he could to help connect academics back into the public arena, and maybe help society find solutions to big problems. He thought about pairing professional editors with university and research experts, working one-on-one to refine everything from story structure to headline, captions, and quotes. The editors could help turn something that is academic into something understandable and readable. And this would be a key difference from traditional journalism—the subject matter expert would get a chance to check the article and give final approval before it is published. Compare this with reporters just picking and choosing the quotes and writing whatever they want."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3289
-msgid "The people he spoke to liked this idea, and Andrew embarked on raising money and support with the help of the Commonwealth Scientific and Industrial Research Organisation (CSIRO), the University of Melbourne, Monash University, the University of Technology Sydney, and the University of Western Australia. These founding partners saw the value of an independent information channel that would also showcase the talent and knowledge of the university and research sector. With their help, in 2011, the Conversation, was launched as an independent news site in Australia. Everything published in the Conversation is openly licensed with Creative Commons."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3298
-msgid "The Conversation is founded on the belief that underpinning a functioning democracy is access to independent, high-quality, informative journalism. The Conversation’s aim is for people to have a better understanding of current affairs and complex issues—and hopefully a better quality of public discourse. The Conversation sees itself as a source of trusted information dedicated to the public good. Their core mission is simple: to provide readers with a reliable source of evidence-based information."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3311
-msgid ""
-"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 is (with their relevant expertise); who is funding their research; and if there are any potential or real conflicts of interest. Also important is where the content originates, and even though it comes from the university and research community, it still needs to be fully disclosed. The Conversation does not sit behind a paywall. Andrew believes access to information is an issue of equality—everyone should have access, like access to clean water. The Conversation is committed to an open and free Internet. Everyone should "
-"have free access to their content, and be able to share it or republish it."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3314
-msgid "Creative Commons help with these goals; articles are published with the Attribution-"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3323
-msgid "NoDerivs license (CC BY-ND). They’re freely available for others to republish elsewhere as long as attribution is given and the content is not edited. Over five years, more than twenty-two thousand sites have republished their content. The Conversation website gets about 2.9 million unique views per month, but through republication they have thirty-five million readers. This couldn’t have been done without the Creative Commons license, and in Andrew’s view, Creative Commons is central to everything the Conversation does."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3330
-msgid "When readers come across the Conversation, they seem to like what they find and recommend it to their friends, peers, and networks. Readership has grown primarily through word of mouth. While they don’t have sales and marketing, they do promote their work through social media (including Twitter and Facebook), and by being an accredited supplier to Google News."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3338
-msgid "It’s usual for the founders of any company to ask themselves what kind of company it should be. It quickly became clear to the founders of the Conversation that they wanted to create a public good rather than make money off of information. Most media companies are working to aggregate as many eyeballs as possible and sell ads. The Conversation founders didn’t want this model. It takes no advertising and is a not-for-profit venture."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3347
-msgid "There are now different editions of the Conversation for Africa, the United Kingdom, France, and the United States, in addition to the one for Australia. All five editions have their own editorial mastheads, advisory boards, and content. The Conversation’s global virtual newsroom has roughly ninety staff working with thirty-five thousand academics from over sixteen hundred universities around the world. The Conversation would like to be working with university scholars from even more parts of the world."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3354
-msgid "Additionally, each edition has its own set of founding partners, strategic partners, and funders. They’ve received funding from foundations, corporates, institutions, and individual donations, but the Conversation is shifting toward paid memberships by universities and research institutions to sustain operations. This would safeguard the current service and help improve coverage and features."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3360
-msgid "When professors from member universities write an article, there is some branding of the university associated with the article. On the Conversation website, paying university members are listed as “members and funders.” Early participants may be designated as “founding members,” with seats on the editorial advisory board."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3368
-msgid "Academics are not paid for their contributions, but they get free editing from a professional (four to five hours per piece, on average). They also get access to a large audience. Every author and member university has access to a special analytics dashboard where they can check the reach of an article. The metrics include what people are tweeting, the comments, countries the readership represents, where the article is being republished, and the number of readers per article."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3374
-msgid "The Conversation plans to expand the dashboard to show not just reach but impact. This tracks activities, behaviors, and events that occurred as a result of publication, including things like a scholar being asked to go on a show to discuss their piece, give a talk at a conference, collaborate, submit a journal paper, and consult a company on a topic."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3378
-msgid "These reach and impact metrics show the benefits of membership. With the Conversation, universities can engage with the public and show why they’re of value."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3384
-msgid "With its tagline, “Academic Rigor, Journalistic Flair,” the Conversation represents a new form of journalism that contributes to a more informed citizenry and improved democracy around the world. Its open business model and use of Creative Commons show how it’s possible to generate both a public good and operational revenue at the same time."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3386 MadewithCreativeCommonsmostup-to-dateversion.md:4501 MadewithCreativeCommonsmostup-to-dateversion.md:5785 MadewithCreativeCommonsmostup-to-dateversion.md:7436
-msgid "Web link"
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3388
-msgid "theconversation.com/us/charter"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3390
-msgid "<span id=\"anchor-74\"></span>Cory Doctorow"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3393
-msgid "Cory Doctorow is a science fiction writer, activist, blogger, and journalist. Based in the U.S."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3395
-msgid "craphound.com and boingboing.net"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3398
-msgid "Revenue model: charging for physical copies (book sales), pay-what-you-want, selling translation rights to books"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3400
-msgid "Interview date: January 12, 2016"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3409
-msgid "Cory Doctorow hates the term “business model,” and he is adamant that he is not a brand. “To me, branding is the idea that you can take a thing that has certain qualities, remove the qualities, and go on selling it,” he said. “I’m not out there trying to figure out how to be a brand. I’m doing this thing that animates me to work crazy insane hours because it’s the most important thing I know how to do.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3413
-msgid "Cory calls himself an entrepreneur. He likes to say his success came from making stuff people happened to like and then getting out of the way of them sharing it."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3422
-msgid "He is a science fiction writer, activist, blogger, and journalist. Beginning with his first novel, Down and Out in the Magic Kingdom, in 2003, his work has been published under a Creative Commons license. Cory is coeditor of the popular CC-licensed site Boing Boing, where he writes about technology, politics, and intellectual property. He has also written several nonfiction books, including the most recent Information Doesn’t Want to Be Free, about the ways in which creators can make a living in the Internet age."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3426
-msgid "Cory primarily makes money by selling physical books, but he also takes on paid speaking gigs and is experimenting with pay-what-you-want models for his work."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3441
-msgid ""
-"While Cory’s extensive body of fiction work has a large following, he is just as well known for his activism. He is an outspoken opponent of restrictive copyright and digital-rights-management (DRM) technology used to lock up content because he thinks both undermine creators and the public interest. He is currently a special adviser at the Electronic Frontier Foundation, where he is involved in a lawsuit challenging the U.S. law that protects DRM. Cory says his political work doesn’t directly make him money, but if he gave it up, he thinks he would lose credibility and, more importantly, lose the drive that propels him to create. “My political work is a different expression of the same artistic-political urge,” he said. “I have "
-"this suspicion that if I gave up the things that didn’t make me money, the genuineness would leach out of what I do, and the quality that causes people to like what I do would be gone.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3452
-msgid "Cory has been financially successful, but money is not his primary motivation. At the start of his book Information Doesn’t Want to Be Free, he stresses how important it is not to become an artist if your goal is to get rich. “Entering the arts because you want to get rich is like buying lottery tickets because you want to get rich,” he wrote. “It might work, but it almost certainly won’t. Though, of course, someone always wins the lottery.” He acknowledges that he is one of the lucky few to “make it,” but he says he would be writing no matter what. “I am compelled to write,” he wrote. “Long before I wrote to keep myself fed and sheltered, I was writing to keep myself sane.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3460
-msgid "Just as money is not his primary motivation to create, money is not his primary motivation to share. For Cory, sharing his work with Creative Commons is a moral imperative. “It felt morally right,” he said of his decision to adopt Creative Commons licenses. “I felt like I wasn’t contributing to the culture of surveillance and censorship that has been created to try to stop copying.” In other words, using CC licenses symbolizes his worldview."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3468
-msgid "He also feels like there is a solid commercial basis for licensing his work with Creative Commons. While he acknowledges he hasn’t been able to do a controlled experiment to compare the commercial benefits of licensing with CC against reserving all rights, he thinks he has sold more books using a CC license than he would have without it. Cory says his goal is to convince people they should pay him for his work. “I started by not calling them thieves,” he said."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3479
-msgid "Cory started using CC licenses soon after they were first created. At the time his first novel came out, he says the science fiction genre was overrun with people scanning and downloading books without permission. When he and his publisher took a closer look at who was doing that sort of thing online, they realized it looked a lot like book promotion. “I knew there was a relationship between having enthusiastic readers and having a successful career as a writer,” he said. “At the time, it took eighty hours to OCR a book, which is a big effort. I decided to spare them the time and energy, and give them the book for free in a format destined to spread.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3485
-msgid "Cory admits the stakes were pretty low for him when he first adopted Creative Commons licenses. He only had to sell two thousand copies of his book to break even. People often said he was only able to use CC licenses successfully at that time because he was just starting out. Now they say he can only do it because he is an established author."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3492
-msgid "The bottom line, Cory says, is that no one has found a way to prevent people from copying the stuff they like. Rather than fighting the tide, Cory makes his work intrinsically shareable. “Getting the hell out of the way for people who want to share their love of you with other people sounds obvious, but it’s remarkable how many people don’t do it,” he said."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3505
-msgid ""
-"Making his work available under Creative Commons licenses enables him to view his biggest fans as his ambassadors. “Being open to fan activity makes you part of the conversation about what fans do with your work and how they interact with it,” he said. Cory’s own website routinely highlights cool things his audience has done with his work. Unlike corporations like Disney that tend to have a hands-off relationship with their fan activity, he has a symbiotic relationship with his audience. “Engaging with your audience can’t guarantee you success,” he said. “And Disney is an example of being able to remain aloof and still being the most successful company in the creative industry in history. But I figure my likelihood of being Disney "
-"is pretty slim, so I should take all the help I can get.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3518
-msgid ""
-"His first book was published under the most restrictive Creative Commons license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND). It allows only verbatim copying for noncommercial purposes. His later work is published under the Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA), which gives people the right to adapt his work for noncommercial purposes but only if they share it back under the same license terms. Before releasing his work under a CC license that allows adaptations, he always sells the right to translate the book to other languages to a commercial publisher first. He wants to reach new potential buyers in other parts of the world, and he thinks it is more difficult to get people to pay for translations if "
-"there are fan translations already available for free."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3530
-msgid ""
-"In his book Information Doesn’t Want to Be Free, Cory likens his philosophy to thinking like a dandelion. Dandelions produce thousands of seeds each spring, and they are blown into the air going in every direction. The strategy is to maximize the number of blind chances the dandelion has for continuing its genetic line. Similarly, he says there are lots of people out there who may want to buy creative work or compensate authors for it in some other way. “The more places your work can find itself, the greater the likelihood that it will find one of those would-be customers in some unsuspected crack in the metaphorical pavement,” he wrote. “The copies that others make of my work cost me nothing, and present the possibility that I’ll "
-"get something.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3539
-msgid "Applying a CC license to his work increases the chances it will be shared more widely around the Web. He avoids DRM—and openly opposes the practice—for similar reasons. DRM has the effect of tying a work to a particular platform. This digital lock, in turn, strips the authors of control over their own work and hands that control over to the platform. He calls it Cory’s First Law: “Anytime someone puts a lock on something that belongs to you and won’t give you the key, that lock isn’t there for your benefit.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3548
-msgid "Cory operates under the premise that artists benefit when there are more, rather than fewer, places where people can access their work. The Internet has opened up those avenues, but DRM is designed to limit them. “On the one hand, we can credibly make our work available to a widely dispersed audience,” he said. “On the other hand, the intermediaries we historically sold to are making it harder to go around them.” Cory continually looks for ways to reach his audience without relying upon major platforms that will try to take control over his work."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3557
-msgid "Cory says his e-book sales have been lower than those of his competitors, and he attributes some of that to the CC license making the work available for free. But he believes people are willing to pay for content they like, even when it is available for free, as long as it is easy to do. He was extremely successful using Humble Bundle, a platform that allows people to pay what they want for DRM-free versions of a bundle of a particular creator’s work. He is planning to try his own pay-what-you-want experiment soon."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3566
-msgid "Fans are particularly willing to pay when they feel personally connected to the artist. Cory works hard to create that personal connection. One way he does this is by personally answering every single email he gets. “If you look at the history of artists, most die in penury,” he said. “That reality means that for artists, we have to find ways to support ourselves when public tastes shift, when copyright stops producing. Future-proofing your artistic career in many ways means figuring out how to stay connected to those people who have been touched by your work.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3572
-msgid "Cory’s realism about the difficulty of making a living in the arts does not reflect pessimism about the Internet age. Instead, he says the fact that it is hard to make a living as an artist is nothing new. What is new, he writes in his book, “is how many ways there are to make things, and to get them into other people’s hands and minds.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3574
-msgid "It has never been easier to think like a dandelion."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3576
-msgid "<span id=\"anchor-75\"></span>Figshare"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3581
-msgid "Figshare is a for-profit company offering an online repository where researchers can preserve and share the output of their research, including figures, data sets, images, and videos. Founded in 2011 in the UK."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3583
-msgid "figshare.com"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3585
-msgid "Revenue model: platform providing paid services to creators"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3587
-msgid "Interview date: January 28, 2016"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3589
-msgid "Interviewee: Mark Hahnel, founder"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3600
-msgid "Figshare’s mission is to change the face of academic publishing through improved dissemination, discoverability, and reusability of scholarly research. Figshare is a repository where users can make all the output of their research available—from posters and presentations to data sets and code—in a way that’s easy to discover, cite, and share. Users can upload any file format, which can then be previewed in a Web browser. Research output is disseminated in a way that the current scholarly-publishing model does not allow."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3604
-msgid "Figshare founder Mark Hahnel often gets asked: How do you make money? How do we know you’ll be here in five years? Can you, as a for-profit venture, be trusted? Answers have evolved over time."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3612
-msgid "Mark traces the origins of Figshare back to when he was a graduate student getting his PhD in stem cell biology. His research involved working with videos of stem cells in motion. However, when he went to publish his research, there was no way for him to also publish the videos, figures, graphs, and data sets. This was frustrating. Mark believed publishing his complete research would lead to more citations and be better for his career."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3618
-msgid "Mark does not consider himself an advanced software programmer. Fortunately, things like cloud-based computing and wikis had become mainstream, and he believed it ought to be possible to put all his research online and share it with anyone. So he began working on a solution."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3622
-msgid "There were two key needs: licenses to make the data citable, and persistent identifiers— URL links that always point back to the original object ensuring the research is citable for the long term."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3629
-msgid "Mark chose Digital Object Identifiers (DOIs) to meet the need for a persistent identifier. In the DOI system, an object’s metadata is stored as a series of numbers in the DOI name. Referring to an object by its DOI is more stable than referring to it by its URL, because the location of an object (the web page or URL) can often change. Mark partnered with DataCite for the provision of DOIs for research data."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3635
-msgid "As for licenses, Mark chose Creative Commons. The open-access and open-science communities were already using and recommending Creative Commons. Based on what was happening in those communities and Mark’s dialogue with peers, he went with CC0 (in the public domain) for data sets and CC BY (Attribution) for figures, videos, and data sets."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3640
-msgid "So Mark began using DOIs and Creative Commons for his own research work. He had a science blog where he wrote about it and made all his data open. People started commenting on his blog that they wanted to do the same. So he opened it up for them to use, too."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3647
-msgid "People liked the interface and simple upload process. People started asking if they could also share theses, grant proposals, and code. Inclusion of code raised new licensing issues, as Creative Commons licenses are not used for software. To allow the sharing of software code, Mark chose the MIT license, but GNU and Apache licenses can also be used."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3653
-msgid "Mark sought investment to make this into a scalable product. After a few unsuccessful funding pitches, UK-based Digital Science expressed interest but insisted on a more viable business model. They made an initial investment, and together they came up with a freemium-like business model."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3663
-msgid "Under the freemium model, academics upload their research to Figshare for storage and sharing for free. Each research object is licensed with Creative Commons and receives a DOI link. The premium option charges researchers a fee for gigabytes of private storage space, and for private online space designed for a set number of research collaborators, which is ideal for larger teams and geographically dispersed research groups. Figshare sums up its value proposition to researchers as “You retain ownership. You license it. You get credit. We just make sure it persists.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3671
-msgid "In January 2012, Figshare was launched. (The fig in Figshare stands for figures.) Using investment funds, Mark made significant improvements to Figshare. For example, researchers could quickly preview their research files within a browser without having to download them first or require third-party software. Journals who were still largely publishing articles as static noninteractive PDFs became interested in having Figshare provide that functionality for them."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3680
-msgid "Figshare diversified its business model to include services for journals. Figshare began hosting large amounts of data for the journals’ online articles. This additional data improved the quality of the articles. Outsourcing this service to Figshare freed publishers from having to develop this functionality as part of their own infrastructure. Figshare-hosted data also provides a link back to the article, generating additional click-through and readership—a benefit to both journal publishers and researchers. Figshare now provides"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3684
-msgid "research-data infrastructure for a wide variety of publishers including Wiley, Springer Nature, PLOS, and Taylor and Francis, to name a few, and has convinced them to use Creative Commons licenses for the data."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3692
-msgid "Governments allocate significant public funds to research. In parallel with the launch of Figshare, governments around the world began requesting the research they fund be open and accessible. They mandated that researchers and academic institutions better manage and disseminate their research outputs. Institutions looking to comply with this new mandate became interested in Figshare. Figshare once again diversified its business model, adding services for institutions."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3700
-msgid "Figshare now offers a range of fee-based services to institutions, including their own minibranded Figshare space (called Figshare for Institutions) that securely hosts research data of institutions in the cloud. Services include not just hosting but data metrics, data dissemination, and user-group administration. Figshare’s workflow, and the services they offer for institutions, take into account the needs of librarians and administrators, as well as of the researchers."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3711
-msgid "As with researchers and publishers, Fig-share encouraged institutions to share their research with CC BY (Attribution) and their data with CC0 (into the public domain). Funders who require researchers and institutions to use open licensing believe in the social responsibilities and benefits of making research accessible to all. Publishing research in this open way has come to be called open access. But not all funders specify CC BY; some institutions want to offer their researchers a choice, including less permissive licenses like CC BY-NC (Attribution-NonCommercial), CC BY-SA (Attribution-ShareAlike), or CC BY-ND (Attribution-NoDerivs)."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3719
-msgid "For Mark this created a conflict. On the one hand, the principles and benefits of open science are at the heart of Figshare, and Mark believes CC BY is the best license for this. On the other hand, institutions were saying they wouldn’t use Figshare unless it offered a choice in licenses. He initially refused to offer anything beyond CC0 and CC BY, but after seeing an open-source CERN project offer all Creative Commons licenses without any negative repercussions, he decided to follow suit."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3726
-msgid "Mark is thinking of doing a Figshare study that tracks research dissemination according to Creative Commons license, and gathering metrics on views, citations, and downloads. You could see which license generates the biggest impact. If the data showed that CC BY is more impactful, Mark believes more and more researchers and institutions will make it their license of choice."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3735
-msgid "Figshare has an Application Programming Interface (API) that makes it possible for data to be pulled from Figshare and used in other applications. As an example, Mark shared a Figshare data set showing the journal subscriptions that higher-education institutions in the United Kingdom paid to ten major publishers.1 Figshare’s API enables that data to be pulled into an app developed by a completely different researcher that converts the data into a visually interesting graph, which any viewer can alter by changing any of the variables.2"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3745
-msgid "The free version of Figshare has built a community of academics, who through word of mouth and presentations have promoted and spread awareness of Figshare. To amplify and reward the community, Figshare established an Advisor program, providing those who promoted Figshare with hoodies and T-shirts, early access to new features, and travel expenses when they gave presentations outside of their area. These Advisors also helped Mark on what license to use for software code and whether to offer universities an option of using Creative Commons licenses."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3755
-msgid "Mark says his success is partly about being in the right place at the right time. He also believes that the diversification of Figshare’s model over time has been key to success. Figshare now offers a comprehensive set of services to researchers, publishers, and institutions.3 If he had relied solely on revenue from premium subscriptions, he believes Figshare would have struggled. In Figshare’s early days, their primary users were early-career and late-career academics. It has only been because funders mandated open licensing that Figshare is now being used by the mainstream."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3762
-msgid "Today Figshare has 26 million–plus page views, 7.5 million–plus downloads, 800,000–plus user uploads, 2 million–plus articles, 500,000-plus collections, and 5,000–plus projects. Sixty percent of their traffic comes from Google. A sister company called Altmetric tracks the use of Figshare by others, including Wikipedia and news sources."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3774
-msgid ""
-"Figshare uses the revenue it generates from the premium subscribers, journal publishers, and institutions to fund and expand what it can offer to researchers for free. Figshare has publicly stuck to its principles—keeping the free service free and requiring the use of CC BY and CC0 from the start—and from Mark’s perspective, this is why people trust Figshare. Mark sees new competitors coming forward who are just in it for money. If Figshare was only in it for the money, they wouldn’t care about offering a free version. Figshare’s principles and advocacy for openness are a key differentiator. Going forward, Mark sees Figshare not only as supporting open access to research but also enabling people to collaborate and make new "
-"discoveries."
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3780
-msgid "figshare.com/articles/Journal\\_subscription\\_costs\\_FOIs\\_to\\_UK\\_universities/1186832"
-msgstr ""
-
-#. type: Bullet: '2. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3780
-msgid "retr0.shinyapps.io/journal\\_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136"
-msgstr ""
-
-#. type: Bullet: '3. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3780
-msgid "figshare.com/features"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3782
-msgid "<span id=\"anchor-76\"></span>Figure.NZ"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3786
-msgid "Figure.NZ is a nonprofit charity that makes an online data platform designed to make data reusable and easy to understand. Founded in 2012 in New Zealand."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3788
-msgid "figure.nz"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3791
-msgid "Revenue model: platform providing paid services to creators, donations, sponsorships"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3793
-msgid "Interview date: May 3, 2016"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3795
-msgid "Interviewee: Lillian Grace, founder"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3814
-msgid ""
-"In the paper Harnessing the Economic and Social Power of Data presented at the New Zealand Data Futures Forum in 2014,1 Figure.NZ founder Lillian Grace said there are thousands of valuable and relevant data sets freely available to us right now, but most people don’t use them. She used to think this meant people didn’t care about being informed, but she’s come to see that she was wrong. Almost everyone wants to be informed about issues that matter—not only to them, but also to their families, their communities, their businesses, and their country. But there’s a big difference between availability and accessibility of information. Data is spread across thousands of sites and is held within databases and spreadsheets that require "
-"both time and skill to engage with. To use data when making a decision, you have to know what specific question to ask, identify a source that has collected the data, and manipulate complex tools to extract and visualize the information within the data set. Lillian established Figure.NZ to make data truly accessible to all, with a specific focus on New Zealand."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3823
-msgid "Lillian had the idea for Figure.NZ in February 2012 while working for the New Zealand Institute, a think tank concerned with improving economic prosperity, social well-being, environmental quality, and environmental productivity for New Zealand and New Zealanders. While giving talks to community and business groups, Lillian realized “every single issue we addressed would have been easier to deal with if more people understood the basic facts.” But understanding the basic facts sometimes requires data and research that you often have to pay for."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3835
-msgid "Lillian began to imagine a website that lifted data up to a visual form that could be easily understood and freely accessed. Initially launched as Wiki New Zealand, the original idea was that people could contribute their data and visuals via a wiki. However, few people had graphs that could be used and shared, and there were no standards or consistency around the data and the visuals. Realizing the wiki model wasn’t working, Lillian brought the process of data aggregation, curation, and visual presentation in-house, and invested in the technology to help automate some of it. Wiki New Zealand became Figure.NZ, and efforts were reoriented toward providing services to those wanting to open their data and present it visually."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3850
-msgid ""
-"Here’s how it works. Figure.NZ sources data from other organizations, including corporations, public repositories, government departments, and academics. Figure.NZ imports and extracts that data, and then validates and standardizes it—all with a strong eye on what will be best for users. They then make the data available in a series of standardized forms, both human- and machine-readable, with rich metadata about the sources, the licenses, and data types. Figure.NZ has a chart-designing tool that makes simple bar, line, and area graphs from any data source. The graphs are posted to the Figure.NZ website, and they can also be exported in a variety of formats for print or online use. Figure.NZ makes its data and graphs available "
-"using the Attribution (CC BY) license. This allows others to reuse, revise, remix, and redistribute Figure.NZ data and graphs as long as they give attribution to the original source and to Figure.NZ."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3864
-msgid ""
-"Lillian characterizes the initial decision to use Creative Commons as naively fortunate. It was first recommended to her by a colleague. Lillian spent time looking at what Creative Commons offered and thought it looked good, was clear, and made common sense. It was easy to use and easy for others to understand. Over time, she’s come to realize just how fortunate and important that decision turned out to be. New Zealand’s government has an open-access and licensing framework called NZGOAL, which provides guidance for agencies when they release copyrighted and noncopyrighted work and material.2 It aims to standardize the licensing of works with government copyright and how they can be reused, and it does this with Creative Commons "
-"licenses. As a result, 98 percent of all government-agency data is Creative Commons licensed, fitting in nicely with Figure.NZ’s decision."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3875
-msgid "Lillian thinks current ideas of what a business is are relatively new, only a hundred years old or so. She’s convinced that twenty years from now, we will see new and different models for business. Figure.NZ is set up as a nonprofit charity. It is purpose-driven but also strives to pay people well and thinks like a business. Lillian sees the charity-nonprofit status as an essential element for the mission and purpose of Figure.NZ. She believes Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s nonprofit status assures people who have data and people who want to use it that they can rely on Figure.NZ’s motives. People see them as a trusted wrangler and source."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3892
-msgid ""
-"Although Figure.NZ is a social enterprise that openly licenses their data and graphs for everyone to use for free, they have taken care not to be perceived as a free service all around the table. Lillian believes hundreds of millions of dollars are spent by the government and organizations to collect data. However, very little money is spent on taking that data and making it accessible, understandable, and useful for decision making. Government uses some of the data for policy, but Lillian believes that it is underutilized and the potential value is much larger. Figure.NZ is focused on solving that problem. They believe a portion of money allocated to collecting data should go into making sure that data is useful and generates "
-"value. If the government wants citizens to understand why certain decisions are being made and to be more aware about what the government is doing, why not transform the data it collects into easily understood visuals? It could even become a way for a government or any organization to differentiate, market, and brand itself."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3897
-msgid "Figure.NZ spends a lot of time seeking to understand the motivations of data collectors and to identify the channels where it can provide value. Every part of their business model has been focused on who is going to get value from the data and visuals."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3910
-msgid ""
-"Figure.NZ has multiple lines of business. They provide commercial services to organizations that want their data publicly available and want to use Figure.NZ as their publishing platform. People who want to publish open data appreciate Figure.NZ’s ability to do it faster, more easily, and better than they can. Customers are encouraged to help their users find, use, and make things from the data they make available on Figure.NZ’s website. Customers control what is released and the license terms (although Figure.NZ encourages Creative Commons licensing). Figure.NZ also serves customers who want a specific collection of charts created—for example, for their website or annual report. Charging the organizations that want to make their "
-"data available enables Figure.NZ to provide their site free to all users, to truly democratize data."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3921
-msgid "Lillian notes that the current state of most data is terrible and often not well understood by the people who have it. This sometimes makes it difficult for customers and Figure.NZ to figure out what it would cost to import, standardize, and display that data in a useful way. To deal with this, Figure.NZ uses “high-trust contracts,” where customers allocate a certain budget to the task that Figure.NZ is then free to draw from, as long as Figure.NZ frequently reports on what they’ve produced so the customer can determine the value for money. This strategy has helped build trust and transparency about the level of effort associated with doing work that has never been done before."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3927
-msgid "A second line of business is what Figure.NZ calls partners. ASB Bank and Statistics New Zealand are partners who back Figure.NZ’s efforts. As one example, with their support Figure.NZ has been able to create Business Figures, a special way for businesses to find useful data without having to know what questions to ask.3"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3931
-msgid "Figure.NZ also has patrons.4 Patrons donate to topic areas they care about, directly enabling Figure.NZ to get data together to flesh out those areas. Patrons do not direct what data is included or excluded."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3936
-msgid "Figure.NZ also accepts philanthropic donations, which are used to provide more content, extend technology, and improve services, or are targeted to fund a specific effort or provide in-kind support. As a charity, donations are tax deductible."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3946
-msgid "Figure.NZ has morphed and grown over time. With data aggregation, curation, and visualizing services all in-house, Figure.NZ has developed a deep expertise in taking random styles of data, standardizing it, and making it useful. Lillian realized that Figure.NZ could easily become a warehouse of seventy people doing data. But for Lillian, growth isn’t always good. In her view, bigger often means less effective. Lillian set artificial constraints on growth, forcing the organization to think differently and be more efficient. Rather than in-house growth, they are growing and building external relationships."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3955
-msgid "Figure.NZ’s website displays visuals and data associated with a wide range of categories including crime, economy, education, employment, energy, environment, health, information and communications technology, industry, tourism, and many others. A search function helps users find tables and graphs. Figure.NZ does not provide analysis or interpretation of the data or visuals. Their goal is to teach people how to think, not think for them. Figure.NZ wants to create intuitive experiences, not user manuals."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3967
-msgid ""
-"Figure.NZ believes data and visuals should be useful. They provide their customers with a data collection template and teach them why it’s important and how to use it. They’ve begun putting more emphasis on tracking what users of their website want. They also get requests from social media and through email for them to share data for a specific topic—for example, can you share data for water quality? If they have the data, they respond quickly; if they don’t, they try and identify the organizations that would have that data and forge a relationship so they can be included on Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for people to be curious about, access, and interpret data on topics they are interested in."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3975
-msgid "Lillian has a deep and profound vision for Figure.NZ that goes well beyond simply providing open-data services. She says things are different now. “We used to live in a world where it was really hard to share information widely. And in that world, the best future was created by having a few great leaders who essentially had access to the information and made decisions on behalf of others, whether it was on behalf of a country or companies."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3979
-msgid "“But now we live in a world where it’s really easy to share information widely and also to communicate widely. In the world we live in now, the best future is the one where everyone can make well-informed decisions."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3983
-msgid "“The use of numbers and data as a way of making well-informed decisions is one of the areas where there is the biggest gaps. We don’t really use numbers as a part of our thinking and part of our understanding yet."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3993
-msgid "“Part of the reason is the way data is spread across hundreds of sites. In addition, for the most part, deep thinking based on data is constrained to experts because most people don’t have data literacy. There once was a time when many citizens in society couldn’t read or write. However, as a society, we’ve now come to believe that reading and writing skills should be something all citizens have. We haven’t yet adopted a similar belief around numbers and data literacy. We largely still believe that only a few specially trained people can analyze and think with numbers."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3999
-msgid "“Figure.NZ may be the first organization to assert that everyone can use numbers in their thinking, and it’s built a technological platform along with trust and a network of relationships to make that possible. What you can see on Figure.NZ are tens of thousands of graphs, maps, and data."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4007
-msgid "“Figure.NZ sees this as a new kind of alphabet that can help people analyze what they see around them. A way to be thoughtful and informed about society. A means of engaging in conversation and shaping decision making that transcends personal experience. The long-term value and impact is almost impossible to measure, but the goal is to help citizens gain understanding and work together in more informed ways to shape the future.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4011
-msgid "Lillian sees Figure.NZ’s model as having global potential. But for now, their focus is completely on making Figure.NZ work in New Zealand and to get the “network effect”—"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4015
-msgid "users dramatically increasing value for themselves and for others through use of their service. Creative Commons is core to making the network effect possible."
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4022
-msgid "www.nzdatafutures.org.nz/sites/default/files/NZDFF\\_harness-the-power.pdf"
-msgstr ""
-
-#. type: Bullet: '2. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4022
-msgid "www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/"
-msgstr ""
-
-#. type: Bullet: '3. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4022
-msgid "figure.nz/business/"
-msgstr ""
-
-#. type: Bullet: '4. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4022
-msgid "figure.nz/patrons/"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4024
-msgid "<span id=\"anchor-77\"></span>Knowledge Unlatched"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4028
-msgid "Knowledge Unlatched is a not-for-profit community interest company that brings libraries together to pool funds to publish open-access books. Founded in 2012 in the UK."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4030
-msgid "knowledgeunlatched.org"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4032
-msgid "Revenue model: crowdfunding (specialized)"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4034
-msgid "Interview date: February 26, 2016"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4036
-msgid "Interviewee: Frances Pinter, founder"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4043
-msgid "The serial entrepreneur Dr. Frances Pinter has been at the forefront of innovation in the publishing industry for nearly forty years. She founded the UK-based Knowledge Unlatched with a mission to enable open access to scholarly books. For Frances, the current scholarly-"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4053
-msgid "book-publishing system is not working for anyone, and especially not for monographs in the humanities and social sciences. Knowledge Unlatched is committed to changing this and has been working with libraries to create a sustainable alternative model for publishing scholarly books, sharing the cost of making monographs (released under a Creative Commons license) and savings costs over the long term. Since its launch, Knowledge Unlatched has received several awards, including the IFLA/Brill Open Access award in 2014 and a Curtin University Commercial Innovation Award for Innovation in Education in 2015."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4058
-msgid "Dr. Pinter has been in academic publishing most of her career. About ten years ago, she became acquainted with the Creative Commons founder Lawrence Lessig and got interested in Creative Commons as a tool for both protecting content online and distributing it free to users."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4063
-msgid "Not long after, she ran a project in Africa convincing publishers in Uganda and South Africa to put some of their content online for free using a Creative Commons license and to see what happened to print sales. Sales went up, not down."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4077
-msgid ""
-"In 2008, Bloomsbury Academic, a new imprint of Bloomsbury Publishing in the United Kingdom, appointed her its founding publisher in London. As part of the launch, Frances convinced Bloomsbury to differentiate themselves by putting out monographs for free online under a Creative Commons license (BY-NC or BY-NC-ND, i.e., Attribution-NonCommercial or Attribution-NonCommercial-NoDerivs). This was seen as risky, as the biggest cost for publishers is getting a book to the stage where it can be printed. If everyone read the online book for free, there would be no print-book sales at all, and the costs associated with getting the book to print would be lost. Surprisingly, Bloomsbury found that sales of the print versions of these books "
-"were 10 to 20 percent higher than normal. Frances found it intriguing that the Creative Commons–licensed free online book acts as a marketing vehicle for the print format."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4084
-msgid "Frances began to look at customer interest in the three forms of the book: 1) the Creative Commons–licensed free online book in PDF form, 2) the printed book, and 3) a digital version of the book on an aggregator platform with enhanced features. She thought of this as the “ice cream model”: the free PDF was vanilla ice cream, the printed book was an ice cream cone, and the enhanced e-book was an ice cream sundae."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4091
-msgid "After a while, Frances had an epiphany—what if there was a way to get libraries to underwrite the costs of making these books up until they’re ready be printed, in other words, cover the fixed costs of getting to the first digital copy? Then you could either bring down the cost of the printed book, or do a whole bunch of interesting things with the printed book and e-book—the ice cream cone or sundae part of the model."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4098
-msgid "This idea is similar to the article-processing charge some open-access journals charge researchers to cover publishing costs. Frances began to imagine a coalition of libraries paying for the prepress costs—a “book-processing charge”—and providing everyone in the world with an open-access version of the books released under a Creative Commons license."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4107
-msgid "This idea really took hold in her mind. She didn’t really have a name for it but began talking about it and making presentations to see if there was interest. The more she talked about it, the more people agreed it had appeal. She offered a bottle of champagne to anyone who could come up with a good name for the idea. Her husband came up with Knowledge Unlatched, and after two years of generating interest, she decided to move forward and launch a community interest company (a UK term for not-for-profit social enterprises) in 2012."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4110
-msgid "She describes the business model in a paper called Knowledge Unlatched: Toward an Open and Networked Future for Academic Publishing:"
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4128
-msgid "Publishers offer titles for sale reflecting origination costs only via Knowledge Unlatched."
-msgstr ""
-
-#. type: Bullet: '2. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4128
-msgid "Individual libraries select titles either as individual titles or as collections (as they do from library suppliers now)."
-msgstr ""
-
-#. type: Bullet: '3. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4128
-msgid "Their selections are sent to Knowledge Unlatched specifying the titles to be purchased at the stated price(s)."
-msgstr ""
-
-#. type: Bullet: '4. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4128
-msgid "The price, called a Title Fee (set by publishers and negotiated by Knowledge Unlatched), is paid to publishers to cover the fixed costs of publishing each of the titles that were selected by a minimum number of libraries to cover the Title Fee."
-msgstr ""
-
-#. type: Bullet: '5. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4128
-msgid "Publishers make the selected titles available Open Access (on a Creative Commons or similar open license) and are then paid the Title Fee which is the total collected from the libraries."
-msgstr ""
-
-#. type: Bullet: '6. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4128
-msgid "Publishers make print copies, e-Pub, and other digital versions of selected titles available to member libraries at a discount that reflects their contribution to the Title Fee and incentivizes membership.1"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4136
-msgid "The first round of this model resulted in a collection of twenty-eight current titles from thirteen recognized scholarly publishers being unlatched. The target was to have two hundred libraries participate. The cost of the package per library was capped at \\$1,680, which was an average price of sixty dollars per book, but in the end they had nearly three hundred libraries sharing the costs, and the price per book came in at just under forty-three dollars."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4145
-msgid "The open-access, Creative Commons versions of these twenty-eight books are still available online.4 Most books have been licensed with CC BY-NC or CC BY-NC-ND. Authors are the copyright holder, not the publisher, and negotiate choice of license as part of the publishing agreement. Frances has found that most authors want to retain control over the commercial and remix use of their work. Publishers list the book in their catalogs, and the noncommercial restriction in the Creative Commons license ensures authors continue to get royalties on sales of physical copies."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4155
-msgid "There are three cost variables to consider for each round: the overall cost incurred by the publishers, total cost for each library to acquire all the books, and the individual price per book. The fee publishers charge for each title is a fixed charge, and Knowledge Unlatched calculates the total amount for all the books being unlatched at a time. The cost of an order for each library is capped at a maximum based on a minimum number of libraries participating. If the number of participating libraries exceeds the minimum, then the cost of the order and the price per book go down for each library."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4168
-msgid ""
-"The second round, recently completed, unlatched seventy-eight books from twenty-six publishers. For this round, Frances was experimenting with the size and shape of the offerings. Books were being bundled into eight small packages separated by subject (including Anthropology, History, Literature, Media and Communications, and Politics), of around ten books per package. Three hundred libraries around the world have to commit to at least six of the eight packages to enable unlatching. The average cost per book was just under fifty dollars. The unlatching process took roughly ten months. It started with a call to publishers for titles, followed by having a library task force select the titles, getting authors’ permissions, getting the "
-"libraries to pledge, billing the libraries, and finally, unlatching."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4173
-msgid "The longest part of the whole process is getting libraries to pledge and commit funds. It takes about five months, as library buy-in has to fit within acquisition cycles, budget cycles, and library-committee meetings."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4181
-msgid "Knowledge Unlatched informs and recruits libraries through social media, mailing lists, listservs, and library associations. Of the three hundred libraries that participated in the first round, 80 percent are also participating in the second round, and there are an additional eighty new libraries taking part. Knowledge Unlatched is also working not just with individual libraries but also library consortia, which has been getting even more libraries involved."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4185
-msgid "Knowledge Unlatched is scaling up, offering 150 new titles in the second half of 2016. It will also offer backlist titles, and in 2017 will start to make journals open access too."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4189
-msgid "Knowledge Unlatched deliberately chose monographs as the initial type of book to unlatch. Monographs are foundational and important, but also problematic to keep going in the standard closed publishing model."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4197
-msgid "The cost for the publisher to get to a first digital copy of a monograph is \\$5,000 to \\$50,000. A good one costs in the \\$10,000 to \\$15,000 range. Monographs typically don’t sell a lot of copies. A publisher who in the past sold three thousand copies now typically sells only three hundred. That makes unlatching monographs a low risk for publishers. For the first round, it took five months to get thirteen publishers. For the second round, it took one month to get twenty-six."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4206
-msgid "Authors don’t generally make a lot of royalties from monographs. Royalties range from zero dollars to 5 to 10 percent of receipts. The value to the author is the awareness it brings to them; when their book is being read, it increases their reputation. Open access through unlatching generates many more downloads and therefore awareness. (On the Knowledge Unlatched website, you can find interviews with the twenty-eight round-one authors describing their experience and the benefits of taking part.)5"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4215
-msgid "Library budgets are constantly being squeezed, partly due to the inflation of journal subscriptions. But even without budget constraints, academic libraries are moving away from buying physical copies. An academic library catalog entry is typically a URL to wherever the book is hosted. Or if they have enough electronic storage space, they may download the digital file into their digital repository. Only secondarily do they consider getting a print book, and if they do, they buy it separately from the digital version."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4222
-msgid "Knowledge Unlatched offers libraries a compelling economic argument. Many of the participating libraries would have bought a copy of the monograph anyway, but instead of paying \\$95 for a print copy or \\$150 for a digital multiple-use copy, they pay \\$50 to unlatch. It costs them less, and it opens the book to not just the participating libraries, but to the world."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4232
-msgid "Not only do the economics make sense, but there is very strong alignment with library mandates. The participating libraries pay less than they would have in the closed model, and the open-access book is available to all libraries. While this means nonparticipating libraries could be seen as free riders, in the library world, wealthy libraries are used to paying more than poor libraries and accept that part of their money should be spent to support open access. “Free ride” is more like community responsibility. By the end of March 2016, the round-one books had been downloaded nearly eighty thousand times in 175 countries."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4235
-msgid "For publishers, authors, and librarians, the Knowledge Unlatched model for monographs is a win-win-win."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4244
-msgid "In the first round, Knowledge Unlatched’s overheads were covered by grants. In the second round, they aim to demonstrate the model is sustainable. Libraries and publishers will each pay a 7.5 percent service charge that will go toward Knowledge Unlatched’s running costs. With plans to scale up in future rounds, Frances figures they can fully recover costs when they are unlatching two hundred books at a time. Moving forward, Knowledge Unlatched is making investments in technology and processes. Future plans include unlatching journals and older books."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4253
-msgid "Frances believes that Knowledge Unlatched is tapping into new ways of valuing academic content. It’s about considering how many people can find, access, and use your content without pay barriers. Knowledge Unlatched taps into the new possibilities and behaviors of the digital world. In the Knowledge Unlatched model, the content-creation process is exactly the same as it always has been, but the economics are different. For Frances, Knowledge Unlatched is connected to the past but moving into the future, an evolution rather than a revolution."
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4261
-msgid "www.pinter.org.uk/pdfs/Toward\\_an\\_Open.pdf"
-msgstr ""
-
-#. type: Bullet: '2. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4261
-msgid "www.oapen.org"
-msgstr ""
-
-#. type: Bullet: '3. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4261
-msgid "www.hathitrust.org"
-msgstr ""
-
-#. type: Bullet: '4. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4261
-msgid "collections.knowledgeunlatched.org/collection-availability-1/"
-msgstr ""
-
-#. type: Bullet: '5. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4261
-msgid "www.knowledgeunlatched.org/featured-authors-section/"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4263
-msgid "<span id=\"anchor-78\"></span>Lumen Learning"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4266
-msgid "Lumen Learning is a for-profit company helping educational institutions use open educational resources (OER). Founded in 2013 in the U.S."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4268
-msgid "lumenlearning.com"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4270
-msgid "Revenue model: charging for custom services, grant funding"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4272
-msgid "Interview date: December 21, 2015"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4274
-msgid "Interviewees: David Wiley and Kim Thanos, cofounders"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4296
-msgid ""
-"Cofounded by open education visionary Dr. David Wiley and education-technology strategist Kim Thanos, Lumen Learning is dedicated to improving student success, bringing new ideas to pedagogy, and making education more affordable by facilitating adoption of open educational resources. In 2012, David and Kim partnered on a grant-funded project called the Kaleidoscope Open Course Initiative.1 It involved a set of fully open general-education courses across eight colleges predominantly serving at-risk students, with goals to dramatically reduce textbook costs and collaborate to improve the courses to help students succeed. David and Kim exceeded those goals: the cost of the required textbooks, replaced with OER, decreased to zero "
-"dollars, and average student-success rates improved by 5 to 10 percent when compared with previous years. After a second round of funding, a total of more than twenty-five institutions participated in and benefited from this project. It was career changing for David and Kim to see the impact this initiative had on low-income students. David and Kim sought further funding from the Bill and Melinda Gates Foundation, who asked them to define a plan to scale their work in a financially sustainable way. That is when they decided to create Lumen Learning."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4299
-msgid "David and Kim went back and forth on whether it should be a nonprofit or for-"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4306
-msgid "profit. A nonprofit would make it a more comfortable fit with the education sector but meant they’d be constantly fund-raising and seeking grants from philanthropies. Also, grants usually require money to be used in certain ways for specific deliverables. If you learn things along the way that change how you think the grant money should be used, there often isn’t a lot of flexibility to do so."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4314
-msgid "But as a for-profit, they’d have to convince educational institutions to pay for what Lumen had to offer. On the positive side, they’d have more control over what to do with the revenue and investment money; they could make decisions to invest the funds or use them differently based on the situation and shifting opportunities. In the end, they chose the for-profit status, with its different model for and approach to sustainability."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4320
-msgid "Right from the start, David and Kim positioned Lumen Learning as a way to help institutions engage in open educational resources, or OER. OER are teaching, learning, and research materials, in all different media, that reside in the public domain or are released under an open license that permits free use and repurposing by others."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4332
-msgid "Originally, Lumen did custom contracts for each institution. This was complicated and challenging to manage. However, through that process patterns emerged which allowed them to generalize a set of approaches and offerings. Today they don’t customize as much as they used to, and instead they tend to work with customers who can use their off-the-shelf options. Lumen finds that institutions and faculty are generally very good at seeing the value Lumen brings and are willing to pay for it. Serving disadvantaged learner populations has led Lumen to be very pragmatic; they describe what they offer in quantitative terms—with facts and figures—and in a way that is very student-focused. Lumen Learning helps colleges and universities—"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4341
-msgid "replace expensive textbooks in high-enrollment courses with OER;"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4341
-msgid "provide enrolled students day one access to Lumen’s fully customizable OER course materials through the institution’s learning-management system;"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4341
-msgid "measure improvements in student success with metrics like passing rates, persistence, and course completion; and"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4341
-msgid "collaborate with faculty to make ongoing improvements to OER based on student success research."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4347
-msgid "Lumen has developed a suite of open, Creative Commons–licensed courseware in more than sixty-five subjects. All courses are freely and publicly available right off their website. They can be copied and used by others as long as they provide attribution to Lumen Learning following the terms of the Creative Commons license."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4353
-msgid "Then there are three types of bundled services that cost money. One option, which Lumen calls Candela courseware, offers integration with the institution’s learning-management system, technical and pedagogical support, and tracking of effectiveness. Candela courseware costs institutions ten dollars per enrolled student."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4359
-msgid "A second option is Waymaker, which offers the services of Candela but adds personalized learning technologies, such as study plans, automated messages, and assessments, and helps instructors find and support the students who need it most. Waymaker courses cost twenty-five dollars per enrolled student."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4366
-msgid "The third and emerging line of business for Lumen is providing guidance and support for institutions and state systems that are pursuing the development of complete OER degrees. Often called Z-Degrees, these programs eliminate textbook costs for students in all courses that make up the degree (both required and elective) by replacing commercial textbooks and other expensive resources with OER."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4381
-msgid ""
-"Lumen generates revenue by charging for their value-added tools and services on top of their free courses, just as solar-power companies provide the tools and services that help people use a free resource—sunlight. And Lumen’s business model focuses on getting the institutions to pay, not the students. With projects they did prior to Lumen, David and Kim learned that students who have access to all course materials from day one have greater success. If students had to pay, Lumen would have to restrict access to those who paid. Right from the start, their stance was that they would not put their content behind a paywall. Lumen invests zero dollars in technologies and processes for restricting access—no digital rights management, no "
-"time bombs. While this has been a challenge from a business-model perspective, from an open-access perspective, it has generated immense goodwill in the community."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4390
-msgid "In most cases, development of their courses is funded by the institution Lumen has a contract with. When creating new courses, Lumen typically works with the faculty who are teaching the new course. They’re often part of the institution paying Lumen, but sometimes Lumen has to expand the team and contract faculty from other institutions. First, the faculty identifies all of the course’s learning outcomes. Lumen then searches for, aggregates, and curates the best OER they can find that addresses those learning needs, which the faculty reviews."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4400
-msgid "Sometimes faculty like the existing OER but not the way it is presented. The open licensing of existing OER allows Lumen to pick and choose from images, videos, and other media to adapt and customize the course. Lumen creates new content as they discover gaps in existing OER. Test-bank items and feedback for students on their progress are areas where new content is frequently needed. Once a course is created, Lumen puts it on their platform with all the attributions and links to the original sources intact, and any of Lumen’s new content is given an Attribution (CC BY) license."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4406
-msgid "Using only OER made them experience firsthand how complex it could be to mix differently licensed work together. A common strategy with OER is to place the Creative Commons license and attribution information in the website’s footer, which stays the same for all pages. This doesn’t quite work, however, when mixing different OER together."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4415
-msgid "Remixing OER often results in multiple attributions on every page of every course—text from one place, images from another, and videos from yet another. Some are licensed as Attribution (CC BY), others as Attribution-ShareAlike (CC BY-SA). If this information is put within the text of the course, faculty members sometimes try to edit it and students find it a distraction. Lumen dealt with this challenge by capturing the license and attribution information as metadata, and getting it to show up at the end of each page."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4422
-msgid "Lumen’s commitment to open licensing and helping low-income students has led to strong relationships with institutions, open-education enthusiasts, and grant funders. People in their network generously increase the visibility of Lumen through presentations, word of mouth, and referrals. Sometimes the number of general inquiries exceed Lumen’s sales"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4424
-msgid "capacity."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4435
-msgid "To manage demand and ensure the success of projects, their strategy is to be proactive and focus on what’s going on in higher education in different regions of the United States, watching out for things happening at the system level in a way that fits with what Lumen offers. A great example is the Virginia community college system, which is building out Z-Degrees. David and Kim say there are nine other U.S. states with similar system-level activity where Lumen is strategically focusing its efforts. Where there are projects that would require a lot of resources on Lumen’s part, they prioritize the ones that would impact the largest number of students."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4443
-msgid "As a business, Lumen is committed to openness. There are two core nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative Commons licenses, for all the materials it creates; and day-one access for students. Having clear nonnegotiables allows them to then engage with the education community to solve for other challenges and work with institutions to identify new business models that achieve institution goals, while keeping Lumen healthy."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4451
-msgid "Openness also means that Lumen’s OER must necessarily be nonexclusive and nonrivalrous. This represents several big challenges for the business model: Why should you invest in creating something that people will be reluctant to pay for? How do you ensure that the investment the diverse education community makes in OER is not exploited? Lumen thinks we all need to be clear about how we are benefiting from and contributing to the open"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4453
-msgid "community."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4460
-msgid "In the OER sector, there are examples of corporations, and even institutions, acting as free riders. Some simply take and use open resources without paying anything or contributing anything back. Others give back the minimum amount so they can save face. Sustainability will require those using open resources to give back an amount that seems fair or even give back something that is generous."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4469
-msgid "Lumen does track institutions accessing and using their free content. They proactively contact those institutions, with an estimate of how much their students are saving and encouraging them to switch to a paid model. Lumen explains the advantages of the paid model: a more interactive relationship with Lumen; integration with the institution’s learning-management system; a guarantee of support for faculty and students; and future sustainability with funding supporting the evolution and improvement of the OER they are using."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4476
-msgid "Lumen works hard to be a good corporate citizen in the OER community. For David and Kim, a good corporate citizen gives more than they take, adds unique value, and is very transparent about what they are taking from community, what they are giving back, and what they are monetizing. Lumen believes these are the building blocks of a sustainable model and strives for a correct balance of all these factors."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4481
-msgid "Licensing all the content they produce with CC BY is a key part of giving more value than they take. They’ve also worked hard at finding the right structure for their value-add and how to package it in a way that is understandable and repeatable."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4491
-msgid "As of the fall 2016 term, Lumen had eighty-six different open courses, working relationships with ninety-two institutions, and more than seventy-five thousand student enrollments. Lumen received early start-up funding from the Bill and Melinda Gates Foundation, the Hewlett Foundation, and the Shuttleworth Foundation. Since then, Lumen has also attracted investment funding. Over the last three years, Lumen has been roughly 60 percent grant funded, 20 percent revenue earned, and 20 percent funded with angel capital. Going forward, their strategy is to replace grant funding with revenue."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4499
-msgid "In creating Lumen Learning, David and Kim say they’ve landed on solutions they never imagined, and there is still a lot of learning taking place. For them, open business models are an emerging field where we are all learning through sharing. Their biggest recommendations for others wanting to pursue the open model are to make your commitment to open resources public, let people know where you stand, and don’t back away from it. It really is about trust."
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4503
-msgid "lumenlearning.com/innovative-projects/"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4505
-msgid "<span id=\"anchor-79\"></span>Jonathan Mann"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4508
-msgid "Jonathan Mann is a singer and songwriter who is most well known as the “Song A Day” guy. Based in the U.S."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4510
-msgid "jonathanmann.net and"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4512
-msgid "jonathanmann.bandcamp.com"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4516
-msgid "Revenue model: charging for custom services, pay-what-you-want, crowdfunding (subscription-based), charging for in-person version (speaking engagements and musical performances)"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4518
-msgid "Interview date: February 22, 2016"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4530
-msgid "Jonathan Mann thinks of his business model as “hustling”—seizing nearly every opportunity he sees to make money. The bulk of his income comes from writing songs under commission for people and companies, but he has a wide variety of income sources. He has supporters on the crowdfunding site Patreon. He gets advertising revenue from YouTube and Bandcamp, where he posts all of his music. He gives paid speaking engagements about creativity and motivation. He has been hired by major conferences to write songs summarizing what speakers have said in the conference sessions."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4539
-msgid "His entrepreneurial spirit is coupled with a willingness to take action quickly. A perfect illustration of his ability to act fast happened in 2010, when he read that Apple was having a conference the following day to address a snafu related to the iPhone 4. He decided to write and post a song about the iPhone 4 that day, and the next day he got a call from the public relations people at Apple wanting to use and promote his video at the Apple conference. The song then went viral, and the experience landed him in Time magazine."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4544
-msgid "Jonathan’s successful “hustling” is also about old-fashioned persistence. He is currently in his eighth straight year of writing one song each day. He holds the Guinness World Record for consecutive daily songwriting, and he is widely known as the “song-a-day guy.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4552
-msgid "He fell into this role by, naturally, seizing a random opportunity a friend alerted him to seven years ago—an event called Fun-A-Day, where people are supposed to create a piece of art every day for thirty-one days straight. He was in need of a new project, so he decided to give it a try by writing and posting a song each day. He added a video component to the songs because he knew people were more likely to watch video online than simply listening to audio files."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4566
-msgid ""
-"He had a really good time doing the thirty-one-day challenge, so he decided to see if he could continue it for one year. He never stopped. He has written and posted a new song literally every day, seven days a week, since he began the project in 2009. When he isn’t writing songs that he is hired to write by clients, he writes songs about whatever is on his mind that day. His songs are catchy and mostly lighthearted, but they often contain at least an undercurrent of a deeper theme or meaning. Occasionally, they are extremely personal, like the song he cowrote with his exgirlfriend announcing their breakup. Rain or shine, in sickness or health, Jonathan posts and writes a song every day. If he is on a flight or otherwise incapable "
-"of getting Internet access in time to meet the deadline, he will prepare ahead and have someone else post the song for him."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4573
-msgid "Over time, the song-a-day gig became the basis of his livelihood. In the beginning, he made money one of two ways. The first was by entering a wide variety of contests and winning a handful. The second was by having the occasional song and video go some varying degree of viral, which would bring more eyeballs and mean that there were more people wanting him to write songs for them. Today he earns most of his money this way."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4580
-msgid "His website explains his gig as “taking any message, from the super simple to the totally complicated, and conveying that message through a heartfelt, fun and quirky song.” He charges \\$500 to create a produced song and \\$300 for an acoustic song. He has been hired for product launches, weddings, conferences, and even Kickstarter campaigns like the one that funded the production of this book."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4587
-msgid "Jonathan can’t recall when exactly he first learned about Creative Commons, but he began applying CC licenses to his songs and videos as soon as he discovered the option. “CC seems like such a no-brainer,” Jonathan said. “I don’t understand how anything else would make sense. It seems like such an obvious thing that you would want your work to be able to be shared.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4595
-msgid "His songs are essentially marketing for his services, so obviously the further his songs spread, the better. Using CC licenses helps grease the wheels, letting people know that Jonathan allows and encourages them to copy, interact with, and remix his music. “If you let someone cover your song or remix it or use parts of it, that’s how music is supposed to work,” Jonathan said. “That is how music has worked since the beginning of time. Our me-me, mine-mine culture has undermined that.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4601
-msgid "There are some people who cover his songs fairly regularly, and he would never shut that down. But he acknowledges there is a lot more he could do to build community. “There is all of this conventional wisdom about how to build an audience online, and I generally think I don’t do any of that,” Jonathan said."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4609
-msgid "He does have a fan community he cultivates on Bandcamp, but it isn’t his major focus. “I do have a core audience that has stuck around for a really long time, some even longer than I’ve been doing song-a-day,” he said. “There is also a transitional aspect that drop in and get what they need and then move on.” Focusing less on community building than other artists makes sense given Jonathan’s primary income source of writing custom songs for clients."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4619
-msgid "Jonathan recognizes what comes naturally to him and leverages those skills. Through the practice of daily songwriting, he realized he has a gift for distilling complicated subjects into simple concepts and putting them to music. In his song “How to Choose a Master Password,” Jonathan explained the process of creating a secure password in a silly, simple song. He was hired to write the song by a client who handed him a long technical blog post from which to draw the information. Like a good (and rare) journalist, he translated the technical concepts into something understandable."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4630
-msgid "When he is hired by a client to write a song, he first asks them to send a list of talking points and other information they want to include in the song. He puts all of that into a text file and starts moving things around, cutting and pasting until the message starts to come together. The first thing he tries to do is grok the core message and develop the chorus. Then he looks for connections or parts he can make rhyme. The entire process really does resemble good journalism, but of course the final product of his work is a song rather than news. “There is something about being challenged and forced to take information that doesn’t seem like it should be sung about"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4634
-msgid "or doesn’t seem like it lends itself to a song,” he said. “I find that creative challenge really satisfying. I enjoy getting lost in that process.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4639
-msgid "Jonathan admits that in an ideal world, he would exclusively write the music he wanted to write, rather than what clients hire him to write. But his business model is about capitalizing on his strengths as a songwriter, and he has found a way to keep it interesting for"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4641
-msgid "himself."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4651
-msgid "Jonathan uses nearly every tool possible to make money from his art, but he does have lines he won’t cross. He won’t write songs about things he fundamentally does not believe in, and there are times he has turned down jobs on principle. He also won’t stray too much from his natural style. “My style is silly, so I can’t really accommodate people who want something super serious,” Jonathan said. “I do what I do very easily, and it’s part of who I am.” Jonathan hasn’t gotten into writing commercials for the same reasons; he is best at using his own unique style rather than mimicking others."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4658
-msgid "Jonathan’s song-a-day commitment exemplifies the power of habit and grit. Conventional wisdom about creative productivity, including advice in books like the best-seller The Creative Habit by Twyla Tharp, routinely emphasizes the importance of ritual and action. No amount of planning can replace the value of simple practice and just doing. Jonathan Mann’s work is a living embodiment of these principles."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4664
-msgid "When he speaks about his work, he talks about how much the song-a-day process has changed him. Rather than seeing any given piece of work as precious and getting stuck on trying to make it perfect, he has become comfortable with just doing. If today’s song is a bust, tomorrow’s song might be better."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4671
-msgid "Jonathan seems to have this mentality about his career more generally. He is constantly experimenting with ways to make a living while sharing his work as widely as possible, seeing what sticks. While he has major accomplishments he is proud of, like being in the Guinness World Records or having his song used by Steve Jobs, he says he never truly feels successful."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4675
-msgid "“Success feels like it’s over,” he said. “To a certain extent, a creative person is not ever going to feel completely satisfied because then so much of what drives you would be gone.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4677
-msgid "<span id=\"anchor-80\"></span>Noun Project"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4681
-msgid "The Noun Project is a for-profit company offering an online platform to display visual icons from a global network of designers. Founded in 2010 in the U.S."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4683
-msgid "thenounproject.com"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4685
-msgid "Revenue model: charging a transaction fee, charging for custom services"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4687
-msgid "Interview date: October 6, 2015"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4689
-msgid "Interviewee: Edward Boatman, cofounder"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4695
-msgid "The Noun Project creates and shares visual language. There are millions who use Noun Project symbols to simplify communication across borders, languages, and cultures."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4702
-msgid "The original idea for the Noun Project came to cofounder Edward Boatman while he was a student in architecture design school. He’d always done a lot of sketches and started to draw what used to fascinate him as a child, like trains, sequoias, and bulldozers. He began thinking how great it would be if he had a simple image or small icon of every single object or concept on the planet."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4708
-msgid "When Edward went on to work at an architecture firm, he had to make a lot of presentation boards for clients. But finding high-quality sources for symbols and icons was difficult. He couldn’t find any website that could provide them. Perhaps his idea for creating a library of icons could actually help people in similar situations."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4715
-msgid "With his partner, Sofya Polyakov, he began collecting symbols for a website and writing a business plan. Inspiration came from the book Professor and the Madman, which chronicles the use of crowdsourcing to create the Oxford English Dictionary in 1870. Edward began to imagine crowdsourcing icons and symbols from volunteer designers around the world."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4723
-msgid "Then Edward got laid off during the recession, which turned out to be a huge catalyst. He decided to give his idea a go, and in 2010 Edward and Sofya launched the Noun Project with a Kickstarter campaign, back when Kickstarter was in its infancy.1 They thought it’d be a good way to introduce the global web community to their idea. Their goal was to raise \\$1,500, but in twenty days they got over \\$14,000. They realized their idea had the potential to be something much bigger."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4729
-msgid "They created a platform where symbols and icons could be uploaded, and Edward began recruiting talented designers to contribute their designs, a process he describes as a relatively easy sell. Lots of designers have old drawings just gathering “digital dust” on their hard drives. It’s easy to convince them to finally share them with the world."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4737
-msgid "The Noun Project currently has about seven thousand designers from around the world. But not all submissions are accepted. The Noun Project’s quality-review process means that only the best works become part of its collection. They make sure to provide encouraging, constructive feedback whenever they reject a piece of work, which maintains and builds the relationship they have with their global community of designers."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4742
-msgid "Creative Commons is an integral part of the Noun Project’s business model; this decision was inspired by Chris Anderson’s book Free: The Future of Radical Price, which introduced Edward to the idea that you could build a business model around free content."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4754
-msgid "Edward knew he wanted to offer a free visual language while still providing some protection and reward for its contributors. There is a tension between those two goals, but for Edward, Creative Commons licenses bring this idealism and business opportunity together elegantly. He chose the Attribution (CC BY) license, which means people can download the icons for free and modify them and even use them commercially. The requirement to give attribution to the original creator ensures that the creator can build a reputation and get global recognition for their work. And if they simply want to offer an icon that people can use without having to give credit, they can use CC0 to put the work into the public domain."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4763
-msgid "Noun Project’s business model and means of generating revenue have evolved significantly over time. Their initial plan was to sell T-shirts with the icons on it, which in retrospect Edward says was a horrible idea. They did get a lot of email from people saying they loved the icons but asking if they could pay a fee instead of giving attribution. Ad agencies (among others) wanted to keep marketing and presentation materials clean and free of attribution statements. For Edward, “That’s when our lightbulb went off.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4769
-msgid "They asked their global network of designers whether they’d be open to receiving modest remuneration instead of attribution. Designers saw it as a win-win. The idea that you could offer your designs for free and have a global audience and maybe even make some money was pretty exciting for most designers."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4781
-msgid ""
-"The Noun Project first adopted a model whereby using an icon without giving attribution would cost \\$1.99 per icon. The model’s second iteration added a subscription component, where there would be a monthly fee to access a certain number of icons—ten, fifty, a hundred, or five hundred. However, users didn’t like these hard-count options. They preferred to try out many similar icons to see which worked best before eventually choosing the one they wanted to use. So the Noun Project moved to an unlimited model, whereby users have unlimited access to the whole library for a flat monthly fee. This service is called NounPro and costs \\$9.99 per month. Edward says this model is working well—good for customers, good for creators, and "
-"good for the platform."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4792
-msgid "Customers then began asking for an application-programming interface (API), which would allow Noun Project icons and symbols to be directly accessed from within other applications. Edward knew that the icons and symbols would be valuable in a lot of different contexts and that they couldn’t possibly know all of them in advance, so they built an API with a lot of flexibility. Knowing that most API applications would want to use the icons without giving attribution, the API was built with the aim of charging for its use. You can use what’s called the “Playground API” for free to test how it integrates with your application, but full implementation will require you to purchase the API Pro version."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4796
-msgid "The Noun Project shares revenue with its international designers. For one-off purchases, the revenue is split 70 percent to the designer and 30 percent to Noun Project."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4805
-msgid "The revenue from premium purchases (the subscription and API options) is split a little differently. At the end of each month, the total revenue from subscriptions is divided by Noun Project’s total number of downloads, resulting in a rate per download—for example, it could be \\$0.13 per download for that month. For each download, the revenue is split 40 percent to the designer and 60 percent to the Noun Project. (For API usage, it’s per use instead of per download.) Noun Project’s share is higher this time as it’s providing more service to the user."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4809
-msgid "The Noun Project tries to be completely transparent about their royalty structure.2 They tend to over communicate with creators about it because building trust is the top"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4811
-msgid "priority."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4817
-msgid "For most creators, contributing to the Noun Project is not a full-time job but something they do on the side. Edward categorizes monthly earnings for creators into three broad categories: enough money to buy beer; enough to pay the bills; and most successful of all, enough to pay the rent."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4829
-msgid "Recently the Noun Project launched a new app called Lingo. Designers can use Lingo to organize not just their Noun Project icons and symbols but also their photos, illustrations, UX designs, et cetera. You simply drag any visual item directly into Lingo to save it. Lingo also works for teams so people can share visuals with each other and search across their combined collections. Lingo is free for personal use. A pro version for \\$9.99 per month lets you add guests. A team version for \\$49.95 per month allows up to twenty-five team members to collaborate, and to view, use, edit, and add new assets to each other’s collections. And if you subscribe to NounPro, you can access Noun Project from within Lingo."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4835
-msgid "The Noun Project gives a ton of value away for free. A very large percentage of their roughly one million members have a free account, but there are still lots of paid accounts coming from digital designers, advertising and design agencies, educators, and others who need to communicate ideas visually."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4840
-msgid "For Edward, “creating, sharing, and celebrating the world’s visual language” is the most important aspect of what they do; it’s their stated mission. It differentiates them from others who offer graphics, icons, or clip art."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4847
-msgid "Noun Project creators agree. When surveyed on why they participate in the Noun Project, this is how designers rank their reasons: 1) to support the Noun Project mission, 2) to promote their own personal brand, and 3) to generate money. It’s striking to see that money comes third, and mission, first. If you want to engage a global network of contributors, it’s important to have a mission beyond making money."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4852
-msgid "In Edward’s view, Creative Commons is central to their mission of sharing and social good. Using Creative Commons makes the Noun Project’s mission genuine and has generated a lot of their initial traction and credibility. CC comes with a built-in community of users and fans."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4860
-msgid "Edward told us, “Don’t underestimate the power of a passionate community around your product or your business. They are going to go to bat for you when you’re getting ripped in the media. If you go down the road of choosing to work with Creative Commons, you’re taking the first step to building a great community and tapping into a really awesome community that comes with it. But you need to continue to foster that community through other initiatives and continue to nurture it.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4865
-msgid "The Noun Project nurtures their creators’ second motivation—promoting a personal brand—by connecting every icon and symbol to the creator’s name and profile page; each profile features their full collection. Users can also search the icons by the creator’s name."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4873
-msgid "The Noun Project also builds community through Iconathons—hackathons for icons.2 In partnership with a sponsoring organization, the Noun Project comes up with a theme (e.g., sustainable energy, food bank, guerrilla gardening, human rights) and a list of icons that are needed, which designers are invited to create at the event. The results are vectorized, and added to the Noun Project using CC0 so they can be used by anyone for free."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4881
-msgid "Providing a free version of their product that satisfies a lot of their customers’ needs has actually enabled the Noun Project to build the paid version, using a service-oriented model. The Noun Project’s success lies in creating services and content that are a strategic mix of free and paid while staying true to their mission—creating, sharing, and celebrating the world’s visual language. Integrating Creative Commons into their model has been key to that goal."
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4887
-msgid "www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description"
-msgstr ""
-
-#. type: Bullet: '2. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4887
-msgid "thenounproject.com/handbook/royalties/\\#getting\\_paid"
-msgstr ""
-
-#. type: Bullet: '3. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4887
-msgid "thenounproject.com/iconathon/"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4889
-msgid "<span id=\"anchor-81\"></span>Open Data Institute"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4893
-msgid "The Open Data Institute is an independent nonprofit that connects, equips, and inspires people around the world to innovate with data. Founded in 2012 in the UK."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4895
-msgid "theodi.org"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4898
-msgid "Revenue model: grant and government funding, charging for custom services, donations"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4900
-msgid "Interview date: November 11, 2015"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4902
-msgid "Interviewee: Jeni Tennison, technical director"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4912
-msgid "Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the London-based Open Data Institute (ODI) offers data-related training, events, consulting services, and research. For ODI, Creative Commons licenses are central to making their own business model and their customers’ open. CC BY (Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the public domain) all play a critical role in ODI’s mission to help people around the world innovate with data."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4922
-msgid "Data underpins planning and decision making across all aspects of society. Weather data helps farmers know when to plant their crops, flight time data from airplane companies helps us plan our travel, data on local housing informs city planning. When this data is not only accurate and timely, but open and accessible, it opens up new possibilities. Open data can be a resource businesses use to build new products and services. It can help governments measure progress, improve efficiency, and target investments. It can help citizens improve their lives by better understanding what is happening around them."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4928
-msgid "The Open Data Institute’s 2012–17 business plan starts out by describing its vision to establish itself as a world-leading center and to research and be innovative with the opportunities created by the UK government’s open data policy. (The government was an early pioneer in open policy and open-data initiatives.) It goes on to say that the ODI wants to—"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4935
-msgid "demonstrate the commercial value of open government data and how open-data policies affect this;"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4935
-msgid "develop the economic benefits case and business models for open data;"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4935
-msgid "help UK businesses use open data; and"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4935
-msgid "show how open data can improve public services.1"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4943
-msgid "ODI is very explicit about how it wants to make open business models, and defining what this means. Jeni Tennison, ODI’s technical director, puts it this way: “There is a whole ecosystem of open—open-source software, open government, open-access research—and a whole ecosystem of data. ODI’s work cuts across both, with an emphasis on where they overlap—with open data.” ODI’s particular focus is to show open data’s potential for revenue."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4949
-msgid "As an independent nonprofit, ODI secured £10 million over five years from the UK government via Innovate UK, an agency that promotes innovation in science and technology. For this funding, ODI has to secure matching funds from other sources, some of which were met through a \\$4.75-million investment from the Omidyar Network."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4955
-msgid "Jeni started out as a developer and technical architect for data.gov.uk, the UK government’s pioneering open-data initiative. She helped make data sets from government departments available as open data. She joined ODI in 2012 when it was just starting up, as one of six people. It now has a staff of about sixty."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4962
-msgid "ODI strives to have half its annual budget come from the core UK government and Omidyar grants, and the other half from project-based research and commercial work. In Jeni’s view, having this balance of revenue sources establishes some stability, but also keeps them motivated to go out and generate these matching funds in response to market needs."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4965
-msgid "On the commercial side, ODI generates funding through memberships, training, and advisory services."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4976
-msgid "You can join the ODI as an individual or commercial member. Individual membership is pay-what-you-can, with options ranging from £1 to £100. Members receive a newsletter and related communications and a discount on ODI training courses and the annual summit, and they can display an ODI-supporter badge on their website. Commercial membership is divided into two tiers: small to medium size enterprises and nonprofits at £720 a year, and corporations and government organizations at £2,200 a year. Commercial members have greater opportunities to connect and collaborate, explore the benefits of open data, and unlock new business opportunities. (All members are listed on their website.)2"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4988
-msgid "ODI provides standardized open data training courses in which anyone can enroll. The initial idea was to offer an intensive and academically oriented diploma in open data, but it quickly became clear there was no market for that. Instead, they offered a five-day-long public training course, which has subsequently been reduced to three days; now the most popular course is one day long. The fee, in addition to the time commitment, can be a barrier for participation. Jeni says, “Most of the people who would be able to pay don’t know they need it. Most who know they need it can’t pay.” Public-sector organizations sometimes give vouchers to their employees so they can attend as a form of professional development."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:4996
-msgid "ODI customizes training for clients as well, for which there is more demand. Custom training usually emerges through an established relationship with an organization. The training program is based on a definition of open-data knowledge as applicable to the organization and on the skills needed by their high-level executives, management, and technical staff. The training tends to generate high interest and commitment."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5003
-msgid "Education about open data is also a part of ODI’s annual summit event, where curated presentations and speakers showcase the work of ODI and its members across the entire ecosystem. Tickets to the summit are available to the public, and hundreds of people and organizations attend and participate. In 2014, there were four thematic tracks and over 750 attendees."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5010
-msgid "In addition to memberships and training, ODI provides advisory services to help with technical-data support, technology development, change management, policies, and other areas. ODI has advised large commercial organizations, small businesses, and international governments; the focus at the moment is on government, but ODI is working to shift more toward commercial organizations."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5013
-msgid "On the commercial side, the following value propositions seem to resonate:"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5028
-msgid "Data-driven insights. Businesses need data from outside their business to get more insight. Businesses can generate value and more effectively pursue their own goals if they open up their own data too. Big data is a hot topic."
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5028
-msgid "Open innovation. Many large-scale enterprises are aware they don’t innovate very well. One way they can innovate is to open up their data. ODI encourages them to do so even if it exposes problems and challenges. The key is to invite other people to help while still maintaining organizational autonomy."
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5028
-msgid "Corporate social responsibility. While this resonates with businesses, ODI cautions against having it be the sole reason for making data open. If a business is just thinking about open data as a way to be transparent and accountable, they can miss out on efficiencies and opportunities."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5036
-msgid "During their early years, ODI wanted to focus solely on the United Kingdom. But in their first year, large delegations of government visitors from over fifty countries wanted to learn more about the UK government’s open-data practices and how ODI saw that translating into economic value. They were contracted as a service provider to international governments, which prompted a need to set up international ODI “nodes.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5046
-msgid "Nodes are franchises of the ODI at a regional or city level. Hosted by existing (for-profit or not-for-profit) organizations, they operate locally but are part of the global network. Each ODI node adopts the charter, a set of guiding principles and rules under which ODI operates. They develop and deliver training, connect people and businesses through membership and events, and communicate open-data stories from their part of the world. There are twenty-seven different nodes across nineteen countries. ODI nodes are charged a small fee to be part of the network and to use the brand."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5050
-msgid "ODI also runs programs to help start-ups in the UK and across Europe develop a sustainable business around open data, offering mentoring, advice, training, and even office space.3"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5058
-msgid "A big part of ODI’s business model revolves around community building. Memberships, training, summits, consulting services, nodes, and start-up programs create an ever-growing network of open-data users and leaders. (In fact, ODI even operates something called an Open Data Leaders Network.) For ODI, community is key to success. They devote significant time and effort to build it, not just online but through face-to-face events."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5064
-msgid "ODI has created an online tool that organizations can use to assess the legal, practical, technical, and social aspects of their open data. If it is of high quality, the organization can earn ODI’s Open Data Certificate, a globally recognized mark that signals that their open data is useful, reliable, accessible, discoverable, and supported.4"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5069
-msgid "Separate from commercial activities, the ODI generates funding through research grants. Research includes looking at evidence on the impact of open data, development of open-data tools and standards, and how to deploy open data at scale."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5074
-msgid "Creative Commons 4.0 licenses cover database rights and ODI recommends CC BY, CC BY-SA, and CC0 for data releases. ODI encourages publishers of data to use Creative Commons licenses rather than creating new “open licenses” of their own."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5090
-msgid ""
-"For ODI, open is at the heart of what they do. They also release any software code they produce under open-source-software licenses, and publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is to connect and equip people around the world so they can innovate with data. Disseminating stories, research, guidance, and code under an open license is essential for achieving that mission. It also demonstrates that it is perfectly possible to generate sustainable revenue streams that do not rely on restrictive licensing of content, data, or code. People pay to have ODI experts provide training to them, not for the content of the training; people pay for the advice ODI gives them, not for the methodologies they use. "
-"Producing open content, data, and source code helps establish credibility and creates leads for the paid services that they offer. According to Jeni, “The biggest lesson we have learned is that it is completely possible to be open, get customers, and make money.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5094
-msgid "To serve as evidence of a successful open business model and return on investment, ODI has a public dashboard of key performance indicators. Here are a few metrics as of April 27, 2016:"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5106
-msgid "Total amount of cash investments unlocked in direct investments in ODI, competition funding, direct contracts, and partnerships, and income that ODI nodes and ODI start-ups have generated since joining the ODI program: £44.5 million"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5106
-msgid "Total number of active members and nodes across the globe: 1,350"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5106
-msgid "Total sales since ODI began: £7.44 million"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5106
-msgid "Total number of unique people reached since ODI began, in person and online: 2.2 million"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5106
-msgid "Total Open Data Certificates created: 151,000"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5106
-msgid "Total number of people trained by ODI and its nodes since ODI began: 5,0805"
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5115
-msgid "e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf"
-msgstr ""
-
-#. type: Bullet: '2. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5115
-msgid "directory.theodi.org/members"
-msgstr ""
-
-#. type: Bullet: '3. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5115
-msgid "theodi.org/odi-startup-programme; theodi.org/open-data-incubator-for-europe"
-msgstr ""
-
-#. type: Bullet: '4. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5115
-msgid "certificates.theodi.org"
-msgstr ""
-
-#. type: Bullet: '5. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5115
-msgid "dashboards.theodi.org/company/all"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5117
-msgid "<span id=\"anchor-82\"></span>OpenDesk"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5121
-msgid "Opendesk is a for-profit company offering an online platform that connects furniture designers around the world with customers and local makers who bring the designs to life. Founded in 2014 in the UK."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5123
-msgid "www.opendesk.cc"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5125 MadewithCreativeCommonsmostup-to-dateversion.md:7080
-msgid "Revenue model: charging a transaction fee"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5127
-msgid "Interview date: November 4, 2015"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5129
-msgid "Interviewees: Nick Ierodiaconou and Joni Steiner, cofounders"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5136
-msgid "Opendesk is an online platform that connects furniture designers around the world not just with customers but also with local registered makers who bring the designs to life. Opendesk and the designer receive a portion of every sale that is made by a maker."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5151
-msgid ""
-"Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as architects together. They also made goods. Their first client was Mint Digital, who had an interest in open licensing. Nick and Joni were exploring digital fabrication, and Mint’s interest in open licensing got them to thinking how the open-source world may interact and apply to physical goods. They sought to design something for their client that was also reproducible. As they put it, they decided to “ship the recipe, but not the goods.” They created the design using software, put it under an open license, and had it manufactured locally near the client. This was the start of the idea for Opendesk. The idea for Wikihouse—another open project dedicated to "
-"accessible housing for all—started as discussions around the same table. The two projects ultimately went on separate paths, with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit company."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5157
-msgid "When Nick and Joni set out to create Opendesk, there were a lot of questions about the viability of distributed manufacturing. No one was doing it in a way that was even close to realistic or competitive. The design community had the intent, but fulfilling this vision was still a long way away."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5167
-msgid "And now this sector is emerging, and Nick and Joni are highly interested in the commercialization aspects of it. As part of coming up with a business model, they began investigating intellectual property and licensing options. It was a thorny space, especially for designs. Just what aspect of a design is copyrightable? What is patentable? How can allowing for digital sharing and distribution be balanced against the designer’s desire to still hold ownership? In the end, they decided there was no need to reinvent the wheel and settled on using Creative Commons."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5173
-msgid "When designing the Opendesk system, they had two goals. They wanted anyone, anywhere in the world, to be able to download designs so that they could be made locally, and they wanted a viable model that benefited designers when their designs were sold. Coming up with a business model was going to be complex."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5177
-msgid "They gave a lot of thought to three angles—the potential for social sharing, allowing designers to choose their license, and the impact these choices would have on the business model."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5183
-msgid "In support of social sharing, Opendesk actively advocates for (but doesn’t demand) open licensing. And Nick and Joni are agnostic about which Creative Commons license is used; it’s up to the designer. They can be proprietary or choose from the full suite of Creative Commons licenses, deciding for themselves how open or closed they want to be."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5188
-msgid "For the most part, designers love the idea of sharing content. They understand that you get positive feedback when you’re attributed, what Nick and Joni called “reputational glow.” And Opendesk does an awesome job profiling the designers.1"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5193
-msgid "While designers are largely OK with personal sharing, there is a concern that someone will take the design and manufacture the furniture in bulk, with the designer not getting any benefits. So most Opendesk designers choose the Attribution-NonCommercial license (CC BY-NC)."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5202
-msgid "Anyone can download a design and make it themselves, provided it’s for noncommercial use — and there have been many, many downloads. Or users can buy the product from Opendesk, or from a registered maker in Opendesk’s network, for on-demand personal fabrication. The network of Opendesk makers currently is made up of those who do digital fabrication using a computer-controlled CNC (Computer Numeric Control) machining device that cuts shapes out of wooden sheets according to the specifications in the design file."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5210
-msgid "Makers benefit from being part of Opendesk’s network. Making furniture for local customers is paid work, and Opendesk generates business for them. Joni said, “Finding a whole network and community of makers was pretty easy because we built a site where people could write in about their capabilities. Building the community by learning from the maker community is how we have moved forward.” Opendesk now has relationships with hundreds of makers in countries all around the world.2"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5214
-msgid "The makers are a critical part of the Opendesk business model. Their model builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s website:"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5217
-msgid "When customers buy an Opendesk product directly from a registered maker, they pay:"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5239
-msgid "the manufacturing cost as set by the maker (this covers material and labour costs for the product to be manufactured and any extra assembly costs charged by the maker)"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5239
-msgid "a design fee for the designer (a design fee that is paid to the designer every time their design is used)"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5239
-msgid "a percentage fee to the Opendesk platform (this supports the infrastructure and ongoing development of the platform that helps us build out our marketplace)"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5239
-msgid "a percentage fee to the channel through which the sale is made (at the moment this is Opendesk, but in the future we aim to open this up to third-party sellers who can sell Opendesk products through their own channels—this covers sales and marketing fees for the relevant channel)"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5239
-msgid "a local delivery service charge (the delivery is typically charged by the maker, but in some cases may be paid to a third-party delivery partner)"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5239
-msgid "charges for any additional services the customer chooses, such as on-site assembly (additional services are discretionary—in many cases makers will be happy to quote for assembly on-site and designers may offer bespoke design options)"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5239
-msgid "local sales taxes (variable by customer and maker location)3"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5241
-msgid "They then go into detail how makers’ quotes are created:"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5250
-msgid "When a customer wants to buy an Opendesk . . . they are provided with a transparent breakdown of fees including the manufacturing cost, design fee, Opendesk platform fee and channel fees. If a customer opts to buy by getting in touch directly with a registered local maker using a downloaded Opendesk file, the maker is responsible for ensuring the design fee, Opendesk platform fee and channel fees are included in any quote at the time of sale. Percentage fees are always based on the underlying manufacturing cost and are typically apportioned as follows:"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5258
-msgid "manufacturing cost: fabrication, finishing and any other costs as set by the maker (excluding any services like delivery or on-site assembly)"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5258
-msgid "design fee: 8 percent of the manufacturing cost"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5258
-msgid "platform fee: 12 percent of the manufacturing cost"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5258
-msgid "channel fee: 18 percent of the manufacturing cost"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5258
-msgid "sales tax: as applicable (depends on product and location)"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5263
-msgid "Opendesk shares revenue with their community of designers. According to Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8 percent is more generous, and providing a higher value to the designer."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5270
-msgid "The Opendesk website features stories of designers and makers. Denis Fuzii published the design for the Valovi Chair from his studio in São Paulo. His designs have been downloaded over five thousand times in ninety-five countries. I.J. CNC Services is Ian Jinks, a professional maker based in the United Kingdom. Opendesk now makes up a large proportion of his business."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5278
-msgid "To manage resources and remain effective, Opendesk has so far focused on a very narrow niche—primarily office furniture of a certain simple aesthetic, which uses only one type of material and one manufacturing technique. This allows them to be more strategic and more disruptive in the market, by getting things to market quickly with competitive prices. It also reflects their vision of creating reproducible and functional pieces."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5284
-msgid "On their website, Opendesk describes what they do as “open making”: “Designers get a global distribution channel. Makers get profitable jobs and new customers. You get designer products without the designer price tag, a more social, eco-friendly alternative to mass-production and an affordable way to buy custom-made products.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5290
-msgid "Nick and Joni say that customers like the fact that the furniture has a known provenance. People really like that their furniture was designed by a certain international designer but was made by a maker in their local community; it’s a great story to tell. It certainly sets apart Opendesk furniture from the usual mass-produced items from a store."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5298
-msgid "Nick and Joni are taking a community-based approach to define and evolve Opendesk and the “open making” business model. They’re engaging thought leaders and practitioners to define this new movement. They have a separate Open Making site, which includes a manifesto, a field guide, and an invitation to get involved in the Open Making community.4 People can submit ideas and discuss the principles and business practices they’d like to see used."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5304
-msgid "Nick and Joni talked a lot with us about intellectual property (IP) and commercialization. Many of their designers fear the idea that someone could take one of their design files and make and sell infinite number of pieces of furniture with it. As a consequence, most Opendesk designers choose the Attribution-NonCommercial license (CC BY-NC)."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5307
-msgid "Opendesk established a set of principles for what their community considers commercial and noncommercial use. Their website states:"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5309
-msgid "It is unambiguously commercial use when anyone:"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5312
-msgid "charges a fee or makes a profit when making an Opendesk"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5312
-msgid "sells (or bases a commercial service on) an Opendesk"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5316
-msgid "It follows from this that noncommercial use is when you make an Opendesk yourself, with no intention to gain commercial advantage or monetary compensation. For example, these qualify as noncommercial:"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5325
-msgid "you are an individual with your own CNC machine, or access to a shared CNC machine, and will personally cut and make a few pieces of furniture yourself"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5325
-msgid "you are a student (or teacher) and you use the design files for educational purposes or training (and do not intend to sell the resulting pieces)"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5325
-msgid "you work for a charity and get furniture cut by volunteers, or by employees at a fab lab or maker space"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5334
-msgid "Whether or not people technically are doing things that implicate IP, Nick and Joni have found that people tend to comply with the wishes of creators out of a sense of fairness. They have found that behavioral economics can replace some of the thorny legal issues. In their business model, Nick and Joni are trying to suspend the focus on IP and build an open business model that works for all stakeholders—designers, channels, manufacturers, and customers. For them, the value Opendesk generates hangs off “open,” not IP."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5340
-msgid "The mission of Opendesk is about relocalizing manufacturing, which changes the way we think about how goods are made. Commercialization is integral to their mission, and they’ve begun to focus on success metrics that track how many makers and designers are engaged through Opendesk in revenue-making work."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5345
-msgid "As a global platform for local making, Opendesk’s business model has been built on honesty, transparency, and inclusivity. As Nick and Joni describe it, they put ideas out there that get traction and then have faith in people."
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5352
-msgid "www.opendesk.cc/designers"
-msgstr ""
-
-#. type: Bullet: '2. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5352
-msgid "www.opendesk.cc/open-making/makers/"
-msgstr ""
-
-#. type: Bullet: '3. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5352
-msgid "www.opendesk.cc/open-making/join"
-msgstr ""
-
-#. type: Bullet: '4. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5352
-msgid "openmaking.is"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5354
-msgid "<span id=\"anchor-83\"></span>OpenStax"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5358
-msgid "OpenStax is a nonprofit that provides free, openly licensed textbooks for high-enrollment introductory college courses and Advanced Placement courses. Founded in 2012 in the U.S."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5360
-msgid "www.openstaxcollege.org"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5363
-msgid "Revenue model: grant funding, charging for custom services, charging for physical copies (textbook sales)"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5365
-msgid "Interview date: December 16, 2015"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5367
-msgid "Interviewee: David Harris, editor-in-chief"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5380
-msgid "OpenStax is an extension of a program called Connexions, which was started in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of Electrical and Computer Engineering at Rice University in Houston, Texas. Frustrated by the limitations of traditional textbooks and courses, Dr. Baraniuk wanted to provide authors and learners a way to share and freely adapt educational materials such as courses, books, and reports. Today, Connexions (now called OpenStax CNX) is one of the world’s best libraries of customizable educational materials, all licensed with Creative Commons and available to anyone, anywhere, anytime—for free."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5389
-msgid "In 2008, while in a senior leadership role at WebAssign and looking at ways to reduce the risk that came with relying on publishers, David Harris began investigating open educational resources (OER) and discovered Connexions. A year and a half later, Connexions received a grant to help grow the use of OER so that it could meet the needs of students who couldn’t afford textbooks. David came on board to spearhead this effort. Connexions became OpenStax CNX; the program to create open textbooks became OpenStax College, now simply called OpenStax."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5399
-msgid "David brought with him a deep understanding of the best practices of publishing along with where publishers have inefficiencies. In David’s view, peer review and high standards for quality are critically important if you want to scale easily. Books have to have logical scope and sequence, they have to exist as a whole and not in pieces, and they have to be easy to find. The working hypothesis for the launch of OpenStax was to professionally produce a turnkey textbook by investing effort up front, with the expectation that this would lead to rapid growth through easy downstream adoptions by faculty and students."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5408
-msgid "In 2012, OpenStax College launched as a nonprofit with the aim of producing high-quality, peer-reviewed full-color textbooks that would be available for free for the twenty-five most heavily attended college courses in the nation. Today they are fast approaching that number. There is data that proves the success of their original hypothesis on how many students they could help and how much money they could help save.1 Professionally produced content scales rapidly. All with no sales force!"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5416
-msgid "OpenStax textbooks are all Attribution (CC BY) licensed, and each textbook is available as a PDF, an e-book, or web pages. Those who want a physical copy can buy one for an affordable price. Given the cost of education and student debt in North America, free or very low-cost textbooks are very appealing. OpenStax encourages students to talk to their professor and librarians about these textbooks and to advocate for their use."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5423
-msgid "Teachers are invited to try out a single chapter from one of the textbooks with students. If that goes well, they’re encouraged to adopt the entire book. They can simply paste a URL into their course syllabus, for free and unlimited access. And with the CC BY license, teachers are free to delete chapters, make changes, and customize any book to fit their needs."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5428
-msgid "Any teacher can post corrections, suggest examples for difficult concepts, or volunteer as an editor or author. As many teachers also want supplemental material to accompany a textbook, OpenStax also provides slide presentations, test banks, answer keys, and so on."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5433
-msgid "Institutions can stand out by offering students a lower-cost education through the use of OpenStax textbooks; there’s even a textbook-savings calculator they can use to see how much students would save. OpenStax keeps a running list of institutions that have adopted their textbooks.2"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5438
-msgid "Unlike traditional publishers’ monolithic approach of controlling intellectual property, distribution, and so many other aspects, OpenStax has adopted a model that embraces open licensing and relies on an extensive network of partners."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5447
-msgid "Up-front funding of a professionally produced all-color turnkey textbook is expensive. For this part of their model, OpenStax relies on philanthropy. They have initially been funded by the William and Flora Hewlett Foundation, the Laura and John Arnold Foundation, the Bill and Melinda Gates Foundation, the 20 Million Minds Foundation, the Maxfield Foundation, the Calvin K. Kazanjian Foundation, and Rice University. To develop additional titles and supporting technology is probably still going to require philanthropic investment."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5456
-msgid "However, ongoing operations will not rely on foundation grants but instead on funds received through an ecosystem of over forty partners, whereby a partner takes core content from OpenStax and adds features that it can create revenue from. For example, WebAssign, an online homework and assessment tool, takes the physics book and adds algorithmically generated physics problems, with problem-specific feedback, detailed solutions, and tutorial support. WebAssign resources are available to students for a fee."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5464
-msgid "Another example is Odigia, who has turned OpenStax books into interactive learning experiences and created additional tools to measure and promote student engagement. Odigia licenses its learning platform to institutions. Partners like Odigia and WebAssign give a percentage of the revenue they earn back to OpenStax, as mission-support fees. OpenStax has already published revisions of their titles, such as Introduction to Sociology 2e, using these funds."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5474
-msgid "In David’s view, this approach lets the market operate at peak efficiency. OpenStax’s partners don’t have to worry about developing textbook content, freeing them up from those development costs and letting them focus on what they do best. With OpenStax textbooks available at no cost, they can provide their services at a lower cost—not free, but still saving students money. OpenStax benefits not only by receiving mission-support fees but through free publicity and marketing. OpenStax doesn’t have a sales force; partners are out there showcasing their materials."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5480
-msgid "OpenStax’s cost of sales to acquire a single student is very, very low and is a fraction of what traditional players in the market face. This year, Tyton Partners is actually evaluating the costs of sales for an OER effort like OpenStax in comparison with incumbents. David looks forward to sharing these findings with the community."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5489
-msgid "While OpenStax books are available online for free, many students still want a print copy. Through a partnership with a print and courier company, OpenStax offers a complete solution that scales. OpenStax sells tens of thousands of print books. The price of an OpenStax sociology textbook is about twenty-eight dollars, a fraction of what sociology textbooks usually cost. OpenStax keeps the prices low but does aim to earn a small margin on each book sold, which also contributes to ongoing operations."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5500
-msgid "Campus-based bookstores are part of the OpenStax solution. OpenStax collaborates with NACSCORP (the National Association of College Stores Corporation) to provide print versions of their textbooks in the stores. While the overall cost of the textbook is significantly less than a traditional textbook, bookstores can still make a profit on sales. Sometimes students take the savings they have from the lower-priced book and use it to buy other things in the bookstore. And OpenStax is trying to break the expensive behavior of excessive returns by having a no-returns policy. This is working well, since the sell-through of their print titles is virtually a hundred percent."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5507
-msgid "David thinks of the OpenStax model as “OER 2.0.” So what is OER 1.0? Historically in the OER field, many OER initiatives have been locally funded by institutions or government ministries. In David’s view, this results in content that has high local value but is infrequently adopted nationally. It’s therefore difficult to show payback over a time scale that is reasonable."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5518
-msgid "OER 2.0 is about OER intended to be used and adopted on a national level right from the start. This requires a bigger investment up front but pays off through wide geographic adoption. The OER 2.0 process for OpenStax involves two development models. The first is what David calls the acquisition model, where OpenStax purchases the rights from a publisher or author for an already published book and then extensively revises it. The OpenStax physics textbook, for example, was licensed from an author after the publisher released the rights back to the authors. The second model is to develop a book from scratch, a good example being their biology book."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5533
-msgid ""
-"The process is similar for both models. First they look at the scope and sequence of existing textbooks. They ask questions like what does the customer need? Where are students having challenges? Then they identify potential authors and put them through a rigorous evaluation—only one in ten authors make it through. OpenStax selects a team of authors who come together to develop a template for a chapter and collectively write the first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do books with just a single author as David says it risks the project going longer than scheduled.) The draft is peer-reviewed with no less than three reviewers per chapter. A second draft is generated, with artists producing "
-"illustrations and visuals to go along with the text. The book is then copyedited to ensure grammatical correctness and a singular voice. Finally, it goes into production and through a final proofread. The whole process is very time-consuming."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5542
-msgid "All the people involved in this process are paid. OpenStax does not rely on volunteers. Writers, reviewers, illustrators, and editors are all paid an up-front fee—OpenStax does not use a royalty model. A best-selling author might make more money under the traditional publishing model, but that is only maybe 5 percent of all authors. From David’s perspective, 95 percent of all authors do better under the OER 2.0 model, as there is no risk to them and they earn all the money up front."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5550
-msgid "David thinks of the Attribution license (CC BY) as the “innovation license.” It’s core to the mission of OpenStax, letting people use their textbooks in innovative ways without having to ask for permission. It frees up the whole market and has been central to OpenStax being able to bring on partners. OpenStax sees a lot of customization of their materials. By enabling frictionless remixing, CC BY gives teachers control and academic freedom."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5559
-msgid "Using CC BY is also a good example of using strategies that traditional publishers can’t. Traditional publishers rely on copyright to prevent others from making copies and heavily invest in digital rights management to ensure their books aren’t shared. By using CC BY, OpenStax avoids having to deal with digital rights management and its costs. OpenStax books can be copied and shared over and over again. CC BY changes the rules of engagement and takes advantage of traditional market inefficiencies."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5562
-msgid "As of September 16, 2016, OpenStax has achieved some impressive results. From the OpenStax at a Glance fact sheet from their recent press kit:"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5571
-msgid "Books published: 23"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5571
-msgid "Students who have used OpenStax: 1.6 million"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5571
-msgid "Money saved for students: \\$155 million"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5571
-msgid "Money saved for students in the 2016/17 academic year: \\$77 million"
-msgstr ""
-
-#. type: Bullet: '- '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5571
-msgid "Schools that have used OpenStax: 2,668 (This number reflects all institutions using at least one OpenStax textbook. Out of 2,668 schools, 517 are two-year colleges, 835 four-year colleges and universities, and 344 colleges and universities outside the U.S.)"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5576
-msgid "While OpenStax has to date been focused on the United States, there is overseas adoption especially in the science, technology, engineering, and math (STEM) fields. Large scale adoption in the United States is seen as a necessary precursor to international interest."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5582
-msgid "OpenStax has primarily focused on introductory-level college courses where there is high enrollment, but they are starting to think about verticals—a broad offering for a specific group or need. David thinks it would be terrific if OpenStax could provide access to free textbooks through the entire curriculum of a nursing degree, for example."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5592
-msgid "Finally, for OpenStax success is not just about the adoption of their textbooks and student savings. There is a human aspect to the work that is hard to quantify but incredibly important. They get emails from students saying how OpenStax saved them from making difficult choices like buying food or a textbook. OpenStax would also like to assess the impact their books have on learning efficiency, persistence, and completion. By building an open business model based on Creative Commons, OpenStax is making it possible for every student who wants access to education to get it."
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5597
-msgid "news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg"
-msgstr ""
-
-#. type: Bullet: '2. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5597
-msgid "openstax.org/adopters"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5599
-msgid "<span id=\"anchor-84\"></span>Amanda Palmer"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5601
-msgid "Amanda Palmer is a musician, artist, and writer. Based in the U.S."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5603
-msgid "amandapalmer.net"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5607
-msgid "Revenue model: crowdfunding (subscription-based), pay-what-you-want, charging for physical copies (book and album sales), charg-ing for in-person version (performances), selling merchandise"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5609
-msgid "Interview date: December 15, 2015"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5615
-msgid "Since the beginning of her career, Amanda Palmer has been on what she calls a “journey with no roadmap,” continually experimenting to find new ways to sustain her creative work. 1"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5621
-msgid "In her best-selling book, The Art of Asking, Amanda articulates exactly what she has been and continues to strive for—“the ideal sweet spot . . . in which the artist can share freely and directly feel the reverberations of their artistic gifts to the community, and make a living doing that.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5628
-msgid "While she seems to have successfully found that sweet spot for herself, Amanda is the first to acknowledge there is no silver bullet. She thinks the digital age is both an exciting and frustrating time for creators. “On the one hand, we have this beautiful shareability,” Amanda said. “On the other, you’ve got a bunch of confused artists wondering how to make money to buy food so we can make more art.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5640
-msgid "Amanda began her artistic career as a street performer. She would dress up in an antique wedding gown, paint her face white, stand on a stack of milk crates, and hand out flowers to strangers as part of a silent dramatic performance. She collected money in a hat. Most people walked by her without stopping, but an essential few stopped to watch and drop some money into her hat to show their appreciation. Rather than dwelling on the majority of people who ignored her, she felt thankful for those who stopped. “All I needed was . . . some people,” she wrote in her book. “Enough people. Enough to make it worth coming back the next day, enough people to help me make rent and put food on the table. Enough so I could keep making art.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5649
-msgid "Amanda has come a long way from her street-performing days, but her career remains dominated by that same sentiment—finding ways to reach “her crowd” and feeling gratitude when she does. With her band the Dresden Dolls, Amanda tried the traditional path of signing with a record label. It didn’t take for a variety of reasons, but one of them was that the label had absolutely no interest in Amanda’s view of success. They wanted hits, but making music for the masses was never what Amanda and the Dresden Dolls set out to do."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5659
-msgid "After leaving the record label in 2008, she began experimenting with different ways to make a living. She released music directly to the public without involving a middle man, releasing digital files on a “pay what you want” basis and selling CDs and vinyl. She also made money from live performances and merchandise sales. Eventually, in 2012 she decided to try her hand at the sort of crowdfunding we know so well today. Her Kickstarter project started with a goal of \\$100,000, and she made \\$1.2 million. It remains one of the most successful Kickstarter projects of all time."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5669
-msgid "Today, Amanda has switched gears away from crowdfunding for specific projects to instead getting consistent financial support from her fan base on Patreon, a crowdfunding site that allows artists to get recurring donations from fans. More than eight thousand people have signed up to support her so she can create music, art, and any other creative “thing” that she is inspired to make. The recurring pledges are made on a “per thing” basis. All of the content she makes is made freely available under an Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA)."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5684
-msgid ""
-"Making her music and art available under Creative Commons licensing undoubtedly limits her options for how she makes a living. But sharing her work has been part of her model since the beginning of her career, even before she discovered Creative Commons. Amanda says the Dresden Dolls used to get ten emails per week from fans asking if they could use their music for different projects. They said yes to all of the requests, as long as it wasn’t for a completely for-profit venture. At the time, they used a short-form agreement written by Amanda herself. “I made everyone sign that contract so at least I wouldn’t be leaving the band vulnerable to someone later going on and putting our music in a Camel cigarette ad,” Amanda said. Once "
-"she discovered Creative Commons, adopting the licenses was an easy decision because it gave them a more formal, standardized way of doing what they had been doing all along. The NonCommercial licenses were a natural fit."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5691
-msgid "Amanda embraces the way her fans share and build upon her music. In The Art of Asking, she wrote that some of her fans’ unofficial videos using her music surpass the official videos in number of views on YouTube. Rather than seeing this sort of thing as competition, Amanda celebrates it. “We got into this because we wanted to share the joy of music,” she said."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5699
-msgid "This is symbolic of how nearly everything she does in her career is motivated by a desire to connect with her fans. At the start of her career, she and the band would throw concerts at house parties. As the gatherings grew, the line between fans and friends was completely blurred. “Not only did most our early fans know where I lived and where we practiced, but most of them had also been in my kitchen,” Amanda wrote in The Art of Asking."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5709
-msgid "Even though her fan base is now huge and global, she continues to seek this sort of human connection with her fans. She seeks out face-to-face contact with her fans every chance she can get. Her hugely successful Kickstarter featured fifty concerts at house parties for backers. She spends hours in the signing line after shows. It helps that Amanda has the kind of dynamic, engaging personality that instantly draws people to her, but a big component of her ability to connect with people is her willingness to listen. “Listening fast and caring immediately is a skill unto itself,” Amanda wrote."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5718
-msgid "Another part of the connection fans feel with Amanda is how much they know about her life. Rather than trying to craft a public persona or image, she essentially lives her life as an open book. She has written openly about incredibly personal events in her life, and she isn’t afraid to be vulnerable. Having that kind of trust in her fans—the trust it takes to be truly honest—begets trust from her fans in return. When she meets fans for the first time after a show, they can legitimately feel like they know her."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5725
-msgid "“With social media, we’re so concerned with the picture looking palatable and consumable that we forget that being human and showing the flaws and exposing the vulnerability actually create a deeper connection than just looking fantastic,” Amanda said. “Everything in our culture is telling us otherwise. But my experience has shown me that the risk of making yourself vulnerable is almost always worth it.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5733
-msgid "Not only does she disclose intimate details of her life to them, she sleeps on their couches, listens to their stories, cries with them. In short, she treats her fans like friends in nearly every possible way, even when they are complete strangers. This mentality—that fans are friends—is completely intertwined with Amanda’s success as an artist. It is also intertwined with her use of Creative Commons licenses. Because that is what you do with your friends—you share."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5741
-msgid "After years of investing time and energy into building trust with her fans, she has a strong enough relationship with them to ask for support—through pay-what-you-want donations, Kickstarter, Patreon, or even asking them to lend a hand at a concert. As Amanda explains it, crowdfunding (which is really what all of these different things are) is about asking for support from people who know and trust you. People who feel personally invested in your success."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5748
-msgid "“When you openly, radically trust people, they not only take care of you, they become your allies, your family,” she wrote. There really is a feeling of solidarity within her core fan base. From the beginning, Amanda and her band encouraged people to dress up for their shows. They consciously cultivated a feeling of belonging to their “weird little family.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5756
-msgid "This sort of intimacy with fans is not possible or even desirable for every creator. “I don’t take for granted that I happen to be the type of person who loves cavorting with strangers,” Amanda said. “I recognize that it’s not necessarily everyone’s idea of a good time. Everyone does it differently. Replicating what I have done won’t work for others if it isn’t joyful to them. It’s about finding a way to channel energy in a way that is joyful to you.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5767
-msgid "Yet while Amanda joyfully interacts with her fans and involves them in her work as much as possible, she does keep one job primarily to herself—writing the music. She loves the creativity with which her fans use and adapt her work, but she intentionally does not involve them at the first stage of creating her artistic work. And, of course, the songs and music are what initially draw people to Amanda Palmer. It is only once she has connected to people through her music that she can then begin to build ties with them on a more personal level, both in person and online. In her book, Amanda describes it as casting a net. It starts with the art and then the bond strengthens with human connection."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5775
-msgid "For Amanda, the entire point of being an artist is to establish and maintain this connection. “It sounds so corny,” she said, “but my experience in forty years on this planet has pointed me to an obvious truth—that connection with human beings feels so much better and more fulfilling than approaching art through a capitalist lens. There is no more satisfying end goal than having someone tell you that what you do is genuinely of value to them.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5783
-msgid "As she explains it, when a fan gives her a ten-dollar bill, usually what they are saying is that the money symbolizes some deeper value the music provided them. For Amanda, art is not just a product; it’s a relationship. Viewed from this lens, what Amanda does today is not that different from what she did as a young street performer. She shares her music and other artistic gifts. She shares herself. And then rather than forcing people to help her, she lets them."
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5787
-msgid "http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/\\#44e20ce46d67"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5789
-msgid "<span id=\"anchor-85\"></span>PLOS"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5791
-msgid "<span id=\"anchor-86\"></span>(Public Library of Science)"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5795
-msgid "PLOS (Public Library of Science) is a nonprofit that publishes a library of academic journals and other scientific literature. Founded in 2000 in the U.S."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5797
-msgid "plos.org"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5800
-msgid "Revenue model: charging content creators an author processing charge to be featured in the journal"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5802
-msgid "Interview date: March 7, 2016"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5804
-msgid "Interviewee: Louise Page, publisher"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5818
-msgid ""
-"The Public Library of Science (PLOS) began in 2000 when three leading scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an online petition. They were calling for scientists to stop submitting papers to journals that didn’t make the full text of their papers freely available immediately or within six months. Although tens of thousands signed the petition, most did not follow through. In August 2001, Patrick and Michael announced that they would start their own nonprofit publishing operation to do just what the petition promised. With start-up grant support from the Gordon and Betty Moore Foundation, PLOS was launched to provide new open-access journals for biomedicine, with research articles being released "
-"under Attribution (CC BY) licenses."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5828
-msgid "Traditionally, academic publishing begins with an author submitting a manuscript to a publisher. After in-house technical and ethical considerations, the article is then peer-reviewed to determine if the quality of the work is acceptable for publishing. Once accepted, the publisher takes the article through the process of copyediting, typesetting, and eventual publishing in a print or online publication. Traditional journal publishers recover costs and earn profit by charging a subscription fee to libraries or an access fee to users wanting to read the journal or article."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5838
-msgid "For Louise Page, the current publisher of PLOS, this traditional model results in inequity. Access is restricted to those who can pay. Most research is funded through government-appointed agencies, that is, with public funds. It’s unjust that the public who funded the research would be required to pay again to access the results. Not everyone can afford the ever-escalating subscription fees publishers charge, especially when library budgets are being reduced. Restricting access to the results of scientific research slows the dissemination of this research and advancement of the field. It was time for a new model."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5848
-msgid "That new model became known as open access. That is, free and open availability on the Internet. Open-access research articles are not behind a paywall and do not require a login. A key benefit of open access is that it allows people to freely use, copy, and distribute the articles, as they are primarily published under an Attribution (CC BY) license (which only requires the user to provide appropriate attribution). And more importantly, policy makers, clinicians, entrepreneurs, educators, and students around the world have free and timely access to the latest research immediately on publication."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5859
-msgid "However, open access requires rethinking the business model of research publication. Rather than charge a subscription fee to access the journal, PLOS decided to turn the model on its head and charge a publication fee, known as an article-processing charge. This up-front fee, generally paid by the funder of the research or the author’s institution, covers the expenses such as editorial oversight, peer-review management, journal production, online hosting, and support for discovery. Fees are per article and are billed upon acceptance for publishing. There are no additional charges based on word length, figures, or other elements."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5867
-msgid "Calculating the article-processing charge involves taking all the costs associated with publishing the journal and determining a cost per article that collectively recovers costs. For PLOS’s journals in biology, medicine, genetics, computational biology, neglected tropical diseases, and pathogens, the article-processing charge ranges from \\$2,250 to \\$2,900. Article-publication charges for PLOS ONE, a journal started in 2006, are just under \\$1,500."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5872
-msgid "PLOS believes that lack of funds should not be a barrier to publication. Since its inception, PLOS has provided fee support for individuals and institutions to help authors who can’t afford the article-processing charges."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5887
-msgid ""
-"Louise identifies marketing as one area of big difference between PLOS and traditional journal publishers. Traditional journals have to invest heavily in staff, buildings, and infrastructure to market their journal and convince customers to subscribe. Restricting access to subscribers means that tools for managing access control are necessary. They spend millions of dollars on access-control systems, staff to manage them, and sales staff. With PLOS’s open-access publishing, there’s no need for these massive expenses; the articles are free, open, and accessible to all upon publication. Additionally, traditional publishers tend to spend more on marketing to libraries, who ultimately pay the subscription fees. PLOS provides a better "
-"service for authors by promoting their research directly to the research community and giving the authors exposure. And this encourages other authors to submit their work for publication."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5894
-msgid "For Louise, PLOS would not exist without the Attribution license (CC BY). This makes it very clear what rights are associated with the content and provides a safe way for researchers to make their work available while ensuring they get recognition (appropriate attribution). For PLOS, all of this aligns with how they think research content should be published and disseminated."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5898
-msgid "PLOS also has a broad open-data policy. To get their research paper published, PLOS authors must also make their data available in a public repository and provide a data-availability statement."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5906
-msgid "Business-operation costs associated with the open-access model still largely follow the existing publishing model. PLOS journals are online only, but the editorial, peer-review, production, typesetting, and publishing stages are all the same as for a traditional publisher. The editorial teams must be top notch. PLOS has to function as well as or better than other premier journals, as researchers have a choice about where to publish."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5911
-msgid "Researchers are influenced by journal rankings, which reflect the place of a journal within its field, the relative difficulty of being published in that journal, and the prestige associated with it. PLOS journals rank high, even though they are relatively new."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5919
-msgid "The promotion and tenure of researchers are partially based how many times other researchers cite their articles. Louise says when researchers want to discover and read the work of others in their field, they go to an online aggregator or search engine, and not typically to a particular journal. The CC BY licensing of PLOS research articles ensures easy access for readers and generates more discovery and citations for authors."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5926
-msgid "Louise believes that open access has been a huge success, progressing from a movement led by a small cadre of researchers to something that is now widespread and used in some form by every journal publisher. PLOS has had a big impact. In 2012 to 2014, they published more open-access articles than BioMed Central, the original open-access publisher, or anyone else."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5947
-msgid ""
-"PLOS further disrupted the traditional journal-publishing model by pioneering the concept of a megajournal. The PLOS ONE megajournal, launched in 2006, is an open-access peer-reviewed academic journal that is much larger than a traditional journal, publishing thousands of articles per year and benefiting from economies of scale. PLOS ONE has a broad scope, covering science and medicine as well as social sciences and the humanities. The review and editorial process is less subjective. Articles are accepted for publication based on whether they are technically sound rather than perceived importance or relevance. This is very important in the current debate about the integrity and reproducibility of research because negative or null "
-"results can then be published as well, which are generally rejected by traditional journals. PLOS ONE, like all the PLOS journals, is online only with no print version. PLOS passes on the financial savings accrued through economies of scale to researchers and the public by lowering the article-processing charges, which are below that of other journals. PLOS ONE is the biggest journal in the world and has really set the bar for publishing academic journal articles on a large scale. Other publishers see the value of the PLOS ONE model and are now offering their own multidisciplinary forums for publishing all sound science."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5951
-msgid "Louise outlined some other aspects of the research-journal business model PLOS is experimenting with, describing each as a kind of slider that could be adjusted to change current practice."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5956
-msgid "One slider is time to publication. Time to publication may shorten as journals get better at providing quicker decisions to authors. However, there is always a trade-off with scale, as the bigger the volume of articles, the more time the approval process inevitably takes."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5966
-msgid "Peer review is another part of the process that could change. It’s possible to redefine what peer review actually is, when to review, and what constitutes the final article for publication. Louise talked about the potential to shift to an open-review process, placing the emphasis on transparency rather than double-blind reviews. Louise thinks we’re moving into a direction where it’s actually beneficial for an author to know who is reviewing their paper and for the reviewer to know their review will be public. An open-review process can also ensure everyone gets credit; right now, credit is limited to the publisher and author."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5971
-msgid "Louise says research with negative outcomes is almost as important as positive results. If journals published more research with negative outcomes, we’d learn from what didn’t work. It could also reduce how much the research wheel gets reinvented around the world."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5986
-msgid ""
-"Another adjustable practice is the sharing of articles at early preprint stages. Publication of research in a peer-reviewed journal can take a long time because articles must undergo extensive peer review. The need to quickly circulate current results within a scientific community has led to a practice of distributing pre-print documents that have not yet undergone peer review. Preprints broaden the peer-review process, allowing authors to receive early feedback from a wide group of peers, which can help revise and prepare the article for submission. Offsetting the advantages of preprints are author concerns over ensuring their primacy of being first to come up with findings based on their research. Other researches may see "
-"findings the preprint author has not yet thought of. However, preprints help researchers get their discoveries out early and establish precedence. A big challenge is that researchers don’t have a lot of time to comment on preprints."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:5994
-msgid "What constitutes a journal article could also change. The idea of a research article as printed, bound, and in a library stack is outdated. Digital and online open up new possibilities, such as a living document evolving over time, inclusion of audio and video, and interactivity, like discussion and recommendations. Even the size of what gets published could change. With these changes the current form factor for what constitutes a research article would undergo transformation."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6006
-msgid "As journals scale up, and new journals are introduced, more and more information is being pushed out to readers, making the experience feel like drinking from a fire hose. To help mitigate this, PLOS aggregates and curates content from PLOS journals and their network of blogs.1 It also offers something called Article-Level Metrics, which helps users assess research most relevant to the field itself, based on indicators like usage, citations, social bookmarking and dissemination activity, media and blog coverage, discussions, and ratings.2 Louise believes that the journal model could evolve to provide a more friendly and interactive user experience, including a way for readers to communicate with authors."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6015
-msgid "The big picture for PLOS going forward is to combine and adjust these experimental practices in ways that continue to improve accessibility and dissemination of research, while ensuring its integrity and reliability. The ways they interlink are complex. The process of change and adjustment is not linear. PLOS sees itself as a very flexible publisher interested in exploring all the permutations research-publishing can take, with authors and readers who are open to experimentation."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6023
-msgid "For PLOS, success is not about revenue. Success is about proving that scientific research can be communicated rapidly and economically at scale, for the benefit of researchers and society. The CC BY license makes it possible for PLOS to publish in a way that is unfettered, open, and fast, while ensuring that the authors get credit for their work. More than two million scientists, scholars, and clinicians visit PLOS every month, with more than 135,000 quality articles to peruse for free."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6027
-msgid "Ultimately, for PLOS, its authors, and its readers, success is about making research discoverable, available, and reproducible for the advancement of science."
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6032
-msgid "collections.plos.org"
-msgstr ""
-
-#. type: Bullet: '2. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6032
-msgid "plos.org/article-level-metrics"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6034
-msgid "<span id=\"anchor-87\"></span>Rijksmuseum"
-msgstr "<span id=\"anchor-87\"></span>Rijksmuseum"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6037
-msgid "The Rijksmuseum is a Dutch national museum dedicated to art and history. Founded in 1800 in the Netherlands"
-msgstr "El Rijksmuseum es un museo nacional holandés dedicado al arte y a la historia. Fundado en 1800 en Holanda (Países Bajos)."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6039
-msgid "www.rijksmuseum.nl"
-msgstr "www.rijksmuseum.nl"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6042
-msgid "Revenue model: grants and government funding, charging for in-person version"
-msgstr "Modelo de ingresos: subvenciones y financiamiento gubernamental, cobro de entrada"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6044
-msgid "(museum admission), selling merchandise"
-msgstr "(admisión al museo), venta de mercancías"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6046
-msgid "Interview date: December 11, 2015"
-msgstr "Fecha de la entrevista: 11 de diciembre, 2015"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6049
-msgid "Interviewee: Lizzy Jongma, the data manager of the collections information department"
-msgstr "Entrevistada: Lizzy Jongma, Gerente de Datos del Departamento de Información sobre Colecciones"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:6065
-msgid ""
-"The Rijksmuseum, a national museum in the Netherlands dedicated to art and history, has been housed in its current building since 1885. The monumental building enjoyed more than 125 years of intensive use before needing a thorough overhaul. In 2003, the museum was closed for renovations. Asbestos was found in the roof, and although the museum was scheduled to be closed for only three to four years, renovations ended up taking ten years. During this time, the collection was moved to a different part of Amsterdam, which created a physical distance with the curators. Out of necessity, they started digitally photographing the collection and creating metadata (information about each object to put into a database). With the renovations "
-"going on for so long, the museum became largely forgotten by the public. Out of these circumstances emerged a new and more open model for the museum."
-msgstr ""
-"El Rijksmuseum, un museo nacional de Holanda dedicado al arte y a la historia, ha sido alojado en su edificio actual desde 1885. El edificio monumental disfrutó más de 125 años de uso intensivo antes de necesitar una revisión general. En el 2003, se cerró el museo por renovaciones. Se encontró amianto en el techo, y aunque estaba previsto que el museo cerrara solamente de tres a cuatro años, las reformas terminaron tomando diez años. Durante este tiempo, la colección fue movida a una parte diferente de Ámsterdam, lo que creó una distancia física con los curadores. A partir de la necesidad, comenzaron a fotografiar digitalmente la colección y a crear metadatos (información sobre cada objeto para poner en una base de datos). Con las "
-"renovaciones tomando tanto tiempo, el museo empezó a perder lugar en la memoria del público. A partir de estas circunstancias, nació un nuevo modelo para el museo, más abierto."
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-#: MadewithCreativeCommonsmostup-to-dateversion.md:6077
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-"By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager, staff were fed up with the situation the museum was in. They also realized that even with the new and larger space, it still wouldn’t be able to show very much of the whole collection—eight thousand of over one million works representing just 1 percent. Staff began exploring ways to express themselves, to have something to show for all of the work they had been doing. The Rijksmuseum is primarily funded by Dutch taxpayers, so was there a way for the museum provide benefit to the public while it was closed? They began thinking about sharing Rijksmuseum’s collection using information technology. And they put up a card-catalog like database of the entire "
-"collection online."
-msgstr ""
-"Para el momento en que Lizzy Jongma se unió al Rijskmuseum en 2011 como Gerente de Datos, el personal estaba harto de la situación en la que se encontraba el museo. También se dieron cuenta que incluso con un espacio nuevo y más grande, iban a seguir sin poder mostrar mucho de toda la colección—ocho mil sobre un millón de obras representando solamente el 1 por ciento. El personal empezó a explorar formas de expresarse, para tener algo que mostrar de todo el trabajo que habían estado haciendo. El Rijskmuseum está principalmente financiado por los ciudadanos holandeses, por lo tanto, ¿había alguna forma de que el museo le diera beneficios al público mientras estaba cerrado? Empezaron a pensar en compartir la colección del Rijksmuseum "
-"utilizando tecnologías informáticas. Y pusieron una base de datos parecida a un catálogo de fichas de toda la colección en línea."
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-#: MadewithCreativeCommonsmostup-to-dateversion.md:6085
-msgid "It was effective but a bit boring. It was just data. A hackathon they were invited to got them to start talking about events like that as having potential. They liked the idea of inviting people to do cool stuff with their collection. What about giving online access to digital representations of the one hundred most important pieces in the Rijksmuseum collection? That eventually led to why not put the whole collection online?"
-msgstr "Era efectiva pero un poco aburrida. Eran solamente datos. Un hackatón al que fueron invitados los puso a hablar acerca del potencial de eventos como ese. Les gustó la idea de invitar a la gente a hacer cosas interesantes con la colección del museo. ¿Y qué tal si le daban acceso en línea a las representaciones digitales de las cien piezas más importantes de la colección del Rijksmuseum? Eso eventualmente llevó a ¿y por qué no poner toda la colección en línea?"
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-#: MadewithCreativeCommonsmostup-to-dateversion.md:6097
-msgid ""
-"Then, Lizzy says, Europeana came along. Europeana is Europe’s digital library, museum, and archive for cultural heritage.1 As an online portal to museum collections all across Europe, Europeana had become an important online platform. In October 2010 Creative Commons released CC0 and its public-domain mark as tools people could use to identify works as free of known copyright. Europeana was the first major adopter, using CC0 to release metadata about their collection and the public domain mark for millions of digital works in their collection. Lizzy says the Rijksmuseum initially found this change in business practice a bit scary, but at the same time it stimulated even more discussion on whether the Rijksmuseum should follow suit."
-msgstr "Luego, dice Lizzy, llegó Europeana. Europeana es la biblioteca, museo y archivo digital del patrimonio cultural de Europa. Como portal en línea de las colecciones de los museos alrededor de Europa, Europeana se había vuelto una plataforma en línea importante. En 2010, Creative Commons lanzó la licencia CC0 y su marca del dominio público como herramientas que la gente podía utilizar para identificar obras de las que se conociera que estaban libres de derecho de autor. Lizzy dice que inicialmente el Rijksmuseum sintió un poco de miedo de este cambio en la forma de gestionar el museo, pero al mismo tiempo estimuló aún más discusiones sobre si el Rijksmuseum debería seguir el ejemplo."
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-#: MadewithCreativeCommonsmostup-to-dateversion.md:6108
-msgid "They realized that they don’t “own” the collection and couldn’t realistically monitor and enforce compliance with the restrictive licensing terms they currently had in place. For example, many copies and versions of Vermeer’s Milkmaid (part of their collection) were already online, many of them of very poor quality. They could spend time and money policing its use, but it would probably be futile and wouldn’t make people stop using their images online. They ended up thinking it’s an utter waste of time to hunt down people who use the Rijksmuseum collection. And anyway, restricting access meant the people they were frustrating the most were schoolkids."
projects / text-madewithcc.git / blobdiff