-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1286
-msgid "The driving motivation varies depending on the type of endeavor. For individual creators, it is most often about personal inspiration. In some ways, this is nothing new. As Doctorow has written, “Creators usually start doing what they do for love.”2 But when you share your creative work under a CC license, that dynamic is even more pronounced. Similarly, for technological innovators, it is often less about creating a specific new thing that will make you rich and more about solving a specific problem you have. The creators of Arduino told us that the key question when creating something is “Do you as the creator want to use it? It has to have personal use and meaning.”"
-msgstr ""
-"La motivación impulsora varía dependiendo del tipo de esfuerzo. Para "
-"personas creadoras, es por lo general acerca de inspiración personal. En "
-"cierta forma, nada es nuevo. Como Doctorow escribió, «Las personas creadoras "
-"por lo general empiezan haciendo lo que hacen por amor.»2 Pero, cuando se "
-"comparte trabajo creativo bajo una licencia CC, esa dinámica es aún más "
-"pronunciada. De forja similar, para las personas que innovan con tecnología, "
-"por lo general es menos acerca de crear una nueva cosa específica que las "
-"hará ricas, y más acerca de resolver un problema específico que tienen. Los "
-"creadores de Arduino nos contaron que la pregunta clave al crear algo es «¿"
-"Usted, como el creador, querría usarlo? Tiene que tener un uso y significado "
-"personal.»"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1295
-msgid "Many that are Made with Creative Commons have an express social mission that underpins everything they do. In many cases, sharing with Creative Commons expressly advances that social mission, and using the licenses can be the difference between legitimacy and hypocrisy. Noun Project co-founder Edward Boatman told us they could not have stated their social mission of sharing with a straight face if they weren’t willing to show the world that it was OK to share their content using a Creative Commons license."
-msgstr ""
-"Muchos que son Hechos con Creative Commons tienen una misión social expresa "
-"que sustenta todo lo que hacen. En muchos casos, compartir con Creative "
-"Commons avanza de forma expresa esta misión social, y usar las licencias "
-"puede ser la diferencia entre legitimidad e hipocresía. El cofundador de "
-"Noun Project, Edward Boatman, nos contó que ellos no podrían declarar su "
-"misión social de compartir con seriedad si no estuvieran dispuestos a "
-"mostrarle al mundo que está bien compartir sus contenidos usando una "
-"licencia Creative Commons."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1303
-msgid "This dynamic is probably one reason why there are so many nonprofit examples of being Made with Creative Commons. The content is the result of a labor of love or a tool to drive social change, and money is like gas in the car, something that you need to keep going but not an end in itself. Being Made with Creative Commons is a different vision of a business or livelihood, where profit is not paramount, and producing social good and human connection are integral to success."
-msgstr ""
-"Esta dinámica es probablemente una razón por la cual hay tantos ejemplos de "
-"ser Hecho con Creative Commons en organizaciones sin fines de lucro. El "
-"contenido es el resultado de una labor de amor o una herramienta para "
-"impulsar el cambio social, y el dinero es como la gasolina para el carro, "
-"algo que se necesita para seguir andando, pero no un fin en sí mismo. Ser "
-"Hecho con Creative Commons es una visión diferente de un negocio o sustento, "
-"donde la ganancia no es suprema, y producir bien social y conexiones humanas "
-"es integral para el éxito."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1307
-msgid "Even if profit isn’t the end goal, you have to bring in money to be successfully Made with Creative Commons. At a bare minimum, you have to make enough money to keep the lights on."
-msgstr ""
-"Incluso si la ganancia no es el objetivo final, hay que producir dinero para "
-"ser Hecho con Creative Commons con éxito. Como mínimo, hay que hacer "
-"suficiente dinero para mantener las luces encendidas."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1317
-#, fuzzy
-msgid "The costs of doing business vary widely for those made with CC, but there is generally a much lower threshold for sustainability than there used to be for any creative endeavor. Digital technology has made it easier than ever to create, and easier than ever to distribute. As Doctorow put it in his book Information Doesn’t Want to Be Free, “If analog dollars have turned into digital dimes (as the critics of ad-supported media have it), there is the fact that it’s possible to run a business that gets the same amount of advertising as its forebears at a fraction of the price.”"
-msgstr ""
-"Los costos de hacer negocios varían mucho para aquellos hechos con CC, pero "
-"por lo general hay un límite mucho menor para la sostenibilidad que el que "
-"había para cualquier esfuerzo creativo. La tecnología digital ha hecho más "
-"fácil que nunca crear, y más fácil que nunca distribuir. Como Doctorow lo "
-"puso en su libro Information Doesn't Want to Be Free, «Si dólares análogos "
-"se hubieran convertido en centavos digitales (como quienes critican a los "
-"medios financiados por anuncios lo tienen), está el hecho de que sería "
-"posible manejar un negocio que obtiene la misma cantidad de anuncios que sus "
-"antepasados por una fracción del precio.»"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1328
-msgid "Some creation costs are the same as they always were. It takes the same amount of time and money to write a peer-reviewed journal article or paint a painting. Technology can’t change that. But other costs are dramatically reduced by technology, particularly in production-heavy domains like filmmaking.3 CC-licensed content and content in the public domain, as well as the work of volunteer collaborators, can also dramatically reduce costs if they’re being used as resources to create something new. And, of course, there is the reality that some content would be created whether or not the creator is paid because it is a labor of love."
-msgstr ""
-"Algunos costos de creación son los mismos que siempre han sido. Toma la "
-"misma cantidad de tiempo y dinero escribir un artículo para una revista con "
-"revisión de pares, o pintar una pintura. La tecnología no puede cambiar eso. "
-"Pero otros costos se reducen dramáticamente con la tecnología, en particular "
-"en dominios con elevada producción como el cine.3 El contenido licenciado "
-"con CC y el contenido en el dominio público, así como el trabajo de personas "
-"que colaboran de forma voluntaria, también puede reducir los costos "
-"dramáticamente, si son usados como recursos para crear algo nuevo. Y, por "
-"supuesto, está la realidad de que algún contenido sería creado ya sea que a "
-"la persona creadora se le pague o no, porque es un trabajo por amor."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1338
-msgid "Distributing content is almost universally cheaper than ever. Once content is created, the costs to distribute copies digitally are essentially zero.4 The costs to distribute physical copies are still significant, but lower than they have been historically. And it is now much easier to print and distribute physical copies on-demand, which also reduces costs. Depending on the endeavor, there can be a whole host of other possible expenses like marketing and promotion, and even expenses associated with the various ways money is being made, like touring or custom training."
-msgstr ""
-"Distribuir contenido es casi universalmente más barato que nunca. Una vez "
-"que el contenido es creado, los costos de distribuir copias digitales son "
-"esencialmente cero.4 Los costos de distribuir copias físicas aún son "
-"significativos, pero más bajos de lo que han sido históricamente. Y ahora es "
-"mucho más sencillo imprimir y distribuir copias físicas bajo demanda, lo que "
-"también reduce costos. Dependiendo del tipo de esfuerzo, puede haber una "
-"gran cantidad de otros gastos posibles, como mercadeo y promoción, e "
-"inclusos gastos asociados con las distintas formas en que se genera dinero, "
-"como realizar giras y entrenamiento personalizado."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1351
-#, fuzzy
-msgid ""
-"It’s important to recognize that the biggest impact of technology on creative endeavors is that creators can now foot the costs of creation and distribution themselves. People now often have a direct route to their potential public without necessarily needing intermediaries like record labels and book publishers. Doctorow wrote, “If you’re a creator who never got the time of day from one of the great imperial powers, this is your time. Where once you had no means of reaching an audience without the assistance of the industry-dominating megacompanies, now you have hundreds of ways to do it without them.”5 Previously, distribution of creative work involved the costs associated with sustaining a monolithic entity, now creators can do "
-"the work themselves. That means the financial needs of creative endeavors can be a lot more modest."
-msgstr ""
-"Es importante reconocer que el mayor impacto de la tecnología en esfuerzos "
-"creativos es que las personas creadoras ahora pueden pagar los costos de "
-"creación y distribución por sí mismas. Las personas ahora con frecuencia "
-"tienen una ruta directa a un público potencial, sin necesariamente necesitar "
-"intermediarios como disqueras y editores de libros. Doctorow escribió, «Si "
-"usted un creador que nunca ha recibido su momento por parte de los grandes "
-"poderes del imperio, este es su momento. Donde alguna vez no tenía medios "
-"para alcanzar una audiencia sin la asistencia de las megacompañías que "
-"dominan la industria, ahora tiene cientos de formas para hacerlo sin ellas.»"
-"5 Antes, la distribución de trabajos creativos involucraba costos asociados "
-"con mantener una entidad monolítica, ahora las personas creadoras pueden "
-"hacer el trabajo ellas mismas. Esto significa que las necesidades "
-"financieras de los esfuerzos creativos pueden ser mucho más modestas."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1362
-msgid "Whether for an individual creator or a larger endeavor, it usually isn’t enough to break even if you want to make what you’re doing a livelihood. You need to build in some support for the general operation. This extra bit looks different for everyone, but importantly, in nearly all cases for those Made with Creative Commons, the definition of “enough money” looks a lot different than it does in the world of venture capital and stock options. It is more about sustainability and less about unlimited growth and profit. SparkFun founder Nathan Seidle told us, “Business model is a really grandiose word for it. It is really just about keeping the operation going day to day.”"
-msgstr ""
-"Ya sea para una persona creadora o para un esfuerzo más grande, usualmente "
-"no es suficiente apenas cubrir los gastos si se quiere hacer lo que se hace "
-"como sustento. Se necesita construir algún soporte para la operación "
-"general. Este poco extra se ve diferente para todas las personas, pero de "
-"forma importante, en casi todos los casos para aquellos Hechos con Creative "
-"Commons, la definición de «suficiente dinero» se ve muy diferente a como se "
-"ve en el mundo del capital de riesgo y las acciones. Es más acerca de "
-"sostenibilidad y menos acerca de crecimiento y ganancias ilimitadas. El "
-"fundador de SparkFun, Nathan Seidle, nos contó, «Modelo de negocios en en "
-"realidad un nombre exagerado para esto. En realidad, es solo acerca de "
-"mantener la operación funcionando día a día.»"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1368
-msgid "This book is a testament to the notion that it is possible to make money while using CC licenses and CC-licensed content, but we are still very much at an experimental stage. The creators, organizations, and businesses we profile in this book are blazing the trail and adapting in real time as they pursue this new way of operating."
-msgstr ""
-"Este libro es un testamento de la noción de que es posible hacer dinero "
-"mientras se usan licencias CC y contenido licenciado con CC, pero también "
-"estamos en gran medida en una fase experimental. Las personas creadoras, "
-"organizaciones y negocios que perfilamos en este libro están trazando el "
-"camino y adaptándose en tiempo real conforme persiguen esta nueva forma de "
-"operar."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1372
-msgid "There are, however, plenty of ways in which CC licensing can be good for business in fairly predictable ways. The first is how it helps solve “problem zero.”"
-msgstr ""
-"Sin embargo, hay muchas formas en las que el licenciamiento CC puede ser "
-"bueno para negocios de formas bastantes predecibles. La primera es cómo "
-"ayuda a resolver el «problema cero.»"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1374
-msgid "<span id=\"anchor-32\"></span>Problem Zero: Getting Discovered"
-msgstr "<span id=\"anchor-32\"></span>Problema Cero: ser descubierto"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1389
-msgid ""
-"Once you create or collect your content, the next step is finding users, customers, fans—in other words, your people. As Amanda Palmer wrote, “It has to start with the art. The songs had to touch people initially, and mean something, for anything to work at all.”6 There isn’t any magic to finding your people, and there is certainly no formula. Your work has to connect with people and offer them some artistic and/or utilitarian value. In some ways, this is easier than ever. Online we are not limited by shelf space, so there is room for every obscure interest, taste, and need imaginable. This is what Chris Anderson dubbed the Long Tail, where consumption becomes less about mainstream mass “hits” and more about micromarkets for every "
-"particular niche. As Anderson wrote, “We are all different, with different wants and needs, and the Internet now has a place for all of them in the way that physical markets did not.”7 We are no longer limited to what appeals to the masses."
-msgstr ""
-"Una vez que se crea o colecciona el contenido, el siguiente paso es "
-"encontrar usuarios, clientes y fanáticos—en otras palabras, su gente. Como "
-"Amanda Palmer escribió, «Tiene que empezar con el arte. Las canciones "
-"tuvieron que tocar a la gente al inicio, y significar algo, para que "
-"cualquier cosa funcione.»6 No hay ninguna magia para encontrar su gente, y "
-"ciertamente no hay ninguna fórmula. El trabajo tiene que conectar con las "
-"personas y ofrecerles algún valor artístico y/o utilitario. De cierta forma, "
-"esto nunca antes ha sido tan fácil. En línea no estamos limitados por el "
-"espacio en los estantes, así que hay espacio para cualquier oscuro interés, "
-"gusto y necesidad imaginables. Esto es lo que Chris Anderson llamo la Larga "
-"Cola, donde el consumo se vuelve menos acerca de éxitos masivos populares, y "
-"más acerca de micromercados para cada nicho particular. Como escrribió "
-"Anderson, «Todos somos diferentes, con diferentes gustos y necesidades, y la "
-"Internet ahora tiene un lugar para todos estos en una forma que el mercado "
-"físico no tuvo.»7 Ya no estamos limitados a lo que apela a las masas."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1402
-msgid ""
-"While finding “your people” online is theoretically easier than in the analog world, as a practical matter it can still be difficult to actually get noticed. The Internet is a firehose of content, one that only grows larger by the minute. As a content creator, not only are you competing for attention against more content creators than ever before, you are competing against creativity generated outside the market as well.8 Anderson wrote, “The greatest change of the past decade has been the shift in time people spend consuming amateur content instead of professional content.”9 To top it all off, you have to compete against the rest of their lives, too—“friends, family, music playlists, soccer games, and nights on the town.”10 "
-"Somehow, some way, you have to get noticed by the right people."
-msgstr ""
-"Aunque encontrar a «su gente» en línea es en teoría más sencillo que en el "
-"mundo analógico, como un asunto práctico puede aún ser difícil ser realmente "
-"notado. La internet es una manguera de contenidos, una que crece cada "
-"minuto. Como una persona creadora de contenidos, no solo se compite por "
-"atención contra más creadoras de contenidos que nunca antes, también se "
-"compite contra la creatividad generada fuera del mercado.8 Anderson "
-"escribió, «El cambio más grande en la década pasada ha sido el cambio en el "
-"tiempo que las personas pasan consumiendo contenidos aficionados en lugar de "
-"contenidos profesionales.»9 Para colmo, se debe competir contra el resto de "
-"sus vidas también—«amistades, familia, listas de reproducción de música, "
-"juegos de fútbol y noches en la ciudad.»10 De algún modo, de alguna forma, "
-"tiene que llamar la atención de las personas correctas."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1415
-msgid ""
-"When you come to the Internet armed with an all-rights-reserved mentality from the start, you are often restricting access to your work before there is even any demand for it. In many cases, requiring payment for your work is part of the traditional copyright system. Even a tiny cost has a big effect on demand. It’s called the penny gap—the large difference in demand between something that is available at the price of one cent versus the price of zero.11 That doesn’t mean it is wrong to charge money for your content. It simply means you need to recognize the effect that doing so will have on demand. The same principle applies to restricting access to copy the work. If your problem is how to get discovered and find “your people,” "
-"prohibiting people from copying your work and sharing it with others is counterproductive."
-msgstr ""
-"Al entrar a la Internet armaos con una mentalidad de todos los derechos "
-"reservados desde el inicio, con frecuencia está restringiendo el acceso a su "
-"trabajo incluso antes de que haya una demanda por él. En muchos casos, "
-"requerir pago por su trabajo es parte de la tradición del sistema "
-"tradicional de derechos de autor. Incluso un costo diminuto tiene un gran "
-"efecto en la demanda. A esto se le llama la brecha del penique—la gran "
-"diferencia en la demanda entre algo que está disponible por un precio de un "
-"centavo comparado con un precio de cero.11 Esto no significa que está "
-"equivocado cobrar dinero por su contenido. Simplemente significa que debe "
-"reconocer el efecto sobre la demanda que tiene el hacerlo. El mismo "
-"principio aplica a restringir al acceso a copiar el trabajo. Si su problema "
-"es cómo ser descubierto y encontrar a «su gente,» prohibirle a las personas "
-"que copien su trabajo y que lo compartan con otros es contraproducente."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1419
-msgid "Of course, it’s not that being discovered by people who like your work will make you rich—far from it. But as Cory Doctorow says, “Recognition is one of many necessary preconditions for artistic success.”12"
-msgstr ""
-"Por supuesto, no es que ser descubierto por personas a las que les gusta su "
-"trabajo le hará rico—lejos de eso. Pero como Cory Doctorow dice, «El "
-"reconocimiento es una de las muchas precondiciones necesarias para el éxito "
-"artístico.»12"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1428
-msgid "Choosing not to spend time and energy restricting access to your work and policing infringement also builds goodwill. Lumen Learning, a for-profit company that publishes online educational materials, made an early decision not to prevent students from accessing their content, even in the form of a tiny paywall, because it would negatively impact student success in a way that would undermine the social mission behind what they do. They believe this decision has generated an immense amount of goodwill within the community."
-msgstr ""
-"Escoger no gastar tiempo y energía en restringir el acceso a su trabajo y "
-"vigilar violaciones también construye buena voluntad. Lumen Learning, una "
-"compañía con fines de lucro que publica materiales educativos en línea, hizo "
-"una decisión temprana de no prevenir que estudiantes accesaran su contenido, "
-"incluso en la forma de una diminuta página de pagos, porque esto impactaría "
-"negativamente el éxito de los estudiantes en una forma que socavaría la "
-"misión detrás de lo que ellos hacen. Ellos creen que esta decisión ha "
-"generado una inmensa cantidad de buena voluntad dentro de la comunidad."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1435
-msgid "It is not just that restricting access to your work may undermine your social mission. It also may alienate the people who most value your creative work. If people like your work, their natural instinct will be to share it with others. But as David Bollier wrote, “Our natural human impulses to imitate and share—the essence of culture—have been criminalized.”13"
-msgstr ""
-"No es solo que restringir el acceso a su trabajo puede socavar su misión "
-"social. También puede alienar a las personas que valoras más su trabajo "
-"creativo. Si a las personas les gusta su trabajo, su instinto natural será "
-"compartirlo con otras. Pero como David Bollier escribió, «Nuestros impulsos "
-"humanos naturales de imitar y compartir—la esencia de la cultura—han sido "
-"criminalizados.»13"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1443
-msgid "The fact that copying can carry criminal penalties undoubtedly deters copying it, but copying with the click of a button is too easy and convenient to ever fully stop it. Try as the copyright industry might to persuade us otherwise, copying a copyrighted work just doesn’t feel like stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a creative work has no impact on anyone else’s ability to make use of it."
-msgstr ""
-"El hecho de que copiar puede traer penas criminales sin duda desalienta a "
-"copiarlo, pero copiar con el clic de un botón es demasiado fácil y "
-"conveniente como para que alguna vez se detenga por completo. Por más que la "
-"industria de los derechos de autor trate de persuadirnos de lo contrario, "
-"copiar un trabajo con derechos de autor no se siente como robar una hogaza "
-"de pan. Y, por supuesto, esto es porque no es así. Compartir un trabajo "
-"creativo no tiene impacto en la capacidad de nadie más para usarlo."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1457
-msgid ""
-"If you take some amount of copying and sharing your work as a given, you can invest your time and resources elsewhere, rather than wasting them on playing a cat and mouse game with people who want to copy and share your work. Lizzy Jongma from the Rijksmuseum said, “We could spend a lot of money trying to protect works, but people are going to do it anyway. And they will use bad-quality versions.” Instead, they started releasing high-resolution digital copies of their collection into the public domain and making them available for free on their website. For them, sharing was a form of quality control over the copies that were inevitably being shared online. Doing this meant forgoing the revenue they previously got from selling "
-"digital images. But Lizzy says that was a small price to pay for all of the opportunities that sharing unlocked for them."
-msgstr ""
-"Si da por sentado cierta cantidad de copias e intercambio de su trabajo, "
-"puede investir su tiempo y recursos en otra cosa, en lugar de gastarlos "
-"jugando un juego de gato y ratón con personas que quieren copiar y compartir "
-"su trabajo. Lizzy Jongma, de el Rijksmuseum dijo, «Nosotros podemos gastar "
-"mucho dinero tratando de proteger trabajos, pero las personas van a hacerlo "
-"de todas formas. Y van a usar versiones de mala calidad.» En lugar de eso, "
-"ellos empezaron a publicar en el dominio público copias digitales de alta "
-"resolución de su colección, y a hacerlas disponibles sin ningún costo en su "
-"sitio web. Para ellos, compartir fue una forma de control de calidad sobre "
-"las copias que estaban siendo compartidas en línea inevitablemente. Hacer "
-"esto significó renunciar a las ganancias que antes obtenían al vender "
-"imágenes digitales. Pero Lizzy dice que fue un pequeño precio que pagar por "
-"todas las oportunidades que el compartir desbloqueó para ellos."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1465
-msgid "Being Made with Creative Commons means you stop thinking about ways to artificially make your content scarce, and instead leverage it as the potentially abundant resource it is.14 When you see information abundance as a feature, not a bug, you start thinking about the ways to use the idling capacity of your content to your advantage. As my friend and colleague Eric Steuer once said, “Using CC licenses shows you get the Internet.”"
-msgstr ""
-"Ser Hecho con Creative Commons significa dejar de pensar sobre formas de "
-"hacer su contenido artificialmente escaso, y en lugar de eso aprovecharlo "
-"como el recurso potencialmente abundante que es.14 Cuando se ve la "
-"abundancia de la información como una funcionalidad y no un error, se "
-"empieza a pensar sobre formas de usar la capacidad ociosa de su contenido "
-"para su ventaja. Como mi amigo y colega Eric Steuer dijo una vez, «Usar "
-"licencias CC demuestra que usted entiende la Internet.»"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1474
-msgid "Cory Doctorow says it costs him nothing when other people make copies of his work, and it opens the possibility that he might get something in return.15 Similarly, the makers of the Arduino boards knew it was impossible to stop people from copying their hardware, so they decided not to even try and instead look for the benefits of being open. For them, the result is one of the most ubiquitous pieces of hardware in the world, with a thriving online community of tinkerers and innovators that have done things with their work they never could have done otherwise."
-msgstr ""
-"Cory Doctorow dice que no le cuesta nada cuando otras personas hacen copias "
-"de su trabajo, y esto abre la posibilidad de que el pueda obtener algo a "
-"cambio.15 De forma similar, quienes hacen las placas Arduino supieron que "
-"era imposible para a las personas para que no copiaran su hardware, así que "
-"decidieron ni siquiera intentarlo y en lugar de eso buscar los beneficios de "
-"ser abiertos. Para ellos, el resultado es una de las piezas de hardware más "
-"ubicuas del mundo, con una floreciente comunidad en línea de personas "
-"pensadoras e innovadoras que han hecho cosas con su trabajo que nunca "
-"hubieran podido hacer de otra manera."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1477
-msgid "There are all kinds of way to leverage the power of sharing and remix to your benefit. Here are a few."
-msgstr ""
-"Hay muchas formas de aprovechar el poder de compartir y remezclar para su "
-"beneficio. Aquí hay unas cuantas."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1479
-#, fuzzy
-msgid "<span id=\"anchor-33\"></span>Use CC to grow a larger audience"
-msgstr ""
-"<span id=\"anchor-33\"></span>Usar CC para generar una audiencia más grande"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1489
-msgid "Putting a Creative Commons license on your content won’t make it automatically go viral, but eliminating legal barriers to copying the work certainly can’t hurt the chances that your work will be shared. The CC license symbolizes that sharing is welcome. It can act as a little tap on the shoulder to those who come across the work—a nudge to copy the work if they have any inkling of doing so. All things being equal, if one piece of content has a sign that says Share and the other says Don’t Share (which is what “©” means), which do you think people are more likely to share?"
-msgstr ""
-"El poner una licencia Creative Commons en su contenido no lo hará viral de "
-"forma automática, pero eliminar barreras legales para copiar su trabajo "
-"ciertamente no puede afectar las probabilidades de que su trabajo vaya a ser "
-"compartido. La licencia CC simboliza que compartir es bienvenido. Puede "
-"funcionar como una pequeña palmada en la espalda para quienes encuentran el "
-"trabajo—un pequeño empujón para copiar el trabajo si tienen algún interés "
-"por hacerlo. Con todas las demás cosas iguales, si una pieza de contenido "
-"tiene una seña que dice Compartir y la otra dice No Compartir (que es lo que "
-"«©» significa), ¿cuál cree que sea más probable que las personas compartan?"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1496
-msgid "The Conversation is an online news site with in-depth articles written by academics who are experts on particular topics. All of the articles are CC-licensed, and they are copied and reshared on other sites by design. This proliferating effect, which they track, is a central part of the value to their academic authors who want to reach as many readers as possible."
-msgstr ""
-"The Conversation es un sitio de noticias en línea con artículos profundos "
-"escritos por personas académicas que son expertas en temas particulares. "
-"Todos los artículos están licenciados con CC, y son copiados y compartidos "
-"en otros sitios, a propósito. El efecto proliferador, que ellos rastrean, es "
-"una parte central del valor para autores y autoras académicas que quieren "
-"alcanzar tantas personas lectoras como sea posible."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1508
-#, fuzzy
-msgid "The idea that more eyeballs equates with more success is a form of the max strategy, adopted by Google and other technology companies. According to Google’s Eric Schmidt, the idea is simple: “Take whatever it is you are doing and do it at the max in terms of distribution. The other way of saying this is that since marginal cost of distribution is free, you might as well put things everywhere.”16 This strategy is what often motivates companies to make their products and services free (i.e., no cost), but the same logic applies to making content freely shareable. Because CC-licensed content is free (as in cost) and can be freely copied, CC licensing makes it even more accessible and likely to spread."
-msgstr ""
-"La idea de que más ojos es igual a más éxito es una forma de la estrategia "
-"de máximo, adoptada por Google y otras compañías de tecnología. De acuerdo "
-"con Eric Schmidt de Google, la idea es simple: «Tomar lo que sea que esté "
-"haciendo y hacerlo al máximo en términos de distribución. La otra forma de "
-"decir esto es que dado que los costos marginales de distribución son "
-"gratuitos, también es posible poner las cosas en todo lado.»16 Esta "
-"estrategia es lo que con frecuencia motiva a las compañías a hacer productos "
-"y servicios gratuitos (i.e., sin costo), pero la misma lógica aplica a hacer "
-"contenido que se pueda compartir libremente. Como el contenido licenciado "
-"con CC es gratis (sin costo) y puede ser copiado de forma libre, el "
-"licenciamiento CC lo hace aun más accesible y que sea más probable que "
-"prolifere."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1516
-msgid "If you are successful in reaching more users, readers, listeners, or other consumers of your work, you can start to benefit from the bandwagon effect. The simple fact that there are other people consuming or following your work spurs others to want to do the same.17 This is, in part, because we simply have a tendency to engage in herd behavior, but it is also because a large following is at least a partial indicator of quality or usefulness.18"
-msgstr ""
-"Si tiene éxito alcanzando más personas usuarias, lectoras, oyentes u otros "
-"clientes para su trabajo, puede empezar a beneficiarse del efecto de "
-"arrastre. El simple hecho de que hay otras personas consumiendo o siguiendo "
-"su trabajo estimula a otras a querer hacer lo mismo.17 Esto es, en parte, "
-"porque simplemente tenemos una tendencia a engancharnos en un comportamiento "
-"de manada, pero también es porque un gran número de personas seguidoras es "
-"por lo menos un indicador parcial de calidad o utilidad.18"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1519
-#, fuzzy
-msgid "<span id=\"anchor-34\"></span>Use CC to get attribution and name recognition"
-msgstr ""
-"<span id=\"anchor-34\"></span>Usar CC para obtener atribución y "
-"reconocimiento de nombre"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1534
-msgid ""
-"Every Creative Commons license requires that credit be given to the author, and that reusers supply a link back to the original source of the material. CC0, not a license but a tool used to put work in the public domain, does not make attribution a legal requirement, but many communities still give credit as a matter of best practices and social norms. In fact, it is social norms, rather than the threat of legal enforcement, that most often motivate people to provide attribution and otherwise comply with the CC license terms anyway. This is the mark of any well-functioning community, within both the marketplace and the society at large.19 CC licenses reflect a set of wishes on the part of creators, and in the vast majority of "
-"circumstances, people are naturally inclined to follow those wishes. This is particularly the case for something as straightforward and consistent with basic notions of fairness as providing credit."
-msgstr ""
-"Cada licencia Creative Commons requiere que se de crédito a la persona "
-"autora, y que quienes lo reutilicen brinden un enlace de vuelta a la fuente "
-"original del material. CC0, no una licencia sino una herramienta usada para "
-"poner trabajos en el dominio público, no hace a la atribución un "
-"requerimiento legal, pero muchas comunidades igual dan crédito como un "
-"asunto de buenas prácticas y normas sociales. De hecho, son las normas "
-"sociales, más que la amenaza de aplicar la ley, lo que por lo general motiva "
-"a la gente a dar atribución y cumplir con los términos de las licencias CC "
-"de cualquier forma. Esta es la marca de cualquier comunidad que funciona "
-"bien, tanto dentro del mercado como de la sociedad en general.19 Las "
-"licencias CC reflejan un conjunto de deseos de parte de las personas "
-"creadoras, y en una gran mayoría de circunstancias, las personas están "
-"inclinadas de forma natural a seguir esos deseos. Esto se da en particular "
-"en el caso de algo tan directo y consistente con nociones básicas de "
-"justicia, como dar crédito."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1545
-msgid "The fact that the name of the creator follows a CC-licensed work makes the licenses an important means to develop a reputation or, in corporate speak, a brand. The drive to associate your name with your work is not just based on commercial motivations, it is fundamental to authorship. Knowledge Unlatched is a nonprofit that helps to subsidize the print production of CC-licensed academic texts by pooling contributions from libraries around the United States. The CEO, Frances Pinter, says that the Creative Commons license on the works has a huge value to authors because reputation is the most important currency for academics. Sharing with CC is a way of having the most people see and cite your work."
-msgstr ""
-"El hecho de que el nombre de la persona creadora sigue a un trabajo "
-"licenciado con CC hace a las licencias un medio importante para desarrollar "
-"una reputación, o en términos corporativos, una marca. El impulso de asociar "
-"su nombre con su trabajo no se basa solo en motivaciones comerciales, es "
-"fundamental para la autoría. Knowledge Unlatched es una organización sin "
-"fines de lucro que ayuda a subsidiar la producción de textos académicos "
-"impresos licenciados con CC, juntando contribuciones de bibliotecas de "
-"Estados Unidos. La CEO, Frances Pinter, dice que la licencia Creative "
-"Commons en los trabajos ha sido de un valor enorme para las personas autoras "
-"porque la reputación es la moneda más importante en la academia. Compartir "
-"con CC es una forma de tener a la mayor cantidad posible de gente viendo y "
-"citando su trabajo."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1557
-msgid "Attribution can be about more than just receiving credit. It can also be about establishing provenance. People naturally want to know where content came from—the source of a work is sometimes just as interesting as the work itself. Opendesk is a platform for furniture designers to share their designs. Consumers who like those designs can then get matched with local makers who turn the designs into real-life furniture. The fact that I, sitting in the middle of the United States, can pick out a design created by a designer in Tokyo and then use a maker within my own community to transform the design into something tangible is part of the power of their platform. The provenance of the design is a special part of the product."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1565
-msgid "Knowing the source of a work is also critical to ensuring its credibility. Just as a trademark is designed to give consumers a way to identify the source and quality of a particular good and service, knowing the author of a work gives the public a way to assess its credibility. In a time when online discourse is plagued with misinformation, being a trusted information source is more valuable than ever."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1567
-msgid "<span id=\"anchor-35\"></span>Use CC-licensed content as a marketing tool"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1574
-msgid "As we will cover in more detail later, many endeavors that are Made with Creative Commons make money by providing a product or service other than the CC-licensed work. Sometimes that other product or service is completely unrelated to the CC content. Other times it’s a physical copy or live performance of the CC content. In all cases, the CC content can attract people to your other product or service."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1587
-msgid ""
-"Knowledge Unlatched’s Pinter told us she has seen time and again how offering CC-licensed content—that is, digitally for free—actually increases sales of the printed goods because it functions as a marketing tool. We see this phenomenon regularly with famous artwork. The Mona Lisa is likely the most recognizable painting on the planet. Its ubiquity has the effect of catalyzing interest in seeing the painting in person, and in owning physical goods with the image. Abundant copies of the content often entice more demand, not blunt it. Another example came with the advent of the radio. Although the music industry did not see it coming (and fought it!), free music on the radio functioned as advertising for the paid version people "
-"bought in music stores.20 Free can be a form of promotion."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1599
-msgid "In some cases, endeavors that are Made with Creative Commons do not even need dedicated marketing teams or marketing budgets. Cards Against Humanity is a CC-licensed card game available as a free download. And because of this (thanks to the CC license on the game), the creators say it is one of the best-marketed games in the world, and they have never spent a dime on marketing. The textbook publisher OpenStax has also avoided hiring a marketing team. Their products are free, or cheaper to buy in the case of physical copies, which makes them much more attractive to students who then demand them from their universities. They also partner with service providers who build atop the CC-licensed content and, in turn, spend money and"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1602
-msgid "resources marketing those services (and by extension, the OpenStax textbooks)."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1605
-msgid "<span id=\"anchor-36\"></span>Use CC to enable hands-on engagement with your work"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1610
-msgid "The great promise of Creative Commons licensing is that it signifies an embrace of remix culture. Indeed, this is the great promise of digital technology. The Internet opened up a whole new world of possibilities for public participation in creative work."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1620
-msgid "Four of the six CC licenses enable reusers to take apart, build upon, or otherwise adapt the work. Depending on the context, adaptation can mean wildly different things—translating, updating, localizing, improving, transforming. It enables a work to be customized for particular needs, uses, people, and communities, which is another distinct value to offer the public.21 Adaptation is more game changing in some contexts than others. With educational materials, the ability to customize and update the content is critically important for its usefulness. For photography, the ability to adapt a photo is less important."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1632
-msgid "This is a way to counteract a potential downside of the abundance of free and open content described above. As Anderson wrote in Free, “People often don’t care as much about things they don’t pay for, and as a result they don’t think as much about how they consume them.”22 If even the tiny act of volition of paying one penny for something changes our perception of that thing, then surely the act of remixing it enhances our perception exponentially.23 We know that people will pay more for products they had a part in creating.24 And we know that creating something, no matter what quality, brings with it a type of creative satisfaction that can never be replaced by consuming something created by someone else.25"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1640
-msgid "Actively engaging with the content helps us avoid the type of aimless consumption that anyone who has absentmindedly scrolled through their social-media feeds for an hour knows all too well. In his book, Cognitive Surplus, Clay Shirky says, “To participate is to act as if your presence matters, as if, when you see something or hear something, your response is part of the event.”26 Opening the door to your content can get people more deeply tied to your work."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1642
-msgid "<span id=\"anchor-37\"></span>Use CC to differentiate yourself"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1654
-msgid "Operating under a traditional copyright regime usually means operating under the rules of establishment players in the media. Business strategies that are embedded in the traditional copyright system, like using digital rights management (DRM) and signing exclusivity contracts, can tie the hands of creators, often at the expense of the creator’s best interest.27 Being Made with Creative Commons means you can function without those barriers and, in many cases, use the increased openness as a competitive advantage. David Harris from OpenStax said they specifically pursue strategies they know that traditional publishers cannot. “Don’t go into a market and play by the incumbent rules,” David said. “Change the rules of engagement.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1656
-msgid "<span id=\"anchor-38\"></span>Making Money"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1668
-msgid "Like any moneymaking endeavor, those that are Made with Creative Commons have to generate some type of value for their audience or customers. Sometimes that value is subsidized by funders who are not actually beneficiaries of that value. Funders, whether philanthropic institutions, governments, or concerned individuals, provide money to the organization out of a sense of pure altruism. This is the way traditional nonprofit funding operates.28 But in many cases, the revenue streams used by endeavors that are Made with Creative Commons are directly tied to the value they generate, where the recipient is paying for the value they receive like any standard market transaction. In still other"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1672
-msgid "cases, rather than the quid pro quo exchange of money for value that typically drives market transactions, the recipient gives money out of a sense of reciprocity."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1680
-msgid "Most who are Made with Creative Commons use a variety of methods to bring in revenue, some market-based and some not. One common strategy is using grant funding for content creation when research-and-development costs are particularly high, and then finding a different revenue stream (or streams) for ongoing expenses. As Shirky wrote, “The trick is in knowing when markets are an optimal way of organizing interactions and when they are not.”29"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1687
-msgid "Our case studies explore in more detail the various revenue-generating mechanisms used by the creators, organizations, and businesses we interviewed. There is nuance hidden within the specific ways each of them makes money, so it is a bit dangerous to generalize too much about what we learned. Nonetheless, zooming out and viewing things from a higher level of abstraction can be instructive."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1689
-msgid "<span id=\"anchor-39\"></span>Market-based revenue streams"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1696
-msgid "In the market, the central question when determining how to bring in revenue is what value people are willing to pay for.30 By definition, if you are Made with Creative Commons, the content you provide is available for free and not a market commodity. Like the ubiquitous freemium business model, any possible market transaction with a consumer of your content has to be based on some added value you provide.31"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1710
-msgid ""
-"In many ways, this is the way of the future for all content-driven endeavors. In the market, value lives in things that are scarce. Because the Internet makes a universe of content available to all of us for free, it is difficult to get people to pay for content online. The struggling newspaper industry is a testament to this fact. This is compounded by the fact that at least some amount of copying is probably inevitable. That means you may end up competing with free versions of your own content, whether you condone it or not.32 If people can easily find your content for free, getting people to buy it will be difficult, particularly in a context where access to content is more important than owning it. In Free, Anderson wrote, "
-"“Copyright protection schemes, whether coded into either law or software, are simply holding up a price against the force of gravity.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1719
-msgid "Of course, this doesn’t mean that content-driven endeavors have no future in the traditional marketplace. In Free, Anderson explains how when one product or service becomes free, as information and content largely have in the digital age, other things become more valuable. “Every abundance creates a new scarcity,” he wrote. You just have to find some way other than the content to provide value to your audience or customers. As Anderson says, “It’s easy to compete with Free: simply offer something better or at least different from the free version.”33"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1726
-msgid "In light of this reality, in some ways endeavors that are Made with Creative Commons are at a level playing field with all content-based endeavors in the digital age. In fact, they may even have an advantage because they can use the abundance of content to derive revenue from something scarce. They can also benefit from the goodwill that stems from the values behind being Made with Creative Commons."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1731
-msgid "For content creators and distributors, there are nearly infinite ways to provide value to the consumers of your work, above and beyond the value that lives within your free digital content. Often, the CC-licensed content functions as a marketing tool for the paid product or"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1733
-msgid "service."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1735
-msgid "Here are the most common high-level categories."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1738
-msgid "<span id=\"anchor-40\"></span>Providing a custom service to consumers of your work * \\[MARKET-BASED\\]*"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1747
-msgid "In this age of information abundance, we don’t lack for content. The trick is finding content that matches our needs and wants, so customized services are particularly valuable. As Anderson wrote, “Commodity information (everybody gets the same version) wants to be free. Customized information (you get something unique and meaningful to you) wants to be expensive.”34 This can be anything from the artistic and cultural consulting services provided by Ártica to the custom-song business of Jonathan “Song-A-Day” Mann."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1750
-msgid "<span id=\"anchor-41\"></span>Charging for the physical copy * \\[MARKET-BASED\\]*"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1771
-msgid ""
-"In his book about maker culture, Anderson characterizes this model as giving away the bits and selling the atoms (where bits refers to digital content and atoms refer to a physical object).35 This is particularly successful in domains where the digital version of the content isn’t as valuable as the analog version, like book publishing where a significant subset of people still prefer reading something they can hold in their hands. Or in domains where the content isn’t useful until it is in physical form, like furniture designs. In those situations, a significant portion of consumers will pay for the convenience of having someone else put the physical version together for them. Some endeavors squeeze even more out of this revenue "
-"stream by using a Creative Commons license that only allows noncommercial uses, which means no one else can sell physical copies of their work in competition with them. This strategy of reserving commercial rights can be particularly important for items like books, where every printed copy of the same work is likely to be the same quality, so it is harder to differentiate one publishing service from another. On the other hand, for items like furniture or electronics, the provider of the physical goods can compete with other providers of the same works based on quality, service, or other traditional business principles."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1774
-msgid "<span id=\"anchor-42\"></span>Charging for the in-person version * \\[MARKET-BASED\\]*"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1782
-msgid "As anyone who has ever gone to a concert will tell you, experiencing creativity in person is a completely different experience from consuming a digital copy on your own. Far from acting as a substitute for face-to-face interaction, CC-licensed content can actually create demand for the in-person version of experience. You can see this effect when people go view original art in person or pay to attend a talk or training course."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1784
-msgid "<span id=\"anchor-43\"></span>Selling merchandise * \\[MARKET-BASED\\]*"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1789
-msgid "In many cases, people who like your work will pay for products demonstrating a connection to your work. As a child of the 1980s, I can personally attest to the power of a good concert T-shirt. This can also be an important revenue stream for museums and galleries."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1800
-msgid "Sometimes the way to find a market-based revenue stream is by providing value to people other than those who consume your CC-licensed content. In these revenue streams, the free content is being subsidized by an entirely different category of people or businesses. Often, those people or businesses are paying to access your main audience. The fact that the content is free increases the size of the audience, which in turn makes the offer more valuable to the paying customers. This is a variation of a traditional business model built on free called multi-sided platforms.36 Access to your audience isn’t the only thing people are willing to pay for—there are other services you can provide as well."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1803
-msgid "<span id=\"anchor-44\"></span>Charging advertisers or sponsors * \\[MARKET-BASED\\]*"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1814
-msgid "The traditional model of subsidizing free content is advertising. In this version of multi-sided platforms, advertisers pay for the opportunity to reach the set of eyeballs the content creators provide in the form of their audience.37 The Internet has made this model more difficult because the number of potential channels available to reach those eyeballs has become essentially infinite.38 Nonetheless, it remains a viable revenue stream for many content creators, including those who are Made with Creative Commons. Often, instead of paying to display advertising, the advertiser pays to be an official sponsor of particular content or projects, or of the overall endeavor."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1817
-msgid "<span id=\"anchor-45\"></span>Charging your content creators * \\[MARKET-BASED\\]*"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1827
-msgid "Another type of multisided platform is where the content creators themselves pay to be featured on the platform. Obviously, this revenue stream is only available to those who rely on work created, at least in part, by others. The most well-known version of this model is the “author-processing charge” of open-access journals like those published by the Public Library of Science, but there are other variations. The Conversation is primarily funded by a university-membership model, where universities pay to have their faculties participate as writers of the content on the Conversation website."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1830
-msgid "<span id=\"anchor-46\"></span>Charging a transaction fee * \\[MARKET-BASED\\]*"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1840
-msgid "This is a version of a traditional business model based on brokering transactions between parties.39 Curation is an important element of this model. Platforms like the Noun Project add value by wading through CC-licensed content to curate a high-quality set and then derive revenue when creators of that content make transactions with customers. Other platforms make money when service providers transact with their customers; for example, Opendesk makes money every time someone on their site pays a maker to make furniture based on one of the designs on the platform."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1843
-msgid "<span id=\"anchor-47\"></span>Providing a service to your creators* \\[MARKET-BASED\\]*"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1850
-msgid "As mentioned above, endeavors can make money by providing customized services to their users. Platforms can undertake a variation of this service model directed at the creators that provide the content they feature. The data platforms Figure.NZ and Figshare both capitalize on this model by providing paid tools to help their users make the data they contribute to the platform more discoverable and reusable."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1852
-msgid "<span id=\"anchor-48\"></span>Licensing a trademark* \\[MARKET-BASED\\]*"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1861
-msgid "Finally, some that are Made with Creative Commons make money by selling use of their trademarks. Well known brands that consumers associate with quality, credibility, or even an ethos can license that trademark to companies that want to take advantage of that goodwill. By definition, trademarks are scarce because they represent a particular source of a good or service. Charging for the ability to use that trademark is a way of deriving revenue from something scarce while taking advantage of the abundance of CC content."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1863
-msgid "<span id=\"anchor-49\"></span>Reciprocity-based revenue streams"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1868
-msgid "Even if we set aside grant funding, we found that the traditional economic framework of understanding the market failed to fully capture the ways the endeavors we analyzed were making money. It was not simply about monetizing scarcity."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1878
-msgid "Rather than devising a scheme to get people to pay money in exchange for some direct value provided to them, many of the revenue streams were more about providing value, building a relationship, and then eventually finding some money that flows back out of a sense of reciprocity. While some look like traditional nonprofit funding models, they aren’t charity. The endeavor exchange value with people, just not necessarily synchronously or in a way that requires that those values be equal. As David Bollier wrote in Think Like a Commoner, “There is no self-serving calculation of whether the value given and received is strictly equal.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1884
-msgid "This should be a familiar dynamic—it is the way you deal with your friends and family. We give without regard for what and when we will get back. David Bollier wrote, “Reciprocal social exchange lies at the heart of human identity, community and culture. It is a vital brain function that helps the human species survive and evolve.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1889
-msgid "What is rare is to incorporate this sort of relationship into an endeavor that also engages with the market.40 We almost can’t help but think of relationships in the market as being centered on an even-steven exchange of value.41"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1892
-msgid "<span id=\"anchor-50\"></span>Memberships and individual donations *\\[RECIPROCITY-BASED\\]*"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1904
-msgid "While memberships and donations are traditional nonprofit funding models, in the Made with Creative Commons context, they are directly tied to the reciprocal relationship that is cultivated with the beneficiaries of their work. The bigger the pool of those receiving value from the content, the more likely this strategy will work, given that only a small percentage of people are likely to contribute. Since using CC licenses can grease the wheels for content to reach more people, this strategy can be more effective for endeavors that are Made with Creative Commons. The greater the argument that the content is a public good or that the entire endeavor is furthering a social mission, the more likely this strategy is to succeed."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1907
-msgid "<span id=\"anchor-51\"></span>The pay-what-you-want model *\\[RECIPROCITY-BASED\\]*"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1917
-msgid "In the pay-what-you-want model, the beneficiary of Creative Commons content is invited to give—at any amount they can and feel is appropriate, based on the public and personal value they feel is generated by the open content. Critically, these models are not touted as “buying” something free. They are similar to a tip jar. People make financial contributions as an act of gratitude. These models capitalize on the fact that we are naturally inclined to give money for things we value in the marketplace, even in situations where we could find a way to get it for free."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1919
-msgid "<span id=\"anchor-52\"></span>Crowdfunding *\\[RECIPROCITY-BASED\\]*"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1934
-msgid ""
-"Crowdfunding models are based on recouping the costs of creating and distributing content before the content is created. If the endeavor is Made with Creative Commons, anyone who wants the work in question could simply wait until it’s created and then access it for free. That means, for this model to work, people have to care about more than just receiving the work. They have to want you to succeed. Amanda Palmer credits the success of her crowdfunding on Kickstarter and Patreon to the years she spent building her community and creating a connection with her fans. She wrote in The Art of Asking, “Good art is made, good art is shared, help is offered, ears are bent, emotions are exchanged, the compost of real, deep connection is "
-"sprayed all over the fields. Then one day, the artist steps up and asks for something. And if the ground has been fertilized enough, the audience says, without hesitation: of course.”"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1941
-msgid "Other types of crowdfunding rely on a sense of responsibility that a particular community may feel. Knowledge Unlatched pools funds from major U.S. libraries to subsidize CC-licensed academic work that will be, by definition, available to everyone for free. Libraries with bigger budgets tend to give more out of a sense of commitment to the library community and to the idea of open access generally."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1943
-msgid "<span id=\"anchor-53\"></span>Making Human Connections"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1956
-msgid ""
-"Regardless of how they made money, in our interviews, we repeatedly heard language like “persuading people to buy” and “inviting people to pay.” We heard it even in connection with revenue streams that sit squarely within the market. Cory Doctorow told us, “I have to convince my readers that the right thing to do is to pay me.” The founders of the for-profit company Lumen Learning showed us the letter they send to those who opt not to pay for the services they provide in connection with their CC-licensed educational content. It isn’t a cease-and-desist letter; it’s an invitation to pay because it’s the right thing to do. This sort of behavior toward what could be considered nonpaying customers is largely unheard of in the "
-"traditional marketplace. But it seems to be part of the fabric of being Made with Creative Commons."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1963
-msgid "Nearly every endeavor we profiled relied, at least in part, on people being invested in what they do. The closer the Creative Commons content is to being “the product,” the more pronounced this dynamic has to be. Rather than simply selling a product or service, they are making ideological, personal, and creative connections with the people who value what they do."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1967
-msgid "It took me a very long time to see how this avoidance of thinking about what they do in pure market terms was deeply tied to being Made with Creative Commons."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1971
-msgid "I came to the research with preconceived notions about what Creative Commons is and what it means to be Made with Creative Commons. It turned out I was wrong on so many counts."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1980
-msgid "Obviously, being Made with Creative Commons means using Creative Commons licenses. That much I knew. But in our interviews, people spoke of so much more than copyright permissions when they explained how sharing fit into what they do. I was thinking about sharing too narrowly, and as a result, I was missing vast swaths of the meaning packed within Creative Commons. Rather than parsing the specific and narrow role of the copyright license in the equation, it is important not to disaggregate the rest of what comes with sharing. You have to widen the lens."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1992
-msgid "Being Made with Creative Commons is not just about the simple act of licensing a copyrighted work under a set of standardized terms, but also about community, social good, contributing ideas, expressing a value system, working together. These components of sharing are hard to cultivate if you think about what you do in purely market terms. Decent social behavior isn’t as intuitive when we are doing something that involves monetary exchange. It takes a conscious effort to foster the context for real sharing, based not strictly on impersonal market exchange, but on connections with the people with whom you share—connections with you, with your work, with your values, with each other."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1997
-msgid "The rest of this section will explore some of the common strategies that creators, companies, and organizations use to remind us that there are humans behind every creative endeavor. To remind us we have obligations to each other. To remind us what sharing really looks like."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:1999
-msgid "<span id=\"anchor-54\"></span>Be human"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2006
-msgid "Humans are social animals, which means we are naturally inclined to treat each other well.42 But the further removed we are from the person with whom we are interacting, the less caring our behavior will be. While the Internet has democratized cultural production, increased access to knowledge, and connected us in extraordinary ways, it can also make it easy forget we are dealing with another human."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2018
-msgid "To counteract the anonymous and impersonal tendencies of how we operate online, individual creators and corporations who use Creative Commons licenses work to demonstrate their humanity. For some, this means pouring their lives out on the page. For others, it means showing their creative process, giving a glimpse into how they do what they do. As writer Austin Kleon wrote, “Our work doesn’t speak for itself. Human beings want to know where things came from, how they were made, and who made them. The stories you tell about the work you do have a huge effect on how people feel and what they understand about your work, and how people feel and what they understand about your work affects how they value it.”43"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2028
-msgid "A critical component to doing this effectively is not worrying about being a “brand.” That means not being afraid to be vulnerable. Amanda Palmer says, “When you’re afraid of someone’s judgment, you can’t connect with them. You’re too preoccupied with the task of impressing them.” Not everyone is suited to live life as an open book like Palmer, and that’s OK. There are a lot of ways to be human. The trick is just avoiding pretense and the temptation to artificially craft an image. People don’t just want the glossy version of you. They can’t relate to it, at least not in a meaningful way."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2037
-msgid "This advice is probably even more important for businesses and organizations because we instinctively conceive of them as nonhuman (though in the United States, corporations are people!). When corporations and organizations make the people behind them more apparent, it reminds people that they are dealing with something other than an anonymous corporate entity. In business-speak, this is about “humanizing your interactions” with the public.44 But it can’t be a gimmick. You can’t fake being human."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2039
-msgid "<span id=\"anchor-55\"></span>Be open and accountable"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2049
-msgid "Transparency helps people understand who you are and why you do what you do, but it also inspires trust. Max Temkin of Cards Against Humanity told us, “One of the most surprising things you can do in capitalism is just be honest with people.” That means sharing the good and the bad. As Amanda Palmer wrote, “You can fix almost anything by authentically communicating.”45 It isn’t about trying to satisfy everyone or trying to sugarcoat mistakes or bad news, but instead about explaining your rationale and then being prepared to defend it when people are critical.46"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2053
-msgid "Being accountable does not mean operating on consensus. According to James Surowiecki, consensus-driven groups tend to resort to lowest-common-denominator solutions and"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2063
-msgid "avoid the sort of candid exchange of ideas that cultivates healthy collaboration.47 Instead, it can be as simple as asking for input and then giving context and explanation about decisions you make, even if soliciting feedback and inviting discourse is time-consuming. If you don’t go through the effort to actually respond to the input you receive, it can be worse than not inviting input in the first place.48 But when you get it right, it can guarantee the type of diversity of thought that helps endeavors excel. And it is another way to get people involved and invested in what you do."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2065
-msgid "<span id=\"anchor-56\"></span>Design for the good actors"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2078
-msgid ""
-"Traditional economics assumes people make decisions based solely on their own economic self-interest.49 Any relatively introspective human knows this is a fiction—we are much more complicated beings with a whole range of needs, emotions, and motivations. In fact, we are hardwired to work together and ensure fairness.50 Being Made with Creative Commons requires an assumption that people will largely act on those social motivations, motivations that would be considered “irrational” in an economic sense. As Knowledge Unlatched’s Pinter told us, “It is best to ignore people who try to scare you about free riding. That fear is based on a very shallow view of what motivates human behavior.” There will always be people who will act in "
-"purely selfish ways, but endeavors that are Made with Creative Commons design for the good actors."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2087
-msgid "The assumption that people will largely do the right thing can be a self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, “Systems that assume people will act in ways that create public goods, and that give them opportunities and rewards for doing so, often let them work together better than neoclassical economics would predict.”51 When we acknowledge that people are often motivated by something other than financial self-interest, we design our endeavors in ways that encourage and accentuate our social instincts."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2097
-msgid "Rather than trying to exert control over people’s behavior, this mode of operating requires a certain level of trust. We might not realize it, but our daily lives are already built on trust. As Surowiecki wrote in The Wisdom of Crowds, “It’s impossible for a society to rely on law alone to make sure citizens act honestly and responsibly. And it’s impossible for any organization to rely on contracts alone to make sure that its managers and workers live up to their obligation.” Instead, we largely trust that people—mostly strangers—will do what they are supposed to do.52 And most often, they do."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2099
-msgid "<span id=\"anchor-57\"></span>Treat humans like, well, humans"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2108
-msgid "For creators, treating people as humans means not treating them like fans. As Kleon says, “If you want fans, you have to be a fan first.”53 Even if you happen to be one of the few to reach celebrity levels of fame, you are better off remembering that the people who follow your work are human, too. Cory Doctorow makes a point to answer every single email someone sends him. Amanda Palmer spends vast quantities of time going online to communicate with her public, making a point to listen just as much as she talks.54"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2113
-msgid "The same idea goes for businesses and organizations. Rather than automating its customer service, the music platform Tribe of Noise makes a point to ensure its employees have personal, one-on-one interaction with users."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2125
-msgid ""
-"When we treat people like humans, they typically return the gift in kind. It’s called karma. But social relationships are fragile. It is all too easy to destroy them if you make the mistake of treating people as anonymous customers or free labor.55 Platforms that rely on content from contributors are especially at risk of creating an exploitative dynamic. It is important to find ways to acknowledge and pay back the value that contributors generate. That does not mean you can solve this problem by simply paying contributors for their time or contributions. As soon as we introduce money into a relationship—at least when it takes a form of paying monetary value in exchange for other value—it can dramatically change the dynamic.56"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2127
-msgid "<span id=\"anchor-58\"></span>State your principles and stick to them"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2137
-msgid "Being Made with Creative Commons makes a statement about who you are and what you do. The symbolism is powerful. Using Creative Commons licenses demonstrates adherence to a particular belief system, which generates goodwill and connects like-minded people to your work. Sometimes people will be drawn to endeavors that are Made with Creative Commons as a way of demonstrating their own commitment to the Creative Commons value system, akin to a political statement. Other times people will identify and feel connected with an endeavor’s separate social mission. Often both."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2146
-msgid "The expression of your values doesn’t have to be implicit. In fact, many of the people we interviewed talked about how important it is to state your guiding principles up front. Lumen Learning attributes a lot of their success to having been outspoken about the fundamental values that guide what they do. As a for-profit company, they think their expressed commitment to low-income students and open licensing has been critical to their credibility in the OER (open educational resources) community in which they operate."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2152
-msgid "When your end goal is not about making a profit, people trust that you aren’t just trying to extract value for your own gain. People notice when you have a sense of purpose that transcends your own self-interest.57 It attracts committed employees, motivates contributors, and builds trust."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2154
-msgid "<span id=\"anchor-59\"></span>Build a community"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2163
-msgid "Endeavors that are Made with Creative Commons thrive when community is built around what they do. This may mean a community collaborating together to create something new, or it may simply be a collection of like-minded people who get to know each other and rally around common interests or beliefs.58 To a certain extent, simply being Made with Creative Commons automatically brings with it some element of community, by helping connect you to like-minded others who recognize and are drawn to the values symbolized by"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2165
-msgid "using CC."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2176
-msgid "To be sustainable, though, you have to work to nurture community. People have to care—about you and each other. One critical piece to this is fostering a sense of belonging. As Jono Bacon writes in The Art of Community, “If there is no belonging, there is no community.” For Amanda Palmer and her band, that meant creating an accepting and inclusive environment where people felt a part of their “weird little family.”59 For organizations like Red Hat, that means connecting around common beliefs or goals. As the CEO Jim Whitehurst wrote in The Open Organization, “Tapping into passion is especially important in building the kinds of participative communities that drive open"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2178
-msgid "organizations.”60"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2190
-msgid "Communities that collaborate together take deliberate planning. Surowiecki wrote, “It takes a lot of work to put the group together. It’s difficult to ensure that people are working in the group’s interest and not in their own. And when there’s a lack of trust between the members of the group (which isn’t surprising given that they don’t really know each other), considerable energy is wasted trying to determine each other’s bona fides.”61 Building true community requires giving people within the community the power to create or influence the rules that govern the community.62 If the rules are created and imposed in a top-down manner, people feel like they don’t have a voice, which in turn leads to disengagement."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2194
-msgid "Community takes work, but working together, or even simply being connected around common interests or values, is in many ways what sharing is about."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2196
-msgid "<span id=\"anchor-60\"></span>Give more to the commons than you take"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2207
-msgid "Conventional wisdom in the marketplace dictates that people should try to extract as much money as possible from resources. This is essentially what defines so much of the so-called sharing economy. In an article on the Harvard Business Review website called “The Sharing Economy Isn’t about Sharing at All,” authors Giana Eckhardt and Fleura Bardhi explained how the anonymous market-driven trans-actions in most sharing-economy businesses are purely about monetizing access.63 As Lisa Gansky put it in her book The Mesh, the primary strategy of the sharing economy is to sell the same product multiple times, by selling access rather than ownership.64 That is not sharing."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2219
-msgid ""
-"Sharing requires adding as much or more value to the ecosystem than you take. You can’t simply treat open content as a free pool of resources from which to extract value. Part of giving back to the ecosystem is contributing content back to the public under CC licenses. But it doesn’t have to just be about creating content; it can be about adding value in other ways. The social blogging platform Medium provides value to its community by incentivizing good behavior, and the result is an online space with remarkably high-quality user-generated content and limited trolling.65 Opendesk contributes to its community by committing to help its designers make money, in part by actively curating and displaying their work on its platform "
-"effectively."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2227
-msgid "In all cases, it is important to openly acknowledge the amount of value you add versus that which you draw on that was created by others. Being transparent about this builds credibility and shows you are a contributing player in the commons. When your endeavor is making money, that also means apportioning financial compensation in a way that reflects the value contributed by others, providing more to contributors when the value they add outweighs the value provided by you."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2229
-msgid "<span id=\"anchor-61\"></span>Involve people in what you do"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2240
-msgid "Thanks to the Internet, we can tap into the talents and expertise of people around the globe. Chris Anderson calls it the Long Tail of talent.66 But to make collaboration work, the group has to be effective at what it is doing, and the people within the group have to find satisfaction from being involved.67 This is easier to facilitate for some types of creative work than it is for others. Groups tied together online collaborate best when people can work independently and asynchronously, and particularly for larger groups with loose ties, when contributors can make simple improvements without a particularly heavy time"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2242
-msgid "commitment.68"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2251
-msgid "As the success of Wikipedia demonstrates, editing an online encyclopedia is exactly the sort of activity that is perfect for massive co-creation because small, incremental edits made by a diverse range of people acting on their own are immensely valuable in the aggregate. Those same sorts of small contributions would be less useful for many other types of creative work, and people are inherently less motivated to contribute when it doesn’t appear that their efforts will make much of a difference.69"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2268
-msgid ""
-"It is easy to romanticize the opportunities for global cocreation made possible by the Internet, and, indeed, the successful examples of it are truly incredible and inspiring. But in a wide range of circumstances—perhaps more often than not—community cocreation is not part of the equation, even within endeavors built on CC content. Shirky wrote, “Sometimes the value of professional work trumps the value of amateur sharing or a feeling of belonging.70 The textbook publisher OpenStax, which distributes all of its material for free under CC licensing, is an example of this dynamic. Rather than tapping the community to help cocreate their college textbooks, they invest a significant amount of time and money to develop professional "
-"content. For individual creators, where the creative work is the basis for what they do, community cocreation is only rarely a part of the picture. Even musician Amanda Palmer, who is famous for her openness and involvement with her fans, said, “The only department where I wasn’t open to input was the writing, the music itself.”71"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2279
-msgid "While we tend to immediately think of cocreation and remixing when we hear the word collaboration, you can also involve others in your creative process in more informal ways, by sharing half-baked ideas and early drafts, and interacting with the public to incubate ideas and get feedback. So-called “making in public” opens the door to letting people feel more invested in your creative work.72 And it shows a nonterritorial approach to ideas and information. Stephen Covey (of The 7 Habits of Highly Effective People fame) calls this the abundance mentality—treating ideas like something plentiful—and it can create an environment where collaboration flourishes.73"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2288
-msgid "There is no one way to involve people in what you do. They key is finding a way for people to contribute on their terms, compelled by their own motivations.74 What that looks like varies wildly depending on the project. Not every endeavor that is Made with Creative Commons can be Wikipedia, but every endeavor can find ways to invite the public into what they do. The goal for any form of collaboration is to move away from thinking of consumers as passive recipients of your content and transition them into active participants.75"
-msgstr ""
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2391
-msgid "Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ: John Wiley and Sons, 2010), 14. A preview of the book is available at strategyzer.com/books/business-model-generation."
-msgstr ""
-
-#. type: Bullet: '2. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2391
-msgid "Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet Age (San Francisco, CA: McSweeney’s, 2014) 68."
-msgstr ""
-
-#. type: Bullet: '3. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2391
-msgid "Ibid., 55."
-msgstr ""
-
-#. type: Bullet: '4. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2391
-msgid "Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving Something for Nothing, reprint with new preface (New York: Hyperion, 2010), 224."
-msgstr ""
-
-#. type: Bullet: '5. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2391
-msgid "Doctorow, Information Doesn’t Want to Be Free, 44."
-msgstr ""
-
-#. type: Bullet: '6. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2391
-msgid "Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let People Help (New York: Grand Central, 2014), 121."
-msgstr ""
-
-#. type: Bullet: '7. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2391
-msgid "Chris Anderson, Makers: The New Industrial Revolution (New York: Signal, 2012), 64."
-msgstr ""
-
-#. type: Bullet: '8. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2391
-msgid "David Bollier, Think Like a Commoner: A Short Introduction to the Life of the Commons (Gabriola Island, BC: New Society, 2014), 70."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2391
-#, no-wrap
-msgid ""
-"9. Anderson, Makers, 66.\n"
-"10. Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy\n"
-" (New York: Morgan James, 2016), 10.\n"
-"11. Anderson, Free, 62.\n"
-"12. Doctorow, Information Doesn’t Want to Be Free, 38.\n"
-"13. Bollier, Think Like a Commoner, 68.\n"
-"14. Anderson, Free, 86.\n"
-"15. Doctorow, Information Doesn’t Want to Be Free, 144.\n"
-"16. Anderson, Free, 123.\n"
-"17. Ibid., 132.\n"
-"18. Ibid., 70.\n"
-"19. James Surowiecki, The Wisdom of Crowds (New York: Anchor Books,\n"
-" 2005), 124. Surowiecki says, “The measure of success of laws and\n"
-" contracts is how rarely they are invoked.”\n"
-"20. Anderson, Free, 44.\n"
-"21. Osterwalder and Pigneur, Business Model Generation, 23.\n"
-"22. Anderson, Free, 67.\n"
-"23. Ibid., 58.\n"
-"24. Anderson, Makers, 71.\n"
-"25. Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into\n"
-" Collaborators (London: Penguin Books, 2010), 78.\n"
-"26. Ibid., 21.\n"
-"27. Doctorow, Information Doesn’t Want to Be Free, 43.\n"
-"28. William Landes Foster, Peter Kim, and Barbara Christiansen, “Ten\n"
-" Nonprofit Funding Models,” Stanford Social Innovation Review, Spring\n"
-" 2009, ssir.org/articles/entry/ten\\_nonprofit\\_funding\\_models.\n"
-"29. Shirky, Cognitive Surplus, 111.\n"
-"30. Osterwalder and Pigneur, Business Model Generation, 30.\n"
-"31. Jim Whitehurst, The Open Organization: Igniting Passion and\n"
-" Performance (Boston: Harvard Business Review Press, 2015), 202.\n"
-"32. Anderson, Free, 71.\n"
-"33. Ibid., 231.\n"
-"34. Ibid., 97.\n"
-"35. Anderson, Makers, 107.\n"
-"36. Osterwalder and Pigneur, Business Model Generation, 89.\n"
-"37. Ibid., 92.\n"
-"38. Anderson, Free, 142.\n"
-"39. Osterwalder and Pigneur, Business Model Generation, 32.\n"
-"40. Bollier, Think Like a Commoner, 150.\n"
-"41. Ibid., 134.\n"
-"42. Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our\n"
-" Decisions, rev. ed. (New York: Harper Perennial, 2010), 109.\n"
-"43. Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and\n"
-" Get Discovered (New York: Workman, 2014), 93.\n"
-"44. Kramer, Shareology, 76.\n"
-"45. Palmer, Art of Asking, 252.\n"
-"46. Whitehurst, Open Organization, 145.\n"
-"47. Surowiecki, Wisdom of Crowds, 203.\n"
-"48. Whitehurst, Open Organization, 80.\n"
-"49. Bollier, Think Like a Commoner, 25.\n"
-"50. Ibid., 31.\n"
-"51. Shirky, Cognitive Surplus, 112.\n"
-"52. Surowiecki, Wisdom of Crowds, 124.\n"
-"53. Kleon, Show Your Work, 127.\n"
-"54. Palmer, Art of Asking, 121.\n"
-"55. Ariely, Predictably Irrational, 87.\n"
-"56. Ibid., 105.\n"
-"57. Ibid., 36.\n"
-"58. Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly\n"
-" Media, 2012), 36.\n"
-"59. Palmer, Art of Asking, 98.\n"
-"60. Whitehurst, Open Organization, 34.\n"
-"61. Surowiecki, Wisdom of Crowds, 200.\n"
-"62. Bollier, Think Like a Commoner, 29.\n"
-"63. Giana Eckhardt and Fleura Bardhi, “The Sharing Economy Isn’t about\n"
-" Sharing at All,” Harvard Business Review (website), January 28,\n"
-" 2015, hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all.\n"
-"64. Lisa Gansky, The Mesh: Why the Future of Business Is Sharing,\n"
-" reprint with new epilogue (New York: Portfolio, 2012).\n"
-"65. David Lee, “Inside Medium: An Attempt to Bring Civility to the\n"
-" Internet,” BBC News, March 3,\n"
-" 2016, www.bbc.com/news/technology-35709680.\n"
-"66. Anderson, Makers, 148.\n"
-"67. Shirky, Cognitive Surplus, 164.\n"
-"68. Whitehurst, foreword to Open Organization.\n"
-"69. Shirky, Cognitive Surplus, 144.\n"
-"70. Ibid., 154.\n"
-"71. Palmer, Art of Asking, 163.\n"
-"72. Anderson, Makers, 173.\n"
-"73. Tom Kelley and David Kelley, Creative Confidence: Unleashing the\n"
-" Potential within Us All (New York: Crown, 2013), 82.\n"
-"74. Whitehurst, foreword to Open Organization.\n"
-"75. Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of\n"
-" Collaborative Consumption (New York: Harper Business, 2010), 188.\n"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2393
-msgid "<span id=\"anchor-62\"></span>The"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2395
-msgid "<span id=\"anchor-63\"></span>Creative"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2397
-msgid "<span id=\"anchor-64\"></span>Commons"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2399
-msgid "<span id=\"anchor-65\"></span>Licenses"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2402
-msgid "All of the Creative Commons licenses grant a basic set of permissions. At a minimum, a CC-"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2413
-msgid "licensed work can be copied and shared in its original form for noncommercial purposes so long as attribution is given to the creator. There are six licenses in the CC license suite that build on that basic set of permissions, ranging from the most restrictive (allowing only those basic permissions to share unmodified copies for noncommercial purposes) to the most permissive (reusers can do anything they want with the work, even for commercial purposes, as long as they give the creator credit). The licenses are built on copyright and do not cover other types of rights that creators might have in their works, like patents or trademarks."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2415
-msgid "Here are the six licenses:"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2421
-msgid "The Attribution license (CC BY) lets others distribute, remix, tweak, and build upon your work, even commercially, as long as they credit you for the original creation. This is the most accommodating of licenses offered. Recommended for maximum dissemination and use of licensed materials."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2428
-msgid "The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak, and build upon your work, even for commercial purposes, as long as they credit you and license their new creations under identical terms. This license is often compared to “copyleft” free and open source software licenses. All new works based on yours will carry the same license, so any derivatives will also allow commercial use."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2432
-msgid "The Attribution-NoDerivs license (CC BY-ND) allows for redistribution, commercial and noncommercial, as long as it is passed along unchanged with credit to you."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2437
-msgid "The Attribution-NonCommercial license (CC BY-NC) lets others remix, tweak, and build upon your work noncommercially. Although their new works must also acknowledge you, they don’t have to license their derivative works on the same terms."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2441
-msgid "The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA) lets others remix, tweak, and build upon your work noncommercially, as long as they credit you and license their new creations under the same terms."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2446
-msgid "The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most restrictive of our six main licenses, only allowing others to download your works and share them with others as long as they credit you, but they can’t change them or use them commercially."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2451
-msgid "In addition to these six licenses, Creative Commons has two public-domain tools—one for creators and the other for those who manage collections of existing works by authors whose terms of copyright have expired:"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2454
-msgid "CC0 enables authors and copyright owners to dedicate their works to the worldwide public domain (“no rights reserved”)."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2458
-msgid "The Creative Commons Public Domain Mark facilitates the labeling and discovery of works that are already free of known copyright restrictions."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2467
-msgid "In our case studies, some use just one Creative Commons license, others use several. Attribution (found in thirteen case studies) and Attribution-ShareAlike (found in eight studies) were the most common, with the other licenses coming up in four or so case studies, including the public-domain tool CC0. Some of the organizations we profiled offer both digital content and software: by using open-source-software licenses for the software code and Creative Commons licenses for digital content, they amplify their involvement with and commitment to sharing."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2479
-msgid "There is a popular misconception that the three NonCommercial licenses offered by CC are the only options for those who want to make money off their work. As we hope this book makes clear, there are many ways to make endeavors that are Made with Creative Commons sustainable. Reserving commercial rights is only one of those ways. It is certainly true that a license that allows others to make commercial use of your work (CC BY, CC BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you apply an Attribution (CC BY) license to your book, you can’t force a film company to pay you royalties if they turn your book into a feature-length film, or prevent another company from selling physical copies of your work."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2491
-msgid "The decision to choose a NonCommercial and/or NoDerivs license comes down to how much you need to retain control over the creative work. The NonCommercial and NoDerivs licenses are ways of reserving some significant portion of the exclusive bundle of rights that copyright grants to creators. In some cases, reserving those rights is important to how you bring in revenue. In other cases, creators use a NonCommercial or NoDerivs license because they can’t give up on the dream of hitting the creative jackpot. The music platform Tribe of Noise told us the NonCommercial licenses were popular among their users because people still held out the dream of having a major record label discover their work."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2496
-msgid "Other times the decision to use a more restrictive license is due to a concern about the integrity of the work. For example, the nonprofit TeachAIDS uses a NoDerivs license for its educational materials because the medical subject matter is particularly important to get right."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2506
-msgid "There is no one right way. The NonCommercial and NoDerivs restrictions reflect the values and preferences of creators about how their creative work should be reused, just as the ShareAlike license reflects a different set of values, one that is less about controlling access to their own work and more about ensuring that whatever gets created with their work is available to all on the same terms. Since the beginning of the commons, people have been setting up structures that helped regulate the way in which shared resources were used. The CC licenses are an attempt to standardize norms across all domains."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2508
-msgid "<span id=\"anchor-66\"></span>Note"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2512
-msgid "For more about the licenses including examples and tips on sharing your work in the digital commons, start with the Creative Commons page called “Share Your Work” at"
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2514
-msgid "creativecommons.org/share-your-work/."
-msgstr ""
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2516
-msgid "<span id=\"anchor-67\"></span>Part 2"
-msgstr "<span id=\"anchor-67\"></span>Parte 2"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2518
-msgid "<span id=\"anchor-68\"></span>The Case Studies"
-msgstr "<span id=\"anchor-68\"></span>Los estudios de caso"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2526
-msgid "The twenty-four case studies in this section were chosen from hundreds of nominations received from Kickstarter backers, Creative Commons staff, and the global Creative Commons community. We selected eighty potential candidates that represented a mix of industries, content types, revenue streams, and parts of the world. Twelve of the case studies were selected from that group based on votes cast by Kickstarter backers, and the other twelve were selected by us."
-msgstr "Los veinticuatro estudios de caso en esta sección fueron elegidos de entre cientos de nominaciones recibidas de los patrocinadores del Kickstarter, el personal de Creative Commons, y la comunidad global Creative Commons. Seleccionamos a ochenta candidatos potenciales representando a una mezcla de industrias, tipos de contenido, flujos de ganancia, y regiones del mundo. Doce de los casos de estudio fueron seleccionados del grupo basado en votos de los patrocinadores del Kickstarter, y los otros doce fueron seleccionados por nosotros."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2532
-msgid "We did background research and conducted interviews for each case study, based on the same set of basic questions about the endeavor. The idea for each case study is to tell the story about the endeavor and the role sharing plays within it, largely the way in which it was told to us by those we interviewed."
-msgstr "Realizamos investigación de fondo y llevamos a cabo entrevistas para cada estudio de caso, basado en el mismo conjunto de preguntas básicas acerca del emprendimiento. La idea para estudio de caso es contar la historia acerca del emprendimiento y el papel que compartir juega dentro de éste, lo cual es en buena medida la manera en que nos fue contado por quienes entrevistamos."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2534
-msgid "<span id=\"anchor-69\"></span>Arduino"
-msgstr "<span id=\"anchor-69\"></span>Arduino\t"
-
-#. 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 "Arduino es una plataforma electrónica de fuentes abiertas y una compañía de hardware y software con fines de lucro. Fundada en Italia en 2005."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2539
-msgid "www.arduino.cc"
-msgstr "www.arduino.cc"
-
-#. 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 "Modelo de ganancia: Cobrar por copias físicas (venta de tarjetas, módulos, escudos y kits), licenciamiento de la marca registrada (el importe pagado por aquellos que quieren vender productos Arduino utilizando su nombre)"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2545 MadewithCreativeCommonsmostup-to-dateversion.md:3231
-msgid "Interview date: February 4, 2016"
-msgstr "Fecha de la entrevista: 4 de febrero, 2016"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2547
-msgid "Interviewees: David Cuartielles and Tom Igoe, cofounders"
-msgstr "Entrevistados: David Cuartielles y Tom Igoe, cofundadores"
-
-#. 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 "Perfil escrito por Paul Stacey"
-
-#. 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 ""
-"En 2005, en el Instituto de Diseño de la Interacción Ivrea en el norte de Italia, profesores y estudiantes necesitaban una forma fácil de utilizar electrónica y programación para prototipear rápidamente ideas de diseño. Como músicos, artistas y diseñadores, necesitaban de una plataforma que no requiriera experiencia en ingeniería. Un grupo de profesores y alumnos, que incluía a Massimo Banzi, David Cuartielles, Tom Igoe, Gianluca Martino y David Mellis, construyeron una plataforma que combinaba diferentes tecnologías abiertas. La llamaron Arduino. La plataforma integraba software, hardware, microcontroladores y electrónica. Todos los aspectos de la plataforma se licenciaron abiertamente: Los diseños de hardware y la documentación, "
-"con la licencia Atribución-CompartirIgual (CC BY-SA), y el software bajo la Licencia Pública General (GPL) de GNU."
-
-#. 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 "Las tarjetas Arduino pueden leer entradas —luz de un sensor, un dedo en el botón, o un mensaje en Twitter— y convertirlas en salidas —activar un motor, encender un LED, publicar algo en línea. Usted envía un conjunto de instrucciones al microcontrolador de la tarjeta empleando el lenguaje de programación Arduino y el software Arduino (basado en un programa de fuentes abiertas llamado Processing, una herramienta de programación empleada para hacer artes visuales)."
-
-#. 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 "”Las razones para hacer a Arduino de fuente abierta son complicadas,” dice Tom. En parte es para permitir la flexibilidad. La naturaleza de fuente abierta de Arduino empodera a los usuarios para modificarlo y crear muchas diferentes variaciones, agregando sobre lo que construyen los fundadores. David dice que esto ”termina fortaleciendo la plataforma mucho más allá de lo que pensamos siquiera en construir.”"
-
-#. 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 "Para Tom, otro factor fue la inminente clausura de la escuela de diseño Ivrea. Había visto a otras organizaciones cerrar sus puertas, tras lo cual todo su trabajo e investigación simplemente desaparecían. Abrir las fuentes aseguró que Arduino sobreviviera la clausura de Ivrea. La persistencia es una característica que Tom realmente aprecia del software de fuentes abiertas. Si gente fundamental abandona un proyecto, o si cierra una compañía, un producto de fuentes abiertas sobrevive. Desde el punto de vista de Tom, ”abrir las fuentes facilita confiar en un"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2586
-msgid "product.”"
-msgstr "producto.”"
-
-#. 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 "Al cerrar la escuela, David y algunos de los otros fundadores de Arduino iniciaron una consultoría y estudio de diseño multidisciplinario, al cual llamaron Tinker, en Londres. Tinker diseñaba productos y servicios que fungían de puente entre lo digital y lo físico, y enseñaban a la gente cómo emplear las nuevas tecnologías de formas creativas. Los ingresos de Tinker se invirtieron en sostener y mejorar a Arduino."
-
-#. 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 "Para Tom, parte del éxito de Arduino se debe a que los fundadores se convirtieron en los primeros clientes de su producto. Hicieron productos que ellos mismos querían personalmente. Era cuestión de ”necesito esto,” no de ”si hacemos esto, haremos mucho dinero.” Tom dice que ser el propio primer cliente lo hace a uno más confiado y convincente al vender el producto."
-
-#. 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 ""
-"El modelo de negocios de Arduino ha evolucionado con el paso del tiempo —y Tom dice que ”modelo” es un término muy agrandado para lo que es. Originalmente, sólo querían hacer un par de tarjetas y brindarlas al mundo. Comenzaron con doscientas tarjetas, las vendieron, y ganaron un poco de dinero. Lo usaron para hacer otras mil, lo cual generó suficientes ingresos para hacer cinco mil. En los primeros días, simplemente intentaban generar suficiente fondeo para mantener la aventura funcionando día a día. Cuando llegaron a la marca de las diez mil, comenzaron a pensar en Arduino como en una compañía. Para entonces era claro que resulta posible liberar el diseño, pero manufacturar el producto físico. Mientras sea un producto de calidad "
-"vendido a un precio razonable, la gente lo comprará."
-
-#. 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 ""
-"Arduino ahora cuenta con una comunidad mundial de creadores —estudiantes, aficionados, artistas, programadores y profesionales. Arduino tiene un wiki llamado Playground (campo de juego, n. del t.) (un wiki es un espacio Web donde todos los usuarios pueden editar y agregar páginas, contribuir y beneficiarse de la investigación colectiva). La gente comparte código, diagramas de circuitos, tutoriales, instrucciones tipo hágalo usted mismo, consejos y trucos, y presumir sus proyectos. Además, hay un foro de discusión multilíngüe donde los usuarios pueden obtener ayuda para usar Arduino, discutir de temas como robótica, y hacer sugerencias para nuevos diseños de productos Arduino. Para enero de 2017, 324,928 miembros habían enviado "
-"2,989,489 mensajes en 379,044 temas. La comunidad mundial de creadores ha contribuido con una increíble cantidad de conocimiento accesible, útil tanto para novatos como para expertos."
-
-#. 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 "La transición de ARduino de proyecto a compañía fue un gran paso. Otras empresas que hacían tarjetas cobraban mucho dinero por ellas. Arduino quería hacer el suyo disponible a un precio bajo para la gente de un amplio rango de industrias. Como con cualquier negocio, el precio resultó fundamental. Querían precios que les trajeran muchos clientes, aunque suficientemente altos para sostener el negocio."
-
-#. 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 "Para un negocio, llegar al final del año sin estar en números rojos es un éxito. Arduino puede tener una estrategia de licenciamiento abierto, pero a fin de cuentas son un negocio, y todas las cosas necesarias para sostener uno exitosamente se aplican. Dice David, ”si hace esas otras cosas bien, compartir las cosas bajo un modelo abierto únicamente le ayudará.”"
-
-#. 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 "Aunque licenciar de forma permisiva los diseños, documentación y el software asegura una longevidad, sí conlleva riesgos. Existe la posibilidad de que otros creen imitaciones, clones y copias. La licencia CC BY-SA significa que cualquiera puede producir copias de sus tarjetas, rediseñarlas, e incluso vender tarjetas que copien el diseño. No tienen que pagar licenciamiento a Arduino, ni siquiera pedir permiso. Sin embargo, si republican el diseño de estas tarjetas, deben dar atribución a Arduino. Si cambian el diseño, deben liberar el nuevo diseño empleando la misma licencia Creative Commons para asegurar que la mueva versión es igualmente libre y abierta."
-
-#. 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 "Tom y David dicen que mucha gente ha construido compañías basadas en Arduino, que han creado docenas de derivados de Arduino. Pero en contraste con los modelos de negocio cerrados que pueden exprimir dinero del sistema por muchos años porque no tienen competencia, los fundadores de Arduino vieron la competencia como una manera de obligarse a mantenerse honestos, y se enfocaron a un ambiente de colaboración. Un beneficio de lo abierto sobre lo cerrado son las muchas nuevas ideas y diseños que otros han contribuido al ecosistema Arduino, ideas y diseños que la comunidad Arduino emplea e incorpora en sus nuevos productos."
-
-#. 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 "Sobre el transcurso del tiempo, el rango de productos Arduino se ha diversificado, cambiando y adaptándose a las nuevas necesidades y retos. Además de simples tarjetas introductorias, han aparecido nuevos productos que van desde tarjetas ampliadas con funcionalidad avanzada y mejor rendimiento, hasta tarjetas para crear aplicaciones del Internet de las Cosas, vestibles, e impresión 3-D. El rango completo de los productos Arduino incluye tarjetas, módulos (un formato físico más reducido de las tarjetas clásicas), escudos (elementos que pueden enchufarse sobre una tarjeta para darle mayor funcionalidad), y kits.1"
-
-#. 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 "El foco de Arduino son tarjetas de alta calidad, con materiales de apoyo bien diseñados, y la construcción de una comunidad; este enfoque es una de las llaves para su éxito. Y ser abiertos les ha permitido construir una verdadera comunidad. David dice que la comunidad de Arduino es una gran fortaleza y algo que verdaderamente importa —en sus palabras, ”es un buen negocio.” Cuando iniciaron, el equipo de Arduino casi no tenía idea de cómo construir una comunidad. Comenzaron llevando numerosos talleres, trabajando directamente con la gente que usa la plataforma para asegurarse que el hardware y software funiconaran como debían hacerlo, y resolver los problemas de la gente. La comunidad creció orgánicamente desde ese punto."
-
-#. 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 "Una decisión clave para Arduino fue el registro de marca sobre su nombre. Los fundadores necesitaban una manera de garantizarle a la gente que estarían comprando un producto de calidad de una compañía comprometida con los valores del software libre y la compartición del conocimiento. Registrar la marca y logotipo de Arduino expresa esta garantía y ayuda a los clientes a identificar fácilmente sus productos, y los productos aprobados por ellos. Si otros quieren vender tarjetas utilizando el nombre y logotipo Arduino, les tienen que pagar un pequeño costo. Esto les permite escalar la manufactura y distribución, asegurando al mismo tiempo que la marca Arduino no sufre por copias de mala calidad."
-
-#. 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 "Hoy en día, los fabricantes oficiales son Smart Projects en Italia, SparkFun en los Estados Unidos, y Dog Hunter en Taiwan/China. Estos son los únicos fabricantes autorizados a utilizar el logotipo de Arduino en sus tarjetas. Registrar su marca permite a los fundadores proteger a la empresa, impulsarla más allá, y fondear el desarrollo de software y tutoriales. El monto por el licenciamiento de la marca se convirtió en el modelo de generación de ganancias para Arduino."
-
-#. 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 "Los fundadores no siempre estuvieron de acuerdo en qué tanto abrir las cosas. David, que siempre fue el que proponía hacer las cosas de forma más abierta, tenía sus miedos acerca del registro de la marca, pensando que la comunidad se enojaría con ellos si controlaban el uso de la marca. Hubo algo de fricción al inicio de la vida del proyecto con otro llamado Freeduino, pero en la gran escala, el registro de marca y logotipo ha sido una herramienta crítica para Arduino."
-
-#. 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 ""
-"David invita a individuos y negocios comenzar siguiendo la estrategia de compartir todo, y sólo entonces pensar acerca de si hay algo que verdaderamente requiere ser protegido, y por qué. Hay muchas buenas razones para no abrir ciertos elementos. Esta estrategia de abrirlo todo es claramente el opuesto absoluto de cómo funciona el mundo actual, donde nada es compartido. Tom sugiere que los negocios formalicen qué elementos se basan en compartir abiertamente y cuáles son cerrados. Un artículo en el blog de Arduino en 2013, titulado ”Envía a los clones”, escrito por uno de los fundadores, Massimo Banzi, explica a profundidad las complejidades de cómo les ha resultado el registro de su marca, distinguiendo entre tarjetas oficiales y "
-"aquellas que son clones, derivados, compatibles, y falsificados.2"
-
-#. 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 "Para David, un aspecto excitante de Arduino es la forma en que mucha gente puede utilizarlo para adaptar a la tecnología de tantas formas distintas. La tecnología siempre posibilita la creación de mas cosas, pero no siempre se enfoca en facilitar utilizarla y adaptarla. Aquí es donde entra Arduino. El objetivo de Arduino es ”hacer cosas que ayuden a otras personas a hacer cosas.”"
-
-#. 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 "Arduino ha sido enormemente exitoso en hacer que la tecnología y la electrónica alcancen a una mayor audiencia. Para Tom, Arduino siempre ha sido acerca de ”la democratización de la tecnología.” Tom ve la estrategia abierta de Arduino como una forma de ayudar al mundo superar la idea de que la tecnología debe estar protegida. Tom dice, ”la tecnología es un tipo de alfabetización que todos debieran aprender.”"
-
-#. 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 "A fin de cuentas, para Arduino, abrirse ha resultado un buen negocio — bueno para el desarrollo del producto, bueno para su distribución, bueno para los precios, y bueno para la manufactura."
-
-#. 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 "Vínculos Web"
-
-#. type: Bullet: '1. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2737
-msgid "www.arduino.cc/en/Main/Products"
-msgstr "www.arduino.cc/en/Main/Products"
-
-#. type: Bullet: '2. '
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2737
-msgid "blog.arduino.cc/2013/07/10/send-in-the-clones/"
-msgstr "blog.arduino.cc/2013/07/10/send-in-the-clones/"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2739
-msgid "<span id=\"anchor-70\"></span>Ártica"
-msgstr "<span id=\"anchor-70\"></span>Ártica"
-
-#. 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 ""
-"Ártica brinda cursos en línea y servicios de consultoría enfocados en cómo "
-"usar la tecnología digital para compartir conocimiento y hacer posible la "
-"colaboración en las artes y la cultura. Fundada en 2011 en Uruguay."
-
-#. 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 "Modelo de ganancia: cobrar por servicios personalizados"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2749
-msgid "Interview date: March 9, 2016"
-msgstr "Fecha de entrevista: 9 de marzo de 2016"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2751
-msgid "Interviewees: Mariana Fossatti and Jorge Gemetto, cofounders"
-msgstr "Entravistados: Mariana Fossatti y Jorge Gemetto, cofundadores"
-
-#. 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 "Perfil escrito por Sarah Hinchliff Pearson"
-
-#. 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 ""
-"La historia del negocio de Mariana Fossatti y Jorge Gemetto, Ártica, es el "
-"ejemplo definitivo de «hágalo usted mismo». No solo son empresarios "
-"exitosos, el nicho en el que opera su pequeño negocio es esencialmente uno "
-"que ellos construyeron por sí mismos."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2760
-msgid "Their dream jobs didn’t exist, so they created them."
-msgstr "El trabajo de sus sueños no existía, así que lo crearon."
-
-#. 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 ""
-"En 2011, Mariana era una socióloga trabajando para una organización "
-"internacional para desarrollar investigación y educación en línea, acerca de "
-"cuestiones de desarrollo rural. Jorge era un sicólogo, también trabajando en "
-"educación en línea. Ambos eran blogueros y usuarios intensos de redes "
-"sociales, y ambos tenían una pasión por las artes y la cultura. Decidieron "
-"tomar sus habilidades en tecnología digital y aprendizaje en línea, y "
-"aplicarlas a una área temática que amaban. Lanzaron Ártica, un negocio en "
-"línea que brinda educación y consultoría para personas e instituciones que "
-"crean proyectos artísticos y culturales en la Internet."
-
-#. 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 ""
-"Ártica se siente como un negocio singularmente del siglo 21. La pequeña "
-"compañía tiene un presencia en línea global, sin ninguna oficina física. "
-"Jorge y Mariana viven en Uruguay, y los otras otras dos personas empleadas "
-"tiempo completo, a quienes Jorge y Mariana nunca han conocido en persona, "
-"viven en España. Ellos empezaron creando un curso en línea abierto («MOOC», "
-"por sus siglas en inglés) sobre la cultura de la remezcla y la colaboración "
-"en las artes, lo que les dio una vía directa para alcanzar una audiencia "
-"internacional, atrayendo estudiantes de toda América Latina y España. En "
-"otras palabras, es la clásica historia de internet de ser capaz de "
-"aprovechar de forma directa a una audiencia sin depender de barreras ni "
-"intermediarios."
-
-#. 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 ""
-"Ártica ofrece educación personalizada y servicios de consultoría, y ayuda a "
-"sus clientes a implementar proyectos. Todos estos servicios son hechos a la "
-"medida. Ellos lo llaman un proceso «artesanal» por el tiempo y esfuerzo que "
-"toma adaptar su trabajo a las necesidades particulares de estudiantes y "
-"clientes. «Cada estudiante o cliente está pagando por una solución "
-"específica a sus problemas y preguntas,» dijo Mariana. En lugar de vender "
-"acceso a su contenido, ellos lo brindan gratis y cobran por los servicios "
-"personalizados."
-
-#. 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 ""
-"Cuando empezaron, ofrecían un número más pequeño de cursos para atraer "
-"grandes audiencias. «A lo largo de los años, nos dimos cuenta que las "
-"comunidades en línea son más específicas de lo que pensábamos,» dijo "
-"Mariana. Ártica ahora brinda más opciones de clases y tiene una menor "
-"cantidad de inscripción en cada curso. Esto significa que pueden brindar más "
-"atención a los estudiantes individuales y ofrecer clases sobre temas más "
-"especializados."
-
-#. 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 ""
-"Los cursos en línea son su principal fuente de ingresos, pero también hacen "
-"más de una docena de proyectos de consultoría cada año, que van desde "
-"digitalización hasta planeamiento de campañas de mercadeo. Algunos son "
-"significantes en alcance, particularmente cuando trabajan con instituciones "
-"culturales, y otros son proyectos más pequeños comisionados por artistas "
-"individuales."
-
-#. 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 ""
-"Ártica también busca financiamiento público y privado para proyectos "
-"específicos. Algunas veces, incluso si no tienen éxito en subsidiar un "
-"proyecto como un nuevo curso o libro electrónico, igual siguen adelante con "
-"este porque creen en él. Ellos toman la postura de que cada nuevo proyecto "
-"les lleva a algo nuevo, cada nuevo recurso que crean abre nuevas puertas."
-
-#. 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 ""
-"Ártica depende fuertemente en su contenido licenciado de forma libre con "
-"Creative Commons para atraer nuevos estudiantes y clientes. Todo lo que "
-"crean—educación en línea, artículos para el blog, vídeos—está publicado bajo "
-"una licencia de Atribución-CompartirIgual (CC BY-SA). «Usamos una licencia "
-"CompartirIgual porque queremos dar la mayor libertad a nuestros estudiantes "
-"y lectores, y también queremos que esa libertad sea viral,» dijo Jorge. Para "
-"ellos, darle a otras personas el derecho a reusar y remezclar sus contenidos "
-"es un valor fundamental. «¿Cómo se puede ofrecer un servicio educacional en "
-"línea sin dar permiso para descargar, hacer y guardar copias, o imprimir los "
-"recursos educacionales?» dijo Jorge. «Si queremos hacer lo mejor para "
-"nuestros estudiantes—quienes confían en nosotros al punto de que están "
-"dispuestos a pagar en línea sin contacto cara a cara—tenemos que ofrecerles "
-"un acuerdo justo y ético.»"
-
-#. 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 ""
-"Ellos también creen que compartir sus ideas y experiencia de forma abierta "
-"les ayuda a construir su reputación y visibilidad. Las personas con "
-"frecuencia comparten y citan su trabajo. Hace unos pocos años, un editor "
-"incluso tomó uno de sus libros electrónicos y distribuyó copias impresas. "
-"Ártica ve la reutilización de su trabajo como una forma de abrirse a nuevas "
-"oportunidades para su negocio."
-
-#. 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 ""
-"Esta convicción de que la apertura crea nuevas oportunidades refleja otra "
-"convicción––en la serendipia. Cuando describen su proceso para crear "
-"contenido, ellos hablaron de todas las formas espontáneas y orgánicas en las "
-"que encuentran inspiración. «Algunas veces, el proceso colaborativo empieza "
-"con una conversación entre nosotros, o con amigos de otros proyectos,» dijo "
-"Jorge. «Esto puede ser el primer paso para un nuevo artículo para el blog, u "
-"otra pieza simple de contenido, la cual puede evolucionar en un producto más "
-"complejo en el futuro, como un curso o un libro.»"
-
-#. 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 ""
-"En lugar de planear su trabajo por adelantado, ellos dejan que su proceso "
-"creativo sea dinámico. «Esto no significa que no necesitamos trabajar duro "
-"para tener buenos resultados profesionales, sino que el proceso de diseño es "
-"más flexible,» dijo Jorge. Ellos comparten temprano y con frecuencia, y "
-"ajustan con base en lo que aprenden, siempre explorando y probando nuevas "
-"ideas y formas de operar. En muchas formas, para ellos, el proceso es tan "
-"importante como el producto final."
-
-#. 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 ""
-"Las personas y las relaciones también son así de importantes, a veces más. «"
-"En el negocio educacional y cultural, es más importante poner atención a las "
-"personas y al proceso, en lugar del contenido, formatos específicos o "
-"materiales,» dijo Mariana. «Los materiales y contenidos son fluidos. Lo "
-"importante son las relaciones.»"
-
-#. 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 ""
-"Ártica cree en el poder de la red. Ellos buscan hacer conexiones con "
-"personas e instituciones a través del mundo para poder aprender de estas y "
-"compartir sus conocimientos."
-
-#. 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 ""
-"En el centro de todo lo que Ártica hace están un conjunto de valores. «Un "
-"contenido bueno no es suficiente,» dijo Jorge. «Nosotros también pensamos "
-"que es muy importante defender algunas cosas en el sector cultural.» Mariana "
-"y Jorge son activistas. Ellos defienden la cultura libre (el movimiento que "
-"promueve la libertad para modificar y distribuir trabajos creativos) y "
-"trabajan para demostrar la intersección entre cultura libre y otros "
-"movimientos de justicia social. Sus esfuerzos para involucrar personas en su "
-"trabajo y posibilitar que artistas e instituciones culturales hagan un mejor "
-"uso de la tecnología están ligados muy de cerca con sus convicciones. Al "
-"final, lo que guía su trabajo es la misión de democratizar el arte y la "
-"cultura."
-
-#. 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 ""
-"Por supuesto, Ártica también ha hecho suficiente dinero para cobrar sus "
-"gastos. Los recursos humanos son, por mucho, su gasto más grande. Ellos "
-"aprovechan una red de colaboradores dependiendo de cada caso, y contratan "
-"para proyectos específicos. Cuando es posible, toman recursos artísticos y "
-"culturales del procomún, y utilizan software libre. Su operación es pequeña, "
-"eficiente y sostenible, y por esto, es un éxito."
-
-#. 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 ""
-"«Hay muchas personas ofreciendo cursos en línea,» dijo Jorge. «Pero es fácil "
-"diferenciarnos. Tenemos un enfoque que es muy específico y persona.» El "
-"modelo de Ártica está arraigado en lo personal en cada nivel. Para Mariana y "
-"Jorge, el éxito significa hacer lo que les trae sentido y propósito, y "
-"hacerlo de forma sostenible y colaborativa."
-
-#. 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 ""
-"En su trabajo con artistas más jóvenes, Mariana y Jorge tratan de hacer "
-"énfasis en que este modelo de éxito es tan valioso como la imagen de éxito "
-"que nos dan los medios. «Si ellos buscan solo el tipo tradicional de éxito, "
-"se van a frustrar,» dijo Mariana. «Tratamos de mostrarles otra imagen de "
-"cómo se ve.»"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2889
-msgid "<span id=\"anchor-71\"></span>Blender Institute"
-msgstr "<span id=\"anchor-71\"></span>Blender Institute"
-
-#. 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 ""
-"El Blender Institute es un estudio de animación que crea películas 3-D "
-"utilizando el software Blender. Fundado en 2006 en los Países Bajos."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2894
-msgid "www.blender.org"
-msgstr "www.blender.org"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2897
-msgid "Revenue model: crowdfunding (subscription-based), charging for physical copies, selling merchandise"
-msgstr ""
-"Modelo de ganancia: crowdfunding (basado en subscripción), cobrando por "
-"copias físicas, venta de mercancía"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2899
-msgid "Interview date: March 8, 2016"
-msgstr "Fecha de la entrevista: 8 de marzo, 2016"
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:2901
-msgid "Interviewee: Francesco Siddi, production coordinator"
-msgstr "Entrevistado: Francesco Siddi, coordinador de producción"
-
-#. 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 ""
-"Para Ton Rosendaal, el creador del programa Blender y sus entidades "
-"relacionadas, el compartir es algo práctico. Hacer su software de creación "
-"de contenido 3-D disponible bajo una licencia de software libre ha sido "
-"fundamental para su desarrollo y popularidad. El utilizar dicho software "
-"para crear películas licenciadas bajo Creative Commons impulsó su desarrollo "
-"aún más allá. Compartir permite que la gente participe, interactuar y "
-"construir la tecnología y contenido que crean de una forma que beneficia a "
-"Blender y a su comunidad de maneras concretas."
-
-#. 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 ""
-"Cada proyecto de película abierta que lleva a cabo Blender produce una "
-"cantidad de productos de licenciamiento libre, no únicamente la película "
-"misma, sino que también incluye a todo el material fuente. El proceso "
-"creativo también potencia el desarrollo de software Blender dado que el "
-"equipo técnico responde directamente a las necesidades del equipo de "
-"producción de la película, creando herramientas y características para hacer "
-"sus vidas más fáciles. Y, por supuesto, cada proyecto involucra un proceso "
-"largo y gratificatnte para las comunidades creativas y técnicas, trabajando "
-"en conjunto."
-
-#. 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 ""
-"En vez de únicamente hablar de los beneficios teóricos de compartir y de la "
-"cultura libre, a Ton le gusta más hacer cultura libre. El coordinador de "
-"producción de Blender, Francesco Siddi, nos dijo, ”Ton cree que si no haces "
-"contenido empleando tus propias herramientas, no estás haciendo nada.”"
-
-#. 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 ""
-"La historia de Blender comienza a fines de la década de los noventa, cuando "
-"Ton creó el programa Blender. Originalmente, este programa era un recurso "
-"interno para el uso de su estudio de animación basado en los Países Bajos. "
-"Los inversionistas se interesaron en el software, así que comenzó a "
-"ofrecerlo al público, ofreciendo una versión gratuita además de una de pago. "
-"Las ventas resultaron decepcionantes, y sus inversionistas se rindieron ante "
-"este esfuerzo a inicios de los años 2000. Logró un acuerdo con los "
-"inversionistas — Si podía juntar suficiente dinero, podría liberar a Blender "
-"bajo la Licencia Pública General GNU."
-
-#. 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 ""
-"Esto fue mucho antes de que Kickstarter y otros sitios en línea de "
-"crowdfunding existieran, pero Ton hizo su propia versión de una campaña de "
-"crowdfunding, y rápidamente consiguió el dinero necesario. El programa "
-"Blender se puso libremente a disposición de quien lo quisiera. Pero la "
-"simple aplicación de la Licencia Pública General al software no fue, sin "
-"embargo, suficiente para crear una comunidad vibrante que lo utilizara. "
-"Francesco nos dijo, ”software de esta complejidad depende en la gente, y en "
-"su visión de cómo la gente trabaja en conjunto. Ton es un fantástico "
-"constructor y gestor de comunidades, y puso muchísimo trabajo en crear una "
-"comunidad de desarrolladores para que el proyecto pudiera vivir.”"
-
-#. 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 ""
-"Como cualquier proyecto exitoso de software libre y de fuentes abiertas, "
-"Blender se desarrolló rápidamente pues la comunidad podía hacer correcciones "
-"y mejoras. ”El software debe ser libre y abierto para hackear,” dice "
-"Francesco. ”De otro modo, todos estarán repitiendo el mismo trabajo en la "
-"obscuridad por diez años.” Ton creó a la Fundación Blender para supervisar y "
-"administrar al desarrollo y mantenimiento de software."
-
-#. 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 ""
-"Después de algunos años, Ton comenzó a buscar nuevas maneras de impulsar el "
-"desarrollo del software. Se le ocurrió la idea de crear películas "
-"licenciadas bajo CC empleando el programa Blender. Ton hizo una convocatoria "
-"en línea a todos los artistas interesados y capaces. Francesco dice que la "
-"idea era conseguir los mejores artistas disponibles, ponerlos juntos en el "
-"mismo edificio que a los mejores desarrolladores, y hacer que trabajen "
-"juntos. De esta manera, no sólo producirían contenido de alta calidad con "
-"licenciamiento abierto, sino que al mismo tiempo también mejorarían al "
-"programa Blender."
-
-#. 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 ""
-"Utilizaron al crowdfunding para financiar los costos del proyecto. Tenían "
-"unas veinte personas trabajando a tiempo completo por entre seis y diez "
-"meses, por lo que los costos eran significativos. Dice Francesco que, cuando "
-"su campaña de crowdfunding resultó exitosa, la gente estaba asombrada. ”La "
-"idea de que hacer dinero produciendo material licenciado bajo CC fuera "
-"posible era alucinante para la gente”, dijo. ”Decían, 'Tengo que verlo para "
-"creerlo.'”"
-
-#. 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 ""
-"La primera película, liberada en 2006, fue un experimento. Fue tan exitosa "
-"que Ton decidió crear el Blender Institute, una entidad dedicada a hospedar "
-"proyectos de películas abiertas. El siguiente proyecto del Blender Institute "
-"resultó un éxito todavía mayor. La película, Big Buck Bunny, se viralizó, y "
-"sus caracteres animados fueron recogidos por vendedores."
-
-#. 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 ""
-"Francesco dice que, al paso del tiempo, los proyectos del Blender Institute "
-"se han hecho más grandes y prominentes. Eso significa que el proceso de "
-"creación de la película se volvió más complejo, combinando expertos técnicos "
-"y artistas que se enfocan en cómo se cuenta la historia. Francesco dice que "
-"el proceso es casi a escala industrial por el número de partes móviles. Esto "
-"requiere de mucha asistencia especializada, pero el Blender Institute no "
-"tiene problemas encontrando el talento que requiere para ayudar en los "
-"proyectos. ”Blender rara vez tiene que reclutar para los proyectos de "
-"películas porque el talento emerge naturalmente,” dice Francesco. ”Tanta "
-"gente quiere trabajar con nosotros, y no siempre podemos contratarlos por "
-"limitantes presupuestales.”"
-
-#. 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 ""
-"Blender ha tenido mucho éxito consiguiendo dinero de su comunidad a lo largo "
-"de los años. De muchas maneras, se ha vuelto más fácil hacer el discurso de "
-"ventas. No sólo el público está más familiarizado con el modelo de "
-"crowdfunding, la gente también conoce a Blender y confía en que entregarán "
-"lo que prometen. Ton ha desarrollado una reputación de líder efectivo de su "
-"comunidad y de visionario para su trabajo. ”Hay toda una comunidad que ve y "
-"comprende el beneficio de estos proyectos,” dice Francesco."
-
-#. 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 ""
-"Si bien los beneficios derivados de cada proyecto de película abierta son "
-"por sí solos un discurso de ventas efectivo para las campañas de "
-"crowdfunding, Francesco nos dijo que el Blender Institute ha encontrado "
-"limitaciones en el modelo estándar de crowdfunding, en el cual se propone un "
-"proyecto específico y se piden fondos para conseguirlo. ”Una vez que un "
-"proyecto termina, todos se van a casa,” dijo. ”Es muy divertido, pero "
-"entonces termina. Eso es un problema.”"
-
-#. 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 ""
-"Para hacer su trabajo más sustentable, necesitaban una manera de recibir "
-"apoyo continuo, no proyecto por proyecto. Su solución es Blender Cloud, un "
-"modelo de crowdfunding basado en subscripción, similar a la plataforma de "
-"crowdfunding en línea Patreon. Por unos diez euros al mes, los subscriptores "
-"reciben acceso para bajar todo lo que el Blender Institute produce — "
-"software, arte, materiales de enseñanza, y más. Todo este contenido es "
-"publicado bajo una licencia de atribución (CC BY) o puesto en el dominio "
-"público (CC0), pero inicialmente se ofrece únicamente a los subscriptores. "
-"Blender Cloud posibilita a los subscriptores a seguir los proyectos de "
-"películas Blender conforme se desarrollan, compartiendo información "
-"detallada y el contenido utilizado en el proceso creativo. Blender Cloud "
-"también tiene amplios materiales didácticos y bibliotecas de caracteres y "
-"otros materiales utilizados en varios proyectos."
-
-#. 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 ""
-"El apoyo financiero continuo que provee Blender Cloud cubre el costo de "
-"entre cinco y seis empleados de tiempo completo en Blender Institute. "
-"Francesco dice que su objetivo es ampliar su base de subscriptores. ”Esta es "
-"nuesra libertad,” nos dice, ”y para los artistas, la libertad lo es todo.”"
-
-#. 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 ""
-"Blender Cloud es el principal flujo de ingresos para Blender Institute. La "
-"Blender Foundation obtiene sus fondos principalmente por donaciones, y ese "
-"dinero se utiliza en desarrollo y mantenimiento de software. Los flujos de "
-"ingresos del Blender Institute y la Blender Foundation son mantenidos "
-"deliberadamente separados. Blender tiene otros canales de ingresos, como la "
-"Tienda Blender, donde la gente puede comprar DVDs, camisas, y otros "
-"productos Blender."
-
-#. 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 ""
-"Ton ha trabajado en proyectos relacionados con su programa Blender por cerca "
-"de veinte años. Durante la mayor parte de este tiempo, ha estado "
-"comprometido a hacer del software y contenido producido por éste libre y "
-"abierto. Vender una licencia nunca fue parte de su modelo de negocios."
-
-#. 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 ""
-"Desde 2006, ha liberado tanto las peliculas como todo su material fuente. "
-"Dice que prácticamente nunca ha visto que terceras personas se pongan los "
-"zapatos de Blender e intenten hacer dinero con su contenido. Ton cree que "
-"esto se debe a que el verdadero valor de lo que hacen está en el proceso de "
-"creación y producción. ”Incluso si tienes que compartirlo todo, todas tus "
-"fuentes originale,s aún así requiere mucho talento, capacidades, tiempo y "
-"presupuesto reproducir lo que hiciste”, dijo Ton."
-
-#. type: Plain text
-#: MadewithCreativeCommonsmostup-to-dateversion.md:3043
-msgid "For Ton and Blender, it all comes back to doing."
-msgstr "Para Ton y Blender, a fin de cuentas todo se trata de hacer."
-
-#. 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 ""
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-#. 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."
projects / text-madewithcc.git / blobdiff