| Â | --\begin{flushright}
+
+ Wir empfehlen zwar, das Buch von Anfang bis Ende zu lesen, aber die
+einzelnen Abschnitte lassen sich mehr oder weniger unabhängig voneinander
+lesen. Das Buch ist in zwei Hauptteile gegliedert.
+
+ Der erste Teil, der Ãberblick, beginnt mit einem von Paul verfassten
+Rahmenwerk für das groÃe Ganze. Er liefert einen historischen Kontext für
+die digitalen Gemeingüter und beschreibt die drei Arten, wie die
+Gesellschaft Ressourcen verwaltet und Wohlstand geteilt hat - die
+Gemeingüter, der Markt und der Staat. Er plädiert für ein Denken jenseits
+von Geschäfts- und Marktbegriffen und plädiert wortgewandt für die
+gemeinsame Nutzung und Erweiterung der digitalen Allmende.
+
+ Der Ãberblick wird mit Sarahs Kapitel fortgesetzt, in dem sie darüber
+nachdenkt, was es bedeutet, mit Creative Commons erfolgreich zu sein. Das
+Geldverdienen ist zwar ein Teil des Kuchens, aber es gibt auch eine Reihe
+von Werten, die der Ãffentlichkeit dienen, und die Art von menschlichen
+Verbindungen, die das Teilen wirklich sinnvoll machen. In diesem Abschnitt
+wird dargelegt, wie die von uns befragten Urheber, Organisationen und
+Unternehmen Einnahmen erzielen, wie sie das öffentliche Interesse fördern
+und ihre Werte leben und wie sie die Beziehungen zu den Menschen, mit denen
+sie teilen, pflegen.
+
+ Und zum Abschluss des ersten Teils gibt es einen kurzen Abschnitt, in dem
+die verschiedenen Creative-Commons-Lizenzen erklärt werden. Wir sprechen
+über das Missverständnis, dass die restriktiveren Lizenzen - die, welche dem
+Modell des traditionellen Urheberrechts mit allen Rechten am nächsten kommen
+- die einzigen Möglichkeiten sind, Geld zu verdienen.
+
+ Der zweite Teil des Buches besteht aus den vierundzwanzig Geschichten der
+Künstler, Unternehmen und Organisationen, die wir interviewt haben. Während
+wir beide an den Interviews teilnahmen, haben wir uns das Schreiben dieser
+Profile aufgeteilt.
+
+ Natürlich stellen wir das Buch gerne unter einer Creative Commons
+Attribution-ShareAlike-Lizenz zur Verfügung. Bitte kopieren, verbreiten,
+übersetzen, lokalisieren und bauen Sie auf diesem Werk auf.
+
+ Das Schreiben dieses Buches hat uns verändert und inspiriert. Die Art und
+Weise, wie wir nun betrachten und darüber nachdenken, was es bedeutet, mit
+Creative Commons gemacht zu sein, hat sich unwiderruflich verändert. Wir
+hoffen, dass dieses Buch Sie und Ihr Unternehmen dazu inspiriert, Creative
+Commons zu nutzen und so zur Verbesserung unserer Wirtschaft und Welt
+beizutragen.
+ | Â | | Â | | Â | --\begin{flushright}
+ \textit{ Paul und Sarah }
+ \end{flushright} |
Teil I. Das groÃe GanzeKapitel 1. Die neue Welt der Digital Commons (deutsch gern: digitale Allmende)|  | |  | |  | --\begin{flushright}
\textit{ Paul Stacey}
\end{flushright} |
- Jonathan Rowe eloquently describes the commons as âthe air and oceans,
-the web of species, wilderness and flowing waterâall are parts of the
-commons. So are language and knowledge, sidewalks and public squares, the
-stories of childhood and the processes of democracy. Some parts of the
-commons are gifts of nature, others the product of human endeavor. Some are
-new, such as the Internet; others are as ancient as soil and
-calligraphy.â
-
- In Made with Creative Commons, we focus on our current era of digital
-commons, a commons of human-produced works. This commons cuts across a broad
-range of areas including cultural heritage, education, research, technology,
-art, design, literature, entertainment, business, and data. Human-produced
-works in all these areas are increasingly digital. The Internet is a kind of
-global, digital commons. The individuals, organizations, and businesses we
-profile in our case studies use Creative Commons to share their resources
-online over the Internet.
-
- The commons is not just about shared resources, however. Itâs also about the
-social practices and values that manage them. A resource is a noun, but to
-commonâto put the resource into the commonsâis a verb. The creators, organizations, and businesses we
-profile are all engaged with commoning. Their use of Creative Commons
-involves them in the social practice of commoning, managing resources in a
-collective manner with a community of users. Commoning is guided by a set of values and norms that balance the
-costs and benefits of the enterprise with those of the community. Special
-regard is given to equitable access, use, and sustainability.
- The Commons, the Market, and the State
- Historically, there have been three ways to manage resources and share
-wealth: the commons (managed collectively), the state (i.e., the
-government), and the marketâwith the last two being the dominant forms
-today.
-
- The organizations and businesses in our case studies are unique in the way
+ Jonathan Rowe beschreibt die Allmende sehr treffend als â. Die Luft
+und die Ozeane, das Netz der Arten, die Wildnis und das flieÃende Wasser -
+all das sind Teile der Allmende. Das Gleiche gilt für Sprache und Wissen,
+Bürgersteige und öffentliche Plätze, die Geschichten der Kindheit und die
+Prozesse der Demokratie. Einige Teile der Gemeingüter sind ein Geschenk der
+Natur, andere sind das Produkt menschlicher Bemühungen. Einige sind neu, wie
+das Internet, andere sind so alt wie die Erde und die
+Kalligraphie.â
+
+ In Made with Creative Commons konzentrieren wir uns auf unsere gegenwärtige
+Ãra der digitalen Allmende, eine Allmende der von Menschen produzierten
+Werke. Dieses Gemeingut erstreckt sich über ein breites Spektrum von
+Bereichen wie Kulturerbe, Bildung, Forschung, Technologie, Kunst, Design,
+Literatur, Unterhaltung, Wirtschaft und Daten. Die von Menschen geschaffenen
+Werke in all diesen Bereichen sind zunehmend digital. Das Internet ist eine
+Art globales, digitales Gemeingut. Die Einzelpersonen, Organisationen und
+Unternehmen, die wir in unseren Fallstudien vorstellen, nutzen Creative
+Commons, um ihre Ressourcen online über das Internet zu teilen.
+
+ Bei den Gemeingütern geht es jedoch nicht nur um gemeinsam genutzte
+Ressourcen. Es geht auch um die sozialen Praktiken und Werte, die sie
+verwalten. Eine Ressource ist ein Substantiv, aber "commons" - die Ressource
+in die Allmende zu bringen - ist ein Verb. Die Urheber, Organisationen und Unternehmen, die wir in unserem
+Profil vorstellen, sind alle mit dem Commoning beschäftigt. Durch die
+Nutzung von Creative Commons sind sie in die soziale Praxis des Commoning
+eingebunden, d. h. sie verwalten die Ressourcen gemeinsam mit einer
+Gemeinschaft von Nutzern. Commoning
+wird von einer Reihe von Werten und Normen geleitet, die die Kosten und
+Vorteile des Unternehmens mit denen der Gemeinschaft in Einklang
+bringen. Besonderes Augenmerk gilt dabei dem gerechten Zugang, der Nutzung
+und der Nachhaltigkeit.
+ Die Allmende, der Markt und der Staat
+ Historisch gesehen gab es drei Möglichkeiten, Ressourcen zu verwalten und
+Reichtum zu teilen: die Allmende (kollektiv verwaltet), der Staat (also die
+Regierung) und der Markt - wobei die letzten beiden heute die dominierenden
+Formen darstellen.
+
+ The organizations and businesses in our case studies are unique in the way
they participate in the commons while still engaging with the market and/or
state. The extent of engagement with market or state varies. Some operate
primarily as a commons with minimal or no reliance on the market or
@@ -284,12 +318,12 @@ state. The Four Aspects of a Resource
- As part of her Nobel Prizeâwinning work, Elinor Ostrom developed a framework
+ The Four Aspects of a Resource
+ As part of her Nobel Prizeâwinning work, Elinor Ostrom developed a framework
for analyzing how natural resources are managed in a commons. Her framework considered things like the
biophysical characteristics of common resources, the communityâs actors and
the interactions that take place between them, rules-in-use, and
outcomes. That framework has been simplified and generalized to apply to the
commons, the market, and the state for this chapter.
-
- To compare and contrast the ways in which the commons, market, and state
+
+ To compare and contrast the ways in which the commons, market, and state
work, letâs consider four aspects of resource management: resource
characteristics, the people involved and the process they use, the norms and
rules they develop to govern use, and finally actual resource use along with
outcomes of that use (see Fig. 1.2).
-
- Resources have particular characteristics or attributes that affect the way
+
+ Resources have particular characteristics or attributes that affect the way
they can be used. Some resources are natural; others are human
produced. Andâsignificantly for todayâs commonsâresources can be physical or
digital, which affects a resourceâs inherent potential.
-
- Physical resources exist in limited supply. If I have a physical resource
+
+ Physical resources exist in limited supply. If I have a physical resource
and give it to you, I no longer have it. When a resource is removed and
used, the supply becomes scarce or depleted. Scarcity can result in
competing rivalry for the resource. Made with Creative Commons enterprises
are usually digitally based but some of our case studies also produce
resources in physical form. The costs of producing and distributing a
physical good usually require them to engage with the market.
-
- Physical resources are depletable, exclusive, and rivalrous. Digital
+
+ Physical resources are depletable, exclusive, and rivalrous. Digital
resources, on the other hand, are nondepletable, nonexclusive, and
nonrivalrous. If I share a digital resource with you, we both have the
resource. Giving it to you does not mean I no longer have it. Digital
resources can be infinitely stored, copied, and distributed without becoming
depleted, and at close to zero cost. Abundance rather than scarcity is an
inherent characteristic of digital resources.
-
- The nondepletable, nonexclusive, and nonrivalrous nature of digital
+
+ The nondepletable, nonexclusive, and nonrivalrous nature of digital
resources means the rules and norms for managing them can (and ought to) be
different from how physical resources are managed. However, this is not
-always the case. Digital resources are frequently made artificially
-scarce. Placing digital resources in the commons makes them free and
+always the case. Digital resources are frequently made artificially
+scarce. Placing digital resources in the commons makes them free and
abundant.
-
- Our case studies frequently manage hybrid resources, which start out as
+
+ Our case studies frequently manage hybrid resources, which start out as
digital with the possibility of being made into a physical resource. The
digital file of a book can be printed on paper and made into a physical
book. A computer-rendered design for furniture can be physically
-manufactured in wood. This conversion from digital to physical invariably
-has costs. Often the digital resources are managed in a free and open way,
+manufactured in wood. This conversion from digital to physical invariably
+has costs. Often the digital resources are managed in a free and open way,
but money is charged to convert a digital resource into a physical one.
-
- Beyond this idea of physical versus digital, the commons, market, and state
+
+ Beyond this idea of physical versus digital, the commons, market, and state
conceive of resources differently (see Fig. 1.3). The market sees resources as private goodsâcommodities
-for saleâfrom which value is extracted. The state sees resources as public
+for saleâfrom which value is extracted. The state sees resources as public
goods that provide value to state citizens. The commons sees resources as
common goods, providing a common wealth extending beyond state boundaries,
to be passed on in undiminished or enhanced form to future generations.
-
- In the commons, the market, and the state, different people and processes
+
+ In the commons, the market, and the state, different people and processes
are used to manage resources. The processes used define both who has a say
and how a resource is managed.
-
- In the state, a government of elected officials is responsible for managing
-resources on behalf of the public. The citizens who produce and use those
+
+ In the state, a government of elected officials is responsible for managing
+resources on behalf of the public. The citizens who produce and use those
resources are not directly involved; instead, that responsibility is given
-over to the government. State ministries and departments staffed with
-public servants set budgets, implement programs, and manage resources based
-on government priorities and procedures.
-
- In the market, the people involved are producers, buyers, sellers, and
+over to the government. State ministries and departments staffed with public
+servants set budgets, implement programs, and manage resources based on
+government priorities and procedures.
+
+ In the market, the people involved are producers, buyers, sellers, and
consumers. Businesses act as intermediaries between those who produce
resources and those who consume or use them. Market processes seek to
extract as much monetary value from resources as possible. In the market,
resources are managed as commodities, frequently mass-produced, and sold to
consumers on the basis of a cash transaction.
-
- In contrast to the state and market, resources in a commons are managed more
+
+ In contrast to the state and market, resources in a commons are managed more
directly by the people involved.
Creators of human produced resources can put them in the commons by personal
choice. No permission from state or market is required. Anyone can
participate in the commons and determine for themselves the extent to which
-they want to be involvedâas a contributor, user, or manager. The people
+they want to be involvedâas a contributor, user, or manager. The people
involved include not only those who create and use resources but those
affected by outcome of use. Who you are affects your say, actions you can
take, and extent of decision making. In the commons, the community as a
-whole manages the resources. Resources put into the commons using Creative
+whole manages the resources. Resources put into the commons using Creative
Commons require users to give the original creator credit. Knowing the
person behind a resource makes the commons less anonymous and more personal.
-
- The social interactions between people, and the processes used by the state,
+
+ The social interactions between people, and the processes used by the state,
market, and commons, evolve social norms and rules. These norms and rules
define permissions, allocate entitlements, and resolve disputes.
-
- State authority is governed by national constitutions. Norms related to
+
+ State authority is governed by national constitutions. Norms related to
priorities and decision making are defined by elected officials and
parliamentary procedures. State rules are expressed through policies,
regulations, and laws. The state influences the norms and rules of the
market and commons through the rules it passes.
-
- Market norms are influenced by economics and competition for scarce
+
+ Market norms are influenced by economics and competition for scarce
resources. Market rules follow property, business, and financial laws
defined by the state.
-
- As with the market, a commons can be influenced by state policies,
+
+ As with the market, a commons can be influenced by state policies,
regulations, and laws. But the norms and rules of a commons are largely
defined by the community. They weigh individual costs and benefits against
the costs and benefits to the whole community. Consideration is given not
just to economic efficiency but also to equity and
sustainability.
-
- The combination of the aspects weâve discussed so farâthe resourceâs
+
+ The combination of the aspects weâve discussed so farâthe resourceâs
inherent characteristics, people and processes, and norms and rulesâshape
how resources are used. Use is also influenced by the different goals the
state, market, and commons have.
-
- In the market, the focus is on maximizing the utility of a resource. What we
+
+ In the market, the focus is on maximizing the utility of a resource. What we
pay for the goods we consume is seen as an objective measure of the utility
they provide. The goal then becomes maximizing total monetary value in the
economy. Units consumed translates to
sales, revenue, profit, and growth, and these are all ways to measure goals
of the market.
-
- The state aims to use and manage resources in a way that balances the
+
+ The state aims to use and manage resources in a way that balances the
economy with the social and cultural needs of its citizens. Health care,
education, jobs, the environment, transportation, security, heritage, and
justice are all facets of a healthy society, and the state applies its
resources toward these aims. State goals are reflected in quality of life
measures.
-
- In the commons, the goal is maximizing access, equity, distribution,
+
+ In the commons, the goal is maximizing access, equity, distribution,
participation, innovation, and sustainability. You can measure success by
looking at how many people access and use a resource; how users are
distributed across gender, income, and location; if a community to extend
and enhance the resources is being formed; and if the resources are being
used in innovative ways for personal and social good.
-
- As hybrid combinations of the commons with the market or state, the success
+
+ As hybrid combinations of the commons with the market or state, the success
and sustainability of all our case study enterprises depends on their
ability to strategically utilize and balance these different aspects of
managing resources.
- A Short History of the Commons
- Using the commons to manage resources is part of a long historical
+ A Short History of the Commons
+ Using the commons to manage resources is part of a long historical
continuum. However, in contemporary society, the market and the state
dominate the discourse on how resources are best managed. Rarely is the
commons even considered as an option. The commons has largely disappeared
from consciousness and consideration. There are no news reports or speeches
about the commons.
-
- But the more than 1.1 billion resources licensed with Creative Commons
+
+ But the more than 1.1 billion resources licensed with Creative Commons
around the world are indications of a grassroots move toward the
commons. The commons is making a resurgence. To understand the resilience of
the commons and its current renewal, itâs helpful to know something of its
history.
-
- For centuries, indigenous people and preindustrialized societies managed
+
+ For centuries, indigenous people and preindustrialized societies managed
resources, including water, food, firewood, irrigation, fish, wild game, and
many other things collectively as a commons. There was no market, no global economy. The state in the form of
rulers influenced the commons but by no means controlled it. Direct social
participation in a commons was the primary way in which resources were
-managed and needs met. (Fig. 1.4
-illustrates the commons in relation to the state and the market.)
-
- This is followed by a long history of the state (a monarchy or ruler) taking
+managed and needs met. (Fig. 1.4 illustrates the commons in relation to the state and the
+market.)
+
+ This is followed by a long history of the state (a monarchy or ruler) taking
over the commons for their own purposes. This is called enclosure of the
commons. In olden days,
âcommonersâ were evicted from the land, fences and hedges
erected, laws passed, and security set up to forbid access. Gradually, resources became the property of the
state and the state became the primary means by which resources were
managed. (See Fig. 1.5).
-
- Holdings of land, water, and game were distributed to ruling family and
+
+ Holdings of land, water, and game were distributed to ruling family and
political appointees. Commoners displaced from the land migrated to
cities. With the emergence of the industrial revolution, land and resources
became commodities sold to businesses to support production. Monarchies
@@ -496,35 +530,35 @@ were revised by governments to support markets, growth, and
productivity. Over time ready access to market produced goods resulted in a
rising standard of living, improved health, and education. Fig. 1.6 shows how today the market is the
primary means by which resources are managed.
-
- However, the world today is going through turbulent times. The benefits of
+
+ However, the world today is going through turbulent times. The benefits of
the market have been offset by unequal distribution and overexploitation.
-
- Overexploitation was the topic of Garrett Hardinâs influential essay
+
+ Overexploitation was the topic of Garrett Hardinâs influential essay
âThe Tragedy of the Commons,â published in Science in
1968. Hardin argues that everyone in a commons seeks to maximize personal
gain and will continue to do so even when the limits of the commons are
reached. The commons is then tragically depleted to the point where it can
no longer support anyone. Hardinâs essay became widely accepted as an
economic truism and a justification for private property and free markets.
-
- However, there is one serious flaw with Hardinâs âThe Tragedy of the
+
+ However, there is one serious flaw with Hardinâs âThe Tragedy of the
Commonsââitâs fiction. Hardin did not actually study how real commons
work. Elinor Ostrom won the 2009 Nobel Prize in economics for her work
studying different commons all around the world. Ostromâs work shows that
natural resource commons can be successfully managed by local communities
-without any regulation by central authorities or without privatization.
-Government and privatization are not the only two choices. There is a third
-way: management by the people, where those that are directly impacted are
-directly involved. With natural resources, there is a regional locality. The
-people in the region are the most familiar with the natural resource, have
-the most direct relationship and history with it, and are therefore best
-situated to manage it. Ostromâs approach to the governance of natural
-resources broke with convention; she recognized the importance of the
-commons as an alternative to the market or state for solving problems of
-collective action.
-
- Hardin failed to consider the actual social dynamic of the commons. His
+without any regulation by central authorities or without
+privatization. Government and privatization are not the only two
+choices. There is a third way: management by the people, where those that
+are directly impacted are directly involved. With natural resources, there
+is a regional locality. The people in the region are the most familiar with
+the natural resource, have the most direct relationship and history with it,
+and are therefore best situated to manage it. Ostromâs approach to the
+governance of natural resources broke with convention; she recognized the
+importance of the commons as an alternative to the market or state for
+solving problems of collective action.
+
+ Hardin failed to consider the actual social dynamic of the commons. His
model assumed that people in the commons act autonomously, out of pure
self-interest, without interaction or consideration of others. But as Ostrom
found, in reality, managing common resources together forms a community and
@@ -532,8 +566,8 @@ encourages discourse. This naturally generates norms and rules that help
people work collectively and ensure a sustainable commons. Paradoxically,
while Hardinâs essay is called The Tragedy of the Commons it might more
accurately be titled The Tragedy of the Market.
-
- Hardinâs story is based on the premise of depletable resources. Economists
+
+ Hardinâs story is based on the premise of depletable resources. Economists
have focused almost exclusively on scarcity-based markets. Very little is
known about how abundance works. The
emergence of information technology and the Internet has led to an explosion
@@ -542,31 +576,31 @@ resources can never be depleted. An absence of a theory or model for how
abundance works, however, has led the market to make digital resources
artificially scarce and makes it possible for the usual market norms and
rules to be applied.
-
- When it comes to use of state funds to create digital goods, however, there
+
+ When it comes to use of state funds to create digital goods, however, there
is really no justification for artificial scarcity. The norm for state
funded digital works should be that they are freely and openly available to
the public that paid for them.
-
- In the early days of computing, programmers and developers learned from each
+
+ In the early days of computing, programmers and developers learned from each
other by sharing software. In the 1980s, the free-software movement codified
this practice of sharing into a set of principles and freedoms:
-
- The freedom to run a software program as you wish, for any purpose.
-
- The freedom to study how a software program works (because access to the
+
+ The freedom to run a software program as you wish, for any purpose.
+
+ The freedom to study how a software program works (because access to the
source code has been freely given), and change it so it does your computing
as you wish.
-
- The freedom to redistribute copies.
-
- The freedom to distribute copies of your modified versions to
+
+ The freedom to redistribute copies.
+
+ The freedom to distribute copies of your modified versions to
others.
-
- These principles and freedoms constitute a set of norms and rules that
+
+ These principles and freedoms constitute a set of norms and rules that
typify a digital commons.
-
- In the late 1990s, to make the sharing of source code and collaboration more
+
+ In the late 1990s, to make the sharing of source code and collaboration more
appealing to companies, the open-source-software initiative converted these
principles into licenses and standards for managing access to and
distribution of software. The benefits of open sourceâsuch as reliability,
@@ -577,8 +611,8 @@ open-source software also generated a network effect where the value of a
product or service increases with the number of people using it. The dramatic growth of the Internet itself owes
much to the fact that nobody has a proprietary lock on core Internet
protocols.
-
- While open-source software functions as a commons, many businesses and
+
+ While open-source software functions as a commons, many businesses and
markets did build up around it. Business models based on the licenses and
standards of open-source software evolved alongside organizations that
managed software code on principles of abundance rather than scarcity. Eric
@@ -586,8 +620,8 @@ Raymondâs essay âThe Magic Cauldron<
analyzing the economics and business models associated with open-source
software. These models can provide
examples of sustainable approaches for those Made with Creative Commons.
-
- It isnât just about an abundant availability of digital assets but also
+
+ It isnât just about an abundant availability of digital assets but also
about abundance of participation. The growth of personal computing,
information technology, and the Internet made it possible for mass
participation in producing creative works and distributing them. Photos,
@@ -597,21 +631,21 @@ abundance, by default these digital works are governed by copyright
laws. Under copyright, a digital work is the property of the creator, and by
law others are excluded from accessing and using it without the creatorâs
permission.
-
- But people like to share. One of the ways we define ourselves is by sharing
+
+ But people like to share. One of the ways we define ourselves is by sharing
valuable and entertaining content. Doing so grows and nourishes
relationships, seeks to change opinions, encourages action, and informs
others about who we are and what we care about. Sharing lets us feel more
involved with the world.
- Die Anfang von Creative Commons
- In 2001, Creative Commons was created as a nonprofit to support all those
+ Die Anfang von Creative Commons
+ In 2001, Creative Commons was created as a nonprofit to support all those
who wanted to share digital content. A suite of Creative Commons licenses
was modeled on those of open-source software but for use with digital
content rather than software code. The licenses give everyone from
individual creators to large companies and institutions a simple,
standardized way to grant copyright permissions to their creative work.
-
- Creative Commons licenses have a three-layer design. The norms and rules of
+
+ Creative Commons licenses have a three-layer design. The norms and rules of
each license are first expressed in full legal language as used by
lawyers. This layer is called the legal code. But since most creators and
users are not lawyers, the licenses also have a commons deed, expressing the
@@ -623,22 +657,22 @@ a way that software systems, search engines, and other kinds of technology
can understand. Taken together, these
three layers ensure creators, users, and even the Web itself understand the
norms and rules associated with digital content in a commons.
-
- In 2015, there were over one billion Creative Commons licensed works in a
+
+ In 2015, there were over one billion Creative Commons licensed works in a
global commons. These works were viewed online 136 billion times. People are
using Creative Commons licenses all around the world, in thirty-four
languages. These resources include photos, artwork, research articles in
journals, educational resources, music and other audio tracks, and videos.
-
- Individual artists, photographers, musicians, and filmmakers use Creative
+
+ Individual artists, photographers, musicians, and filmmakers use Creative
Commons, but so do museums, governments, creative industries, manufacturers,
and publishers. Millions of websites use CC licenses, including major
platforms like Wikipedia and Flickr and smaller ones like blogs. Users of Creative Commons are diverse and cut
across many different sectors. (Our case studies were chosen to reflect that
diversity.)
-
- Some see Creative Commons as a way to share a gift with others, a way of
-getting known, or a way to provide social benefit. Others are simply
+
+ Some see Creative Commons as a way to share a gift with others, a way of
+getting known, or a way to provide social benefit. Others are simply
committed to the norms associated with a commons. And for some,
participation has been spurred by the free-culture movement, a social
movement that promotes the freedom to distribute and modify creative
@@ -646,42 +680,42 @@ works. The free-culture movement sees a commons as providing significant
benefits compared to restrictive copyright laws. This ethos of free exchange
in a commons aligns the free-culture movement with the free and open-source
software movement.
-
- Over time, Creative Commons has spawned a range of open movements, including
+
+ Over time, Creative Commons has spawned a range of open movements, including
open educational resources, open access, open science, and open data. The
goal in every case has been to democratize participation and share digital
resources at no cost, with legal permissions for anyone to freely access,
use, and modify.
-
- The state is increasingly involved in supporting open movements. The Open
+
+ The state is increasingly involved in supporting open movements. The Open
Government Partnership was launched in 2011 to provide an international
platform for governments to become more open, accountable, and responsive to
-citizens. Since then, it has grown from eight participating countries to
+citizens. Since then, it has grown from eight participating countries to
seventy. In all these countries,
government and civil society are working together to develop and implement
ambitious open-government reforms. Governments are increasingly adopting
Creative Commons to ensure works funded with taxpayer dollars are open and
free to the public that paid for them.
-
- Todayâs market is largely driven by global capitalism. Law and financial
+
+ Todayâs market is largely driven by global capitalism. Law and financial
systems are structured to support extraction, privatization, and corporate
growth. A perception that the market is more efficient than the state has
led to continual privatization of many public natural resources, utilities,
services, and infrastructures. While
this system has been highly efficient at generating consumerism and the
growth of gross domestic product, the impact on human well-being has been
-mixed. Offsetting rising living standards and improvements to health and
+mixed. Offsetting rising living standards and improvements to health and
education are ever-increasing wealth inequality, social inequality, poverty,
deterioration of our natural environment, and breakdowns of
democracy.
-
- In light of these challenges there is a growing recognition that GDP growth
+
+ In light of these challenges there is a growing recognition that GDP growth
should not be an end in itself, that development needs to be socially and
economically inclusive, that environmental sustainability is a requirement
not an option, and that we need to better balance the market, state and
community.
-
- These realizations have led to a resurgence of interest in the commons as a
+
+ These realizations have led to a resurgence of interest in the commons as a
means of enabling that balance. City governments like Bologna, Italy, are
collaborating with their citizens to put in place regulations for the care
and regeneration of urban commons.
@@ -689,8 +723,8 @@ Seoul and Amsterdam call themselves âs
to make sustainable and more efficient use of scarce resources. They see
sharing as a way to improve the use of public spaces, mobility, social
cohesion, and safety.
-
- The market itself has taken an interest in the sharing economy, with
+
+ The market itself has taken an interest in the sharing economy, with
businesses like Airbnb providing a peer-to-peer marketplace for short-term
lodging and Uber providing a platform for ride sharing. However, Airbnb and
Uber are still largely operating under the usual norms and rules of the
@@ -705,18 +739,18 @@ sharing economy and the commons make better use of asset capacity. The
sharing economy sees personal residents and cars as having latent spare
capacity with rental value. The equitable access of the commons broadens and
diversifies the number of people who can use and derive value from an asset.
-
- One way Made with Creative Commons case studies differ from those of the
+
+ One way Made with Creative Commons case studies differ from those of the
sharing economy is their focus on digital resources. Digital resources
function under different economic rules than physical ones. In a world where
-prices always seem to go up, information technology is an
-anomaly. Computer-processing power, storage, and bandwidth are all rapidly
+prices always seem to go up, information technology is an anomaly.
+Computer-processing power, storage, and bandwidth are all rapidly
increasing, but rather than costs going up, costs are coming down. Digital
technologies are getting faster, better, and cheaper. The cost of anything
built on these technologies will always go down until it is close to
zero.
-
- Those that are Made with Creative Commons are looking to leverage the unique
+
+ Those that are Made with Creative Commons are looking to leverage the unique
inherent characteristics of digital resources, including lowering costs. The
use of digital-rights-management technologies in the form of locks,
passwords, and controls to prevent digital goods from being accessed,
@@ -724,22 +758,22 @@ changed, replicated, and distributed is minimal or nonexistent. Instead,
Creative Commons licenses are used to put digital content out in the
commons, taking advantage of the unique economics associated with being
digital. The aim is to see digital resources used as widely and by as many
-people as possible. Maximizing access and participation is a common goal.
-They aim for abundance over scarcity.
-
- The incremental cost of storing, copying, and distributing digital goods is
+people as possible. Maximizing access and participation is a common
+goal. They aim for abundance over scarcity.
+
+ The incremental cost of storing, copying, and distributing digital goods is
next to zero, making abundance possible. But imagining a market based on
abundance rather than scarcity is so alien to the way we conceive of
economic theory and practice that we struggle to do so. Those that are Made with Creative Commons are each
pioneering in this new landscape, devising their own economic models and
practice.
-
- Some are looking to minimize their interactions with the market and operate
+
+ Some are looking to minimize their interactions with the market and operate
as autonomously as possible. Others are operating largely as a business
within the existing rules and norms of the market. And still others are
looking to change the norms and rules by which the market operates.
-
- For an ordinary corporation, making social benefit a part of its operations
+
+ For an ordinary corporation, making social benefit a part of its operations
is difficult, as itâs legally required to make decisions that financially
benefit stockholders. But new forms of business are emerging. There are
benefit corporations and social enterprises, which broaden their business
@@ -747,16 +781,16 @@ goals from making a profit to making a positive impact on society, workers,
the community, and the environment.
Community-owned businesses, worker-owned businesses, cooperatives, guilds,
and other organizational forms offer alternatives to the traditional
-corporation. Collectively, these alternative market entities are changing
+corporation. Collectively, these alternative market entities are changing
the rules and norms of the market.
- âA book on open business modelsâ is how we described it in this
+ âA book on open business modelsâ is how we described it in this
bookâs Kickstarter campaign. We used a handbook called Business Model
Generation as our reference for defining just what a business model
is. Developed over nine years using an âopen processâ involving
470 coauthors from forty-five countries, it is useful as a framework for
talking about business models.
-
- It contains a âbusiness model canvas,â which conceives of a
+
+ It contains a âbusiness model canvas,â which conceives of a
business model as having nine building blocks. This blank canvas can serve as a tool for anyone to design their
own business model. We remixed this business model canvas into an open
business model canvas, adding three more building blocks relevant to hybrid
@@ -765,19 +799,19 @@ market, commons enterprises: social good, Creative Commons license, and
in.â This enhanced canvas proved
useful when we analyzed businesses and helped start-ups plan their economic
model.
-
- In our case study interviews, many expressed discomfort over describing
+
+ In our case study interviews, many expressed discomfort over describing
themselves as an open business modelâthe term business model suggested
-primarily being situated in the market. Where you sit on the
+primarily being situated in the market. Where you sit on the
commons-to-market spectrum affects the extent to which you see yourself as a
-business in the market. The more central to the mission shared resources
-and commons values are, the less comfort there is in describing yourself, or
-depicting what you do, as a business. Not all who have endeavors Made with
+business in the market. The more central to the mission shared resources and
+commons values are, the less comfort there is in describing yourself, or
+depicting what you do, as a business. Not all who have endeavors Made with
Creative Commons use business speak; for some the process has been
experimental, emergent, and organic rather than carefully planned using a
predefined model.
-
- The creators, businesses, and organizations we profile all engage with the
+
+ The creators, businesses, and organizations we profile all engage with the
market to generate revenue in some way. The ways in which this is done vary
widely. Donations, pay what you can, memberships, âdigital for free
but physical for a fee,â crowdfunding, matchmaking, value-add
@@ -786,19 +820,19 @@ to earn revenue available through reference note. For latest thinking see
How to Bring In Money in the next section.) There is no single magic bullet, and each endeavor has devised ways
that work for them. Most make use of more than one way. Diversifying revenue
streams lowers risk and provides multiple paths to sustainability.
- Benefits of the Digital Commons
- While it may be clear why commons-based organizations want to interact and
+ Benefits of the Digital Commons
+ While it may be clear why commons-based organizations want to interact and
engage with the market (they need money to survive), it may be less obvious
why the market would engage with the commons. The digital commons offers
many benefits.
-
- The commons speeds dissemination. The free flow of resources in the commons
-offers tremendous economies of scale. Distribution is decentralized, with
+
+ The commons speeds dissemination. The free flow of resources in the commons
+offers tremendous economies of scale. Distribution is decentralized, with
all those in the commons empowered to share the resources they have access
to. Those that are Made with Creative Commons have a reduced need for sales
or marketing. Decentralized distribution amplifies supply and know-how.
-
- The commons ensures access to all. The market has traditionally operated by
+
+ The commons ensures access to all. The market has traditionally operated by
putting resources behind a paywall requiring payment first before
access. The commons puts resources in the open, providing access up front
without payment. Those that are Made with Creative Commons make little or no
@@ -807,18 +841,18 @@ frees them of the costs of acquiring DRM technology and staff resources to
engage in the punitive practices associated with restricting access. The way
the commons provides access to everyone levels the playing field and
promotes inclusiveness, equity, and fairness.
-
- The commons maximizes participation. Resources in the commons can be used
+
+ The commons maximizes participation. Resources in the commons can be used
and contributed to by everyone. Using the resources of others, contributing
your own, and mixing yours with others to create new works are all dynamic
forms of participation made possible by the commons. Being Made with
Creative Commons means youâre engaging as many users with your resources as
-possible. Users are also authoring, editing, remixing, curating,
-localizing, translating, and distributing. The commons makes it possible for
-people to directly participate in culture, knowledge building, and even
-democracy, and many other socially beneficial practices.
-
- The commons spurs innovation. Resources in the hands of more people who can
+possible. Users are also authoring, editing, remixing, curating, localizing,
+translating, and distributing. The commons makes it possible for people to
+directly participate in culture, knowledge building, and even democracy, and
+many other socially beneficial practices.
+
+ The commons spurs innovation. Resources in the hands of more people who can
use them leads to new ideas. The way commons resources can be modified,
customized, and improved results in derivative works never imagined by the
original creator. Some endeavors that are Made with Creative Commons
@@ -828,8 +862,8 @@ inside the organization to being in the community.
- The creators, organizations, and businesses in our case studies operate as
-nonprofits, for-profits, and social enterprises. Regardless of legal
-status, they all have a social mission. Their primary reason for being is
-to make the world a better place, not to profit. Money is a means to a
-social end, not the end itself. They factor public interest into decisions,
-behavior, and practices. Transparency and trust are really important. Impact
-and success are measured against social aims expressed in mission
-statements, and are not just about the financial bottom line.
-
- The case studies are based on the narratives told to us by founders and key
+
+ The creators, organizations, and businesses in our case studies operate as
+nonprofits, for-profits, and social enterprises. Regardless of legal status,
+they all have a social mission. Their primary reason for being is to make
+the world a better place, not to profit. Money is a means to a social end,
+not the end itself. They factor public interest into decisions, behavior,
+and practices. Transparency and trust are really important. Impact and
+success are measured against social aims expressed in mission statements,
+and are not just about the financial bottom line.
+
+ The case studies are based on the narratives told to us by founders and key
staff. Instead of solely using financials as the measure of success and
sustainability, they emphasized their mission, practices, and means by which
-they measure success. Metrics of success are a blend of how social goals
-are being met and how sustainable the enterprise is.
-
- Our case studies are diverse, ranging from publishing to education and
+they measure success. Metrics of success are a blend of how social goals are
+being met and how sustainable the enterprise is.
+
+ Our case studies are diverse, ranging from publishing to education and
manufacturing. All of the organizations, businesses, and creators in the
case studies produce digital resources. Those resources exist in many forms
including books, designs, songs, research, data, cultural works, education
materials, graphic icons, and video. Some are digital representations of
physical resources. Others are born digital but can be made into physical
resources.
-
- They are creating new resources, or using the resources of others, or mixing
+
+ They are creating new resources, or using the resources of others, or mixing
existing resources together to make something new. They, and their audience,
all play a direct, participatory role in managing those resources, including
-their preservation, curation, distribution, and enhancement. Access and
+their preservation, curation, distribution, and enhancement. Access and
participation is open to all regardless of monetary means.
-
- And as users of Creative Commons licenses, they are automatically part of a
+
+ And as users of Creative Commons licenses, they are automatically part of a
global community. The new digital commons is global. Those we profiled come
from nearly every continent in the world. To build and interact within this
global community is conducive to success.
-
- Creative Commons licenses may express legal rules around the use of
+
+ Creative Commons licenses may express legal rules around the use of
resources in a commons, but success in the commons requires more than
following the letter of the law and acquiring financial means. Over and over
we heard in our interviews how success and sustainability are tied to a set
of beliefs, values, and principles that underlie their actions: Give more
-than you take. Be open and inclusive. Add value. Make visible what you are
+than you take. Be open and inclusive. Add value. Make visible what you are
using from the commons, what you are adding, and what you are
monetizing. Maximize abundance. Give attribution. Express gratitude. Develop
-trust; donât exploit. Build relationship and community. Be
+trust; donât exploit. Build relationship and community. Be
transparent. Defend the commons.
-
- The new digital commons is here to stay. Made With Creative Commons case
+
+ The new digital commons is here to stay. Made With Creative Commons case
studies show how itâs possible to be part of this commons while still
-functioning within market and state systems. The commons generates benefits
+functioning within market and state systems. The commons generates benefits
neither the market nor state can achieve on their own. Rather than the
market or state dominating as primary means of resource management, a more
balanced alternative is possible.
-
- Enterprise use of Creative Commons has only just begun. The case studies in
+
+ Enterprise use of Creative Commons has only just begun. The case studies in
this book are merely starting points. Each is changing and evolving over
time. Many more are joining and inventing new models. This overview aims to
provide a framework and language for thinking and talking about the new
digital commons. The remaining sections go deeper providing further guidance
and insights on how it works.
- Kapitel 2. Wie man mit Creative Commons hergestellt wird| Â | | Â | | Â | --\begin{flushright}
+ Kapitel 2. Wie man mit Creative Commons hergestellt wird| Â | | Â | | Â | --\begin{flushright}
\textit{ Sarah Hinchliff Pearson}
\end{flushright} |
- When we began this project in August 2015, we set out to write a book about
+ When we began this project in August 2015, we set out to write a book about
business models that involve Creative Commons licenses in some significant
wayâwhat we call being Made with Creative Commons. With the help of our
Kickstarter backers, we chose twenty-four endeavors from all around the
world that are Made with Creative Commons. The mix is diverse, from an
individual musician to a university-textbook publisher to an electronics
-manufacturer. Some make their own content and share under Creative Commons
+manufacturer. Some make their own content and share under Creative Commons
licensing. Others are platforms for CC-licensed creative work made by
others. Many sit somewhere in between, both using and contributing creative
work thatâs shared with the public. Like all who use the licenses, these
endeavors share their workâwhether itâs open data or furniture designsâin a
way that enables the public not only to access it but also to make use of
it.
-
- We analyzed the revenue models, customer segments, and value propositions of
+
+ We analyzed the revenue models, customer segments, and value propositions of
each endeavor. We searched for ways that putting their content under
Creative Commons licenses helped boost sales or increase reach. Using
traditional measures of economic success, we tried to map these business
models in a way that meaningfully incorporated the impact of Creative
Commons. In our interviews, we dug into the motivations, the role of CC
licenses, modes of revenue generation, definitions of success.
-
- In fairly short order, we realized the book we set out to write was quite
+
+ In fairly short order, we realized the book we set out to write was quite
different from the one that was revealing itself in our interviews and
research.
-
- It isnât that we were wrong to think you can make money while using Creative
+
+ It isnât that we were wrong to think you can make money while using Creative
Commons licenses. In many instances, CC can help make you more money. Nor
were we wrong that there are business models out there that others who want
to use CC licensing as part of their livelihood or business could
replicate. What we didnât realize was just how misguided it would be to
write a book about being Made with Creative Commons using only a business
lens.
-
- According to the seminal handbook Business Model Generation, a business
+
+ According to the seminal handbook Business Model Generation, a business
model âdescribes the rationale of how an organization creates,
delivers, and captures value.â
Thinking about sharing in terms of creating and capturing value always felt
@@ -1087,21 +1121,21 @@ inappropriately transactional and out of place, something we heard time and
time again in our interviews. And as Cory Doctorow told us in our interview
with him, âBusiness model can mean anything you want it to
mean.â
-
- Eventually, we got it. Being Made with Creative Commons is more than a
+
+ Eventually, we got it. Being Made with Creative Commons is more than a
business model. While we will talk about specific revenue models as one
piece of our analysis (and in more detail in the case studies), we scrapped
that as our guiding rubric for the book.
-
- Admittedly, it took me a long time to get there. When Paul and I divided up
+
+ Admittedly, it took me a long time to get there. When Paul and I divided up
our writing after finishing the research, my charge was to distill
everything we learned from the case studies and write up the practical
lessons and takeaways. I spent months trying to jam what we learned into the
business-model box, convinced there must be some formula for the way things
interacted. But there is no formula. Youâll probably have to discard that
way of thinking before you read any further.
-
- In every interview, we started from the same simple questions. Amid all the
+
+ In every interview, we started from the same simple questions. Amid all the
diversity among the creators, organizations, and businesses we profiled,
there was one constant. Being Made with Creative Commons may be good for
business, but that is not why they do it. Sharing work with Creative Commons
@@ -1109,14 +1143,14 @@ is, at its core, a moral decision. The commercial and other self-interested
benefits are secondary. Most decided to use CC licenses first and found a
revenue model later. This was our first hint that writing a book solely
about the impact of sharing on business might be a little off track.
-
- But we also started to realize something about what it means to be Made with
+
+ But we also started to realize something about what it means to be Made with
Creative Commons. When people talked to us about how and why they used CC,
it was clear that it meant something more than using a copyright license. It
-also represented a set of values. There is symbolism behind using CC, and
+also represented a set of values. There is symbolism behind using CC, and
that symbolism has many layers.
-
- At one level, being Made with Creative Commons expresses an affinity for the
+
+ At one level, being Made with Creative Commons expresses an affinity for the
value of Creative Commons. While there are many different flavors of CC
licenses and nearly infinite ways to be Made with Creative Commons, the
basic value system is rooted in a fundamental belief that knowledge and
@@ -1126,24 +1160,24 @@ common good should always be part of the equation when we determine how to
regulate our cultural outputs. They reflect a belief that everyone has
something to contribute, and that no one can own our shared culture. They
reflect a belief in the promise of sharing.
-
- Whether the public makes use of the opportunity to copy and adapt your work,
+
+ Whether the public makes use of the opportunity to copy and adapt your work,
sharing with a Creative Commons license is a symbol of how you want to
-interact with the people who consume your work. Whenever you create
+interact with the people who consume your work. Whenever you create
something, âall rights reservedâ under copyright is automatic,
so the copyright symbol (©) on the work does not necessarily come across as
a marker of distrust or excessive protectionism. But using a CC license can
be a symbol of the oppositeâof wanting a real human relationship, rather
than an impersonal market transaction. It leaves open the possibility of
connection.
-
- Being Made with Creative Commons not only demonstrates values connected to
+
+ Being Made with Creative Commons not only demonstrates values connected to
CC and sharing. It also demonstrates that something other than profit drives
what you do. In our interviews, we always asked what success looked like for
them. It was stunning how rarely money was mentioned. Most have a deeper
purpose and a different vision of success.
-
- The driving motivation varies depending on the type of endeavor. For
+
+ 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, âCreators usually
start doing what they do for love.â But when you share your creative work under a CC license, that
@@ -1152,28 +1186,28 @@ 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 âDo you as
the creator want to use it? It has to have personal use and meaning.â
-
- Many that are Made with Creative Commons have an express social mission that
+
+ 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 werenât willing to show the world that it was
OK to share their content using a Creative Commons license.
-
- This dynamic is probably one reason why there are so many nonprofit examples
+
+ 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.
-
- Even if profit isnât the end goal, you have to bring in money to be
+
+ Even if profit isnât 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.
-
- The costs of doing business vary widely for those made with CC, but there is
+
+ 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
@@ -1181,8 +1215,8 @@ book Information Doesnât Want to Be Free, â The costs to distribute physical
copies are still significant, but lower than they have been
@@ -1202,8 +1236,8 @@ 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.
-
- Itâs important to recognize that the biggest impact of technology on
+
+ Itâs 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
@@ -1216,37 +1250,37 @@ 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.
-
- Whether for an individual creator or a larger endeavor, it usually isnât
+
+ Whether for an individual creator or a larger endeavor, it usually isnât
enough to break even if you want to make what youâre 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 âenough moneyâ
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, âBusiness model is a
+profit. SparkFun founder Nathan Seidle told us, âBusiness model is a
really grandiose word for it. It is really just about keeping the operation
going day to day.â
-
- This book is a testament to the notion that it is possible to make money
+
+ 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.
-
- There are, however, plenty of ways in which CC licensing can be good for
+
+ 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
âproblem zero.â
- Problem Zero: Getting Discovered
- Once you create or collect your content, the next step is finding users,
+ Problem Zero: Getting Discovered
+ Once you create or collect your content, the next step is finding users,
customers, fansâin other words, your people. As Amanda Palmer wrote,
âIt has to start with the art. The songs had to touch people
initially, and mean something, for anything to work at
all.â There isnât 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
+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 âhitsâ and more
about micromarkets for every particular niche. As Anderson wrote, âWe
@@ -1254,13 +1288,13 @@ 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.â We are no longer limited
to what appeals to the masses.
-
- While finding âyour peopleâ online is theoretically easier than
+
+ While finding âyour peopleâ 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
+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. Anderson wrote, âThe
greatest change of the past decade has been the shift in time people spend
consuming amateur content instead of professional
@@ -1268,12 +1302,12 @@ content.â
- When you come to the Internet armed with an all-rights-reserved mentality
+
+ 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. Itâs called the penny gapâthe large difference in demand between
+on demand. Itâs called the penny gapâthe large difference in demand between
something that is available at the price of one cent versus the price of
zero. That doesnât mean it is wrong to
charge money for your content. It simply means you need to recognize the
@@ -1281,40 +1315,40 @@ 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 âyour people,â prohibiting people from
copying your work and sharing it with others is counterproductive.
-
- Of course, itâs not that being discovered by people who like your work will
+
+ Of course, itâs not that being discovered by people who like your work will
make you richâfar from it. But as Cory Doctorow says, âRecognition is
one of many necessary preconditions for artistic
success.â
-
- Choosing not to spend time and energy restricting access to your work and
-policing infringement also builds goodwill. Lumen Learning, a for-profit
+
+ 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.
-
- It is not just that restricting access to your work may undermine your
+
+ 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, âOur natural human impulses
to imitate and shareâthe essence of cultureâhave been
criminalized.â
-
- The fact that copying can carry criminal penalties undoubtedly deters
+
+ 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 doesnât feel like
stealing a loaf of bread. And, of course, thatâs because it isnât. Sharing a
creative work has no impact on anyone elseâs ability to make use of it.
-
- If you take some amount of copying and sharing your work as a given, you can
+
+ 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, âWe could spend a lot of
-money trying to protect works, but people are going to do it anyway. And
+money trying to protect works, but people are going to do it anyway. And
they will use bad-quality versions.â 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
@@ -1322,16 +1356,16 @@ 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.
-
- Being Made with Creative Commons means you stop thinking about ways to
+
+ 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.
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, âUsing CC
licenses shows you get the Internet.â
-
- Cory Doctorow says it costs him nothing when other people make copies of his
+
+ 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. Similarly, the makers of the
Arduino boards knew it was impossible to stop people from copying their
@@ -1340,27 +1374,27 @@ 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.
-
- There are all kinds of way to leverage the power of sharing and remix to
+
+ There are all kinds of way to leverage the power of sharing and remix to
your benefit. Here are a few.
- Use CC to grow a larger audience
- Putting a Creative Commons license on your content wonât make it
+ Use CC to grow a larger audience
+ Putting a Creative Commons license on your content wonât make it
automatically go viral, but eliminating legal barriers to copying the work
certainly canât 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 workâa nudge to copy the work if
-they have any inkling of doing so. All things being equal, if one piece of
+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 Donât Share (which is
what â©â means), which do you think people are more likely to
share?
-
- The Conversation is an online news site with in-depth articles written by
+
+ 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.
-
- The idea that more eyeballs equates with more success is a form of the max
+
+ 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
Googleâs Eric Schmidt, the idea is simple: âTake whatever it is you
are doing and do it at the max in terms of distribution. The other way of
@@ -1368,22 +1402,22 @@ saying this is that since marginal cost of distribution is free, you might
as well put things everywhere.â
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
+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.
-
- If you are successful in reaching more users, readers, listeners, or other
+
+ 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. 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.
- Use CC to get attribution and name recognition
- Every Creative Commons license requires that credit be given to the author,
+ Use CC to get attribution and name recognition
+ 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,
+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,
@@ -1392,8 +1426,8 @@ 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.
-
- The fact that the name of the creator follows a CC-licensed work makes the
+
+ 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
@@ -1403,46 +1437,46 @@ 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.
-
- Attribution can be about more than just receiving credit. It can also be
+
+ Attribution can be about more than just receiving credit. It can also be
about establishing provenance. People naturally want to know where content
came fromâthe 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,
+designs. Consumers who like those designs can then get matched with local
+makers who turn the designs into real-life furniture. The fact that I,
sitting in the middle of the United States, can pick out a design created by
a designer in Tokyo and then use a maker within my own community to
transform the design into something tangible is part of the power of their
platform. The provenance of the design is a special part of the product.
-
- Knowing the source of a work is also critical to ensuring its
+
+ 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.
- Use CC-licensed content as a marketing tool
- As we will cover in more detail later, many endeavors that are Made with
+ Use CC-licensed content as a marketing tool
+ 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
+CC-licensed work. Sometimes that other product or service is completely
unrelated to the CC content. Other times itâs 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.
-
- Knowledge Unlatchedâs Pinter told us she has seen time and again how
+
+ Knowledge Unlatchedâs Pinter told us she has seen time and again how
offering CC-licensed contentâthat is, digitally for freeâactually 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
+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. Free can
be a form of promotion.
-
- In some cases, endeavors that are Made with Creative Commons do not even
+
+ 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
@@ -1454,13 +1488,13 @@ demand them from their universities. They also partner with service
providers who build atop the CC-licensed content and, in turn, spend money
and resources marketing those services (and by extension, the OpenStax
textbooks).
- Use CC to enable hands-on engagement with your work
- The great promise of Creative Commons licensing is that it signifies an
+ Use CC to enable hands-on engagement with your work
+ 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.
-
- Four of the six CC licenses enable reusers to take apart, build upon, or
+
+ 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 thingsâtranslating, updating, localizing, improving,
transforming. It enables a work to be customized for particular needs, uses,
@@ -1469,8 +1503,8 @@ public.
- Actively engaging with the content helps us avoid the type of aimless
+
+ 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, âTo participate is to act as if your
@@ -1489,8 +1523,8 @@ presence matters, as if, when you see something or hear something, your
response is part of the event.â
Opening the door to your content can get people more deeply tied to your
work.
- Use CC to differentiate yourself
- Operating under a traditional copyright regime usually means operating under
+ Use CC to differentiate yourself
+ 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
@@ -1499,12 +1533,12 @@ 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. âDonât go into a market and play by the incumbent
-rules,â David said. âChange the rules of engagement.â
-
- Like any moneymaking endeavor, those that are Made with Creative Commons
+rules,â David said. âChange the rules of engagement.â
+
+ 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
+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. But in many
@@ -1514,44 +1548,44 @@ paying for the value they receive like any standard market transaction. In
still other 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.
-
- 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
+
+ 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, âThe trick is in knowing when
markets are an optimal way of organizing interactions and when they are
not.â
-
- Our case studies explore in more detail the various revenue-generating
+
+ 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
+learned. Nonetheless, zooming out and viewing things from a higher level of
abstraction can be instructive.
- Market-based revenue streams
- In the market, the central question when determining how to bring in revenue
+ Market-based revenue streams
+ In the market, the central question when determining how to bring in revenue
is what value people are willing to pay for. 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.
-
- In many ways, this is the way of the future for all content-driven
+
+ 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. 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, âCopyright protection schemes, whether coded
-into either law or software, are simply holding up a price against the force
-of gravity.â
-
- Of course, this doesnât mean that content-driven endeavors have no future in
+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. 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, âCopyright protection schemes,
+whether coded into either law or software, are simply holding up a price
+against the force of gravity.â
+
+ Of course, this doesnât 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. âEvery abundance
@@ -1559,23 +1593,23 @@ creates a new scarcity,â he wrote. You just have to find some wa
other than the content to provide value to your audience or customers. As
Anderson says, âItâs easy to compete with Free: simply offer something
better or at least different from the free version.â
-
- In light of this reality, in some ways endeavors that are Made with Creative
+
+ 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.
-
- For content creators and distributors, there are nearly infinite ways to
+
+ 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 service.
-
- Here are the most common high-level categories.
- Providing a custom service to consumers of your work
+
+ Here are the most common high-level categories.
+ Providing a custom service to consumers of your work
[MARKET-BASED]
- In this age of information abundance, we donât lack for content. The trick
+ In this age of information abundance, we donât lack for content. The trick
is finding content that matches our needs and wants, so customized services
are particularly valuable. As Anderson wrote, âCommodity information
(everybody gets the same version) wants to be free. Customized information
@@ -1583,15 +1617,15 @@ are particularly valuable. As Anderson wrote, ââ This can be anything
from the artistic and cultural consulting services provided by Ãrtica to the
custom-song business of Jonathan âSong-A-Dayâ Mann.
- Charging for the physical copy [MARKET-BASED]
- In his book about maker culture, Anderson characterizes this model as giving
+ Charging for the physical copy [MARKET-BASED]
+ In his book about maker culture, Anderson characterizes this model as giving
away the bits and selling the atoms (where bits refers to digital content
and atoms refer to a physical object).
This is particularly successful in domains where the digital version of the
content isnât 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 isnât useful until it is in
-physical form, like furniture designs. In those situations, a significant
+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
@@ -1603,20 +1637,20 @@ 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.
- Charging for the in-person version [MARKET-BASED]
- As anyone who has ever gone to a concert will tell you, experiencing
+ Charging for the in-person version [MARKET-BASED]
+ As anyone who has ever gone to a concert will tell you, experiencing
creativity in person is a completely different experience from consuming 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.
- Selling merchandise [MARKET-BASED]
- In many cases, people who like your work will pay for products demonstrating
+ Selling merchandise [MARKET-BASED]
+ In many cases, people who like your work will pay for products demonstrating
a connection to your work. As a child of the 1980s, I can personally attest
to the power of a good concert T-shirt. This can also be an important
revenue stream for museums and galleries.
-
- Sometimes the way to find a market-based revenue stream is by providing
+
+ 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
@@ -1627,8 +1661,8 @@ traditional business model built on free called multi-sided
platforms. Access to your audience
isnât the only thing people are willing to pay forâthere are other services
you can provide as well.
- Charging advertisers or sponsors [MARKET-BASED]
- The traditional model of subsidizing free content is advertising. In this
+ Charging advertisers or sponsors [MARKET-BASED]
+ The traditional model of subsidizing free content is advertising. In this
version of multi-sided platforms, advertisers pay for the opportunity to
reach the set of eyeballs the content creators provide in the form of their
audience. The Internet has made this
@@ -1638,8 +1672,8 @@ many content creators, including those who are Made with Creative
Commons. Often, instead of paying to display advertising, the advertiser
pays to be an official sponsor of particular content or projects, or of the
overall endeavor.
- Charging your content creators [MARKET-BASED]
- Another type of multisided platform is where the content creators themselves
+ Charging your content creators [MARKET-BASED]
+ Another type of multisided platform is where the content creators themselves
pay to be featured on the platform. Obviously, this revenue stream is only
available to those who rely on work created, at least in part, by
others. The most well-known version of this model is the
@@ -1648,8 +1682,8 @@ 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.
- Charging a transaction fee [MARKET-BASED]
- This is a version of a traditional business model based on brokering
+ Charging a transaction fee [MARKET-BASED]
+ This is a version of a traditional business model based on brokering
transactions between parties. 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
@@ -1658,15 +1692,15 @@ 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.
- Providing a service to your creators [MARKET-BASED]
- As mentioned above, endeavors can make money by providing customized
+ Providing a service to your creators [MARKET-BASED]
+ As mentioned above, endeavors can make money by providing customized
services to their users. Platforms can undertake a variation of this 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.
- Licensing a trademark [MARKET-BASED]
- Finally, some that are Made with Creative Commons make money by selling use
+ Licensing a trademark [MARKET-BASED]
+ Finally, some that are Made with Creative Commons make money by selling use
of their trademarks. Well known brands that consumers associate with
quality, credibility, or even an ethos can license that trademark to
companies that want to take advantage of that goodwill. By definition,
@@ -1674,13 +1708,13 @@ 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.
- Reciprocity-based revenue streams
- Even if we set aside grant funding, we found that the traditional economic
+ Reciprocity-based revenue streams
+ 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.
-
- Rather than devising a scheme to get people to pay money in exchange for
+
+ 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
@@ -1689,20 +1723,20 @@ 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, âThere is no self-serving calculation of whether the
value given and received is strictly equal.â
-
- This should be a familiar dynamicâit is the way you deal with your friends
+
+ This should be a familiar dynamicâit 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, âReciprocal 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.â
-
- What is rare is to incorporate this sort of relationship into an endeavor
+
+ What is rare is to incorporate this sort of relationship into an endeavor
that also engages with the market. We
almost canât help but think of relationships in the market as being centered
on an even-steven exchange of value.
- Memberships and individual donations
+ Memberships and individual donations
[RECIPROCITY-BASED]
- While memberships and donations are traditional nonprofit funding models, in
+ 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
@@ -1712,39 +1746,38 @@ 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.
- The pay-what-you-want model [RECIPROCITY-BASED]
- In the pay-what-you-want model, the beneficiary of Creative Commons content
+ The pay-what-you-want model [RECIPROCITY-BASED]
+ In the pay-what-you-want model, the beneficiary of Creative Commons content
is invited to giveâat 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 âbuyingâ
-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.
- Crowdfunding [RECIPROCITY-BASED]
- Crowdfunding models are based on recouping the costs of creating and
+the public and personal value they feel is generated by the open content.
+Critically, these models are not touted as âbuyingâ 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.
+ Crowdfunding [RECIPROCITY-BASED]
+ 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 itâs 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, âGood 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.â
-
- Other types of crowdfunding rely on a sense of responsibility that a
-particular community may feel. Knowledge Unlatched pools funds from major
+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, âGood 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.â
+
+ 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.
-
- Regardless of how they made money, in our interviews, we repeatedly heard
+
+ Regardless of how they made money, in our interviews, we repeatedly heard
language like âpersuading people to buyâ and âinviting
people to pay.â We heard it even in connection with revenue streams
that sit squarely within the market. Cory Doctorow told us, âI have to
@@ -1756,23 +1789,23 @@ letter; itâs an invitation to pay because itâs the right thing to do. This
sort of behavior toward what could be considered nonpaying customers is
largely unheard of in the traditional marketplace. But it seems to be part
of the fabric of being Made with Creative Commons.
-
- Nearly every endeavor we profiled relied, at least in part, on people being
+
+ 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 âthe product,â 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.
-
- It took me a very long time to see how this avoidance of thinking about what
+
+ 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.
-
- I came to the research with preconceived notions about what Creative Commons
+
+ 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.
-
- Obviously, being Made with Creative Commons means using Creative Commons
+
+ 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
@@ -1780,8 +1813,8 @@ 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.
-
- Being Made with Creative Commons is not just about the simple act of
+
+ 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
@@ -1791,31 +1824,31 @@ 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 shareâconnections with you, with your work, with your values,
with each other.
-
- The rest of this section will explore some of the common strategies that
+
+ 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
+humans behind every creative endeavor. To remind us we have obligations to
each other. To remind us what sharing really looks like.
-
- Humans are social animals, which means we are naturally inclined to treat
+
+ Humans are social animals, which means we are naturally inclined to treat
each other well. 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.
-
- To counteract the anonymous and impersonal tendencies of how we operate
+
+ 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, âOur work doesnât speak for itself. Human beings want to
+Kleon wrote, âOur work doesnât 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.â
-
- A critical component to doing this effectively is not worrying about being a
+
+ A critical component to doing this effectively is not worrying about being a
âbrand.â That means not being afraid to be vulnerable. Amanda
Palmer says, âWhen youâre afraid of someoneâs judgment, you canât
connect with them. Youâre too preoccupied with the task of impressing
@@ -1824,8 +1857,8 @@ Palmer, and thatâs 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 donât just want the glossy version of you. They canât relate
to it, at least not in a meaningful way.
-
- This advice is probably even more important for businesses and organizations
+
+ 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
@@ -1833,18 +1866,18 @@ dealing with something other than an anonymous corporate entity. In
business-speak, this is about âhumanizing your interactionsâ
with the public. But it canât be a
gimmick. You canât fake being human.
-
- Transparency helps people understand who you are and why you do what you do,
+
+ 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,
âOne of the most surprising things you can do in capitalism is just be
-honest with people.â That means sharing the good and the bad. As
+honest with people.â That means sharing the good and the bad. As
Amanda Palmer wrote, âYou can fix almost anything by authentically
communicating.â It isnât 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.
-
- Being accountable does not mean operating on consensus. According to James
+
+ Being accountable does not mean operating on consensus. According to James
Surowiecki, consensus-driven groups tend to resort to
lowest-common-denominator solutions and avoid the sort of candid exchange of
ideas that cultivates healthy collaboration. Instead, it can be as simple as asking for input and then giving
@@ -1854,8 +1887,8 @@ the effort to actually respond to the input you receive, it can be worse
than not inviting input in the first place. 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.
- Design for the good actors
- Traditional economics assumes people make decisions based solely on their
+ Design for the good actors
+ Traditional economics assumes people make decisions based solely on their
own economic self-interest. Any
relatively introspective human knows this is a fictionâwe are much more
complicated beings with a whole range of needs, emotions, and
@@ -1868,16 +1901,16 @@ 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.â There
will always be people who will act in purely selfish ways, but endeavors
that are Made with Creative Commons design for the good actors.
-
- The assumption that people will largely do the right thing can be a
+
+ The assumption that people will largely do the right thing can be a
self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, âSystems
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.â 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.
-
- Rather than trying to exert control over peopleâs behavior, this mode of
+
+ Rather than trying to exert control over peopleâs 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, âItâs impossible for a society to rely on law alone
@@ -1886,34 +1919,34 @@ any organization to rely on contracts alone to make sure that its managers
and workers live up to their obligation.â Instead, we largely trust
that peopleâmostly strangersâwill do what they are supposed to
do. And most often, they do.
- Treat humans like, well, humans
- For creators, treating people as humans means not treating them like
+ Treat humans like, well, humans
+ For creators, treating people as humans means not treating them like
fans. As Kleon says, âIf you want fans, you have to be a fan
first.â 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
+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.
-
- The same idea goes for businesses and organizations. Rather than automating
+
+ 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.
-
- When we treat people like humans, they typically return the gift in
+
+ When we treat people like humans, they typically return the gift in
kind. Itâs 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. 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
+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 relationshipâat least
when it takes a form of paying monetary value in exchange for other valueâit
can dramatically change the dynamic.
- State your principles and stick to them
- Being Made with Creative Commons makes a statement about who you are and
+ State your principles and stick to them
+ 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
@@ -1921,8 +1954,8 @@ 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 endeavorâs separate social mission. Often both.
-
- The expression of your values doesnât have to be implicit. In fact, many of
+
+ The expression of your values doesnât 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
@@ -1930,14 +1963,14 @@ 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.
-
- When your end goal is not about making a profit, people trust that you
+
+ When your end goal is not about making a profit, people trust that you
arenât just trying to extract value for your own gain. People notice when
you have a sense of purpose that transcends your own
self-interest. It attracts committed
employees, motivates contributors, and builds trust.
-
- Endeavors that are Made with Creative Commons thrive when community is built
+
+ 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
@@ -1945,8 +1978,8 @@ beliefs.
- Communities that collaborate together take deliberate planning. Surowiecki
+
+ Communities that collaborate together take deliberate planning. Surowiecki
wrote, âIt takes a lot of work to put the group together. Itâs
difficult to ensure that people are working in the groupâs interest and not
-in their own. And when thereâs a lack of trust between the members of the
+in their own. And when thereâs a lack of trust between the members of the
group (which isnât surprising given that they donât really know each other),
considerable energy is wasted trying to determine each otherâs bona
fides.â Building true community
@@ -1969,11 +2002,11 @@ requires giving people within the community the power to create or influence
the rules that govern the community. If
the rules are created and imposed in a top-down manner, people feel like
they donât have a voice, which in turn leads to disengagement.
-
- Community takes work, but working together, or even simply being connected
+
+ Community takes work, but working together, or even simply being connected
around common interests or values, is in many ways what sharing is about.
- Give more to the commons than you take
- Conventional wisdom in the marketplace dictates that people should try to
+ Give more to the commons than you take
+ 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 âThe Sharing Economy Isnât
@@ -1982,28 +2015,28 @@ explained how the anonymous market-driven trans-actions in most
sharing-economy businesses are purely about monetizing access. 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. That is not sharing.
-
- Sharing requires adding as much or more value to the ecosystem than you
+
+ Sharing requires adding as much or more value to the ecosystem than you
take. You canât 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 doesnât 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
+which to extract value. Part of giving back to the ecosystem is
+contributing content back to the public under CC licenses. But it doesnât
+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. 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.
-
- In all cases, it is important to openly acknowledge the amount of value you
+
+ 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.
- Involve people in what you do
- Thanks to the Internet, we can tap into the talents and expertise of people
+ Involve people in what you do
+ 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. But to make collaboration work,
the group has to be effective at what it is doing, and the people within the
@@ -2012,33 +2045,33 @@ creative work than it is for others. Groups tied together online collaborate
best when people can work independently and asynchronously, and particularly
for larger groups with loose ties, when contributors can make simple
improvements without a particularly heavy time commitment.
-
- As the success of Wikipedia demonstrates, editing an online encyclopedia is
+
+ 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 doesnât
appear that their efforts will make much of a difference.
-
- It is easy to romanticize the opportunities for global cocreation made
+
+ 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
-circumstancesâperhaps more often than notâcommunity cocreation is not part
-of the equation, even within endeavors built on CC content. Shirky wrote,
-âSometimes the value of professional work trumps the value of amateur
-sharing or a feeling of belonging. 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,âThe only department where I wasnât open to input was the
-writing, the music itself."
-
- While we tend to immediately think of cocreation and remixing when we hear
+truly incredible and inspiring. But in a wide range of circumstancesâperhaps
+more often than notâcommunity cocreation is not part of the equation, even
+within endeavors built on CC content. Shirky wrote, âSometimes the
+value of professional work trumps the value of amateur sharing or a feeling
+of belonging. 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,âThe only
+department where I wasnât open to input was the writing, the music
+itself."
+
+ 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
@@ -2048,8 +2081,8 @@ shows a nonterritorial approach to ideas and information. Stephen Covey (of
The 7 Habits of Highly Effective People fame) calls this the abundance
mentalityâtreating ideas like something plentifulâand it can create an
environment where collaboration flourishes.
-
- There is no one way to involve people in what you do. They key is finding a
+
+ 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. What that looks like
varies wildly depending on the project. Not every endeavor that is Made with
@@ -2057,251 +2090,251 @@ 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.
- Kapitel 3. Creative Commons Lizenz
- All of the Creative Commons licenses grant a basic set of permissions. At a
+ Kapitel 3. Creative Commons Lizenz
+ All of the Creative Commons licenses grant a basic set of permissions. At a
minimum, a CC- 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
+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.
-
- Here are the six licenses:
-
+
+ Here are the six licenses:
+
- The Attribution license (CC BY) lets others distribute, remix, tweak, and
+ 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.
-
+
- The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak, and
+ 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 âcopyleftâ free and open source software
-licenses. All new works based on yours will carry the same license, so any
+licenses. All new works based on yours will carry the same license, so any
derivatives will also allow commercial use.
-
+
- The Attribution-NoDerivs license (CC BY-ND) allows for redistribution,
+ The Attribution-NoDerivs license (CC BY-ND) allows for redistribution,
commercial and noncommercial, as long as it is passed along unchanged with
credit to you.
-
+
- The Attribution-NonCommercial license (CC BY-NC) lets others remix, tweak,
+ 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 donât have to license their derivative works on the
same terms.
-
+
- The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA) lets others
+ The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA) lets others
remix, tweak, and build upon your work noncommercially, as long as they
credit you and license their new creations under the same terms.
-
+
- The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
+ 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 canât
change them or use them commercially.
-
- In addition to these six licenses, Creative Commons has two public-domain
+
+ In addition to these six licenses, Creative Commons has two public-domain
toolsâone for creators and the other for those who manage collections of
existing works by authors whose terms of copyright have expired:
-
+
- CC0 enables authors and copyright owners to dedicate their works to the
+ CC0 enables authors and copyright owners to dedicate their works to the
worldwide public domain (âno rights reservedâ).
-
+
- The Creative Commons Public Domain Mark facilitates the labeling and
+ The Creative Commons Public Domain Mark facilitates the labeling and
discovery of works that are already free of known copyright restrictions.
-
- In our case studies, some use just one Creative Commons license, others use
+
+ 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
@@ -2309,8 +2342,8 @@ 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.
-
- There is a popular misconception that the three NonCommercial licenses
+
+ 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
@@ -2320,24 +2353,24 @@ BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you
apply an Attribution (CC BY) license to your book, you canât 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.
-
- The decision to choose a NonCommercial and/or NoDerivs license comes down to
+
+ 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
+bring in revenue. In other cases, creators use a NonCommercial or NoDerivs
license because they canât give up on the dream of hitting the creative
-jackpot. The music platform Tribe of Noise told us the NonCommercial
+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.
-
- Other times the decision to use a more restrictive license is due to a
+
+ 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.
-
- There is no one right way. The NonCommercial and NoDerivs restrictions
+
+ 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
@@ -2346,90 +2379,90 @@ 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.
-
- Note
-
- For more about the licenses including examples and tips on sharing your work
+
+ Note
+
+ For more about the licenses including examples and tips on sharing your work
in the digital commons, start with the Creative Commons page called
âShare Your Workâ at http://creativecommons.org/share-your-work/.
- Teil II. The Case Studies
- The twenty-four case studies in this section were chosen from hundreds of
+ Teil II. The Case Studies
+ 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
+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
+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.
-
- 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
+
+ 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.
- | Â |
- Arduino is a for-profit open-source electronics platform and computer
+ | Â |
+ Arduino is a for-profit open-source electronics platform and computer
hardware and software company. Founded in 2005 in Italy.
-
+
http://www.arduino.cc
Revenue model: charging for physical
copies (sales of boards, modules, shields, and kits), licensing a trademark
(fees paid by those who want to sell Arduino products using their name)
- Interview date: February 4, 2016
- Interviewees: David Cuartielles and Tom
+ Interview date: February 4, 2016
+ Interviewees: David Cuartielles and Tom
Igoe, cofounders
- | Â | | Â | --\begin{flushright}
+ | Â | | Â | --\begin{flushright}
\textit{
- Profile written by Paul Stacey
- }
+ Profile written by Paul Stacey
+ }
\end{flushright} |
- In 2005, at the Interaction Design Institute Ivrea in northern Italy,
+ 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,
+to quickly prototype design ideas. As musicians, artists, and designers,
they needed a platform that didnât 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
+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.
-
- Arduino boards are able to read inputsâlight on a sensor, a finger on a
+
+ Arduino boards are able to read inputsâlight on a sensor, a finger on a
button, or a Twitter messageâand turn it into outputsâactivating 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).
- âThe reasons for making Arduino open source are complicated,â
+ âThe reasons for making Arduino open source are complicated,â
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
âended up strengthening the platform far beyond what we had even
thought of building.â
-
- For Tom another factor was the impending closure of the Ivrea design
+
+ For Tom another factor was the impending closure of the Ivrea design
school. Heâd 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
+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 Tomâs view, âOpen sourcing makes it easier to
trust a product.â
-
- With the school closing, David and some of the other Arduino founders
+
+ 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.
-
- For Tom, part of Arduinoâs success is because the founders made themselves
+
+ For Tom, part of Arduinoâs 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 âI need this thing,â not
âIf we make this, weâll make a lot of money.â Tom notes that
being your own first customer makes you more confident and convincing at
selling your product.
-
- Arduinoâs business model has evolved over timeâand Tom says model is a
+
+ Arduinoâs business model has evolved over timeâand 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,
@@ -2439,8 +2472,8 @@ 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 itâs a quality
product and sold at a reasonable price, people will buy it.
-
- Arduino now has a worldwide community of makersâstudents, hobbyists,
+
+ Arduino now has a worldwide community of makersâstudents, 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
@@ -2451,21 +2484,21 @@ 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.
-
- Transitioning Arduino from a project to a company was a big step. Other
+
+ 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.
-
- For a business, getting to the end of the year and not being in the red is a
+
+ 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, âIf you do those other things well, sharing things
in an open-source way can only help you.â
-
- While openly licensing the designs, documentation, and software ensures
+
+ While openly licensing the designs, documentation, and software ensures
longevity, it does have risks. Thereâs 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
@@ -2474,8 +2507,8 @@ 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.
-
- Tom and David say that a lot of people have built companies off of Arduino,
+
+ 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
@@ -2483,8 +2516,8 @@ 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.
-
- Over time, the range of Arduino products has diversified, changing and
+
+ 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
@@ -2492,8 +2525,8 @@ 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.
-
- Arduinoâs focus is on high-quality boards, well-designed support materials,
+
+ Arduinoâs 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
Arduinoâs community is a big strength and something that really does
@@ -2503,8 +2536,8 @@ 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 peopleâs problems. The community grew organically
from there.
-
- A key decision for Arduino was trademarking the name. The founders needed a
+
+ 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
@@ -2513,74 +2546,74 @@ 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 isnât hurt by
low-quality copies.
-
- Current official manufacturers are Smart Projects in Italy, SparkFun in the
+
+ 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 Arduinoâs
revenue-generating model.
-
- How far to open things up wasnât always something the founders perfectly
+
+ How far to open things up wasnât 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.
-
- David encourages people and businesses to start by sharing everything as a
+
+ 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 todayâs 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
-âSend In the Clones,â 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.
-
- 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
+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 todayâs 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 âSend In
+the Clones,â 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.
+
+ 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 doesnât always focus on making it easy to use and
-adapt. This is where Arduino steps in. Arduinoâs goal is âmaking
+adapt. This is where Arduino steps in. Arduinoâs goal is âmaking
things that help other people make things.â
-
- Arduino has been hugely successful in making technology and electronics
+
+ Arduino has been hugely successful in making technology and electronics
reach a larger audience. For Tom, Arduino has been about âthe
democratization of technology.â Tom sees Arduinoâs open-source
strategy as helping the world get over the idea that technology has to be
protected. Tom says, âTechnology is a literacy everyone should
learn.â
-
- Ultimately, for Arduino, going open has been good businessâgood for product
+
+ Ultimately, for Arduino, going open has been good businessâgood for product
development, good for distribution, good for pricing, and good for
manufacturing.
- | Â |
- Ãrtica provides online courses and consulting services focused on how to use
+ | Â |
+ Ãrtica provides online courses and consulting services focused on how to use
digital technology to share knowledge and enable collaboration in arts and
culture. Founded in 2011 in Uruguay.
-
+
http://www.articaonline.com
Revenue model: charging for custom
services
- Interview date: March 9, 2016
- Interviewees: Mariana Fossatti and Jorge
+ Interview date: March 9, 2016
+ Interviewees: Mariana Fossatti and Jorge
Gemetto, cofounders
- | Â | | Â | --\begin{flushright}
+ | Â | | Â | --\begin{flushright}
\textit{
- Profile written by Sarah Hinchliff Pearson
- }
+ Profile written by Sarah Hinchliff Pearson
+ }
\end{flushright} |
- The story of Mariana Fossatti and Jorge Gemettoâs business, Ãrtica, is the
+ The story of Mariana Fossatti and Jorge Gemettoâs business, Ãrtica, 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.
-
- Their dream jobs didnât exist, so they created them.
-
- In 2011, Mariana was a sociologist working for an international organization
+
+ Their dream jobs didnât exist, so they created them.
+
+ 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
@@ -2588,19 +2621,19 @@ 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
Ãrtica, an online business that provides education and consulting for people
and institutions creating artistic and cultural projects on the Internet.
-
- Ãrtica feels like a uniquely twenty-first century business. The small
+
+ Ãrtica 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
+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.
-
- Ãrtica offers personalized education and consulting services, and helps
+
+ Ãrtica offers personalized education and consulting services, and helps
clients implement projects. All of these services are customized. They call
it an âartisanâ process because of the time and effort it takes
to adapt their work for the particular needs of students and
@@ -2608,27 +2641,27 @@ clients. âEach student or client is pa
his or her problems and questions,â Mariana said. Rather than sell
access to their content, they provide it for free and charge for the
personalized services.
-
- When they started, they offered a smaller number of courses designed to
+
+ When they started, they offered a smaller number of courses designed to
attract large audiences. âOver the years, we realized that online
communities are more specific than we thought,â Mariana said. Ãrtica
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.
-
- Online courses are their biggest revenue stream, but they also do more than
+
+ 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.
-
- Ãrtica also seeks out public and private funding for specific
+
+ Ãrtica 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.
-
- Ãrtica relies heavily on their free Creative Commonsâlicensed content to
+
+ Ãrtica relies heavily on their free Creative Commonsâlicensed content to
attract new students and clients. Everything they createâonline education,
blog posts, videosâis published under an Attribution-ShareAlike license (CC
BY-SA). âWe use a ShareAlike license because we want to give the
@@ -2640,41 +2673,41 @@ keep copies, or print the educational resources?â Jorge
said. âIf we want to do the best for our studentsâthose who trust in
us to the point that they are willing to pay online without face-to-face
contactâwe have to offer them a fair and ethical agreement.â
-
- They also believe sharing their ideas and expertise openly helps them build
+
+ 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. Ãrtica views reuse of their work as a way to
open up new opportunities for their business.
-
- This belief that openness creates new opportunities reflects another
+
+ This belief that openness creates new opportunities reflects another
beliefâin serendipity. When describing their process for creating content,
they spoke of all of the spontaneous and organic ways they find
inspiration. âSometimes, the collaborative process starts with a
conversation between us, or with friends from other projects,â Jorge
-said. âThat can be the first step for a new blog post or another
+said. âThat 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.â
-
- Rather than planning their work in advance, they let their creative process
+
+ Rather than planning their work in advance, they let their creative process
be dynamic. âThis doesnât mean that we donât need to work hard in
order to get good professional results, but the design process is more
flexible,â 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.
-
- People and relationships are also just as important, sometimes
+
+ People and relationships are also just as important, sometimes
more. âIn the educational and cultural business, it is more important
to pay attention to people and process, rather than content or specific
-formats or materials,â Mariana said. âMaterials and content
-are fluid. The important thing is the relationships.â
-
- Ãrtica believes in the power of the network. They seek to make connections
+formats or materials,â Mariana said. âMaterials and content are
+fluid. The important thing is the relationships.â
+
+ Ãrtica believes in the power of the network. They seek to make connections
with people and institutions across the globe so they can learn from them
and share their knowledge.
-
- At the core of everything Ãrtica does is a set of values. âGood
+
+ At the core of everything Ãrtica does is a set of values. âGood
content is not enough,â Jorge said. âWe also think that it is
very important to take a stand for some things in the cultural
sector.â Mariana and Jorge are activists. They defend free culture
@@ -2682,42 +2715,42 @@ sector.â Mariana and Jorge are activists. They defend free cultu
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.
-
- Of course, Ãrtica also has to make enough money to cover its expenses. Human
-resources are, by far, their biggest expense. They tap a network of
+tied closely to their belief system. Ultimately, what drives their work is a
+mission to democratize art and culture.
+
+ Of course, Ãrtica 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.
- âThere are lots of people offering online courses,â Jorge
+ âThere are lots of people offering online courses,â Jorge
said. âBut it is easy to differentiate us. We have an approach that is
very specific and personal.â Ãrticaâs model is rooted in the personal
at every level. For Mariana and Jorge, success means doing what brings them
personal meaning and purpose, and doing it sustainably and collaboratively.
-
- In their work with younger artists, Mariana and Jorge try to emphasize that
+
+ 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. âIf they seek only the traditional type of success,
they will get frustrated,â Mariana said. âWe try to show them
another image of what it looks like.â
- Kapitel 6. Blender Institute| Â |
- The Blender Institute is an animation studio that creates 3-D films using
+ Kapitel 6. Blender Institute| Â |
+ The Blender Institute is an animation studio that creates 3-D films using
Blender software. Founded in 2006 in the Netherlands.
-
+
http://www.blender.org
Revenue model: crowdfunding
(subscription-based), charging for physical copies, selling merchandise
- Interview date: March 8, 2016
- Interviewee: Francesco Siddi, production
+ Interview date: March 8, 2016
+ Interviewee: Francesco Siddi, production
coordinator
- | Â | | Â | --\begin{flushright}
+ | Â | | Â | --\begin{flushright}
\textit{
- Profile written by Sarah Hinchliff Pearson
- }
+ Profile written by Sarah Hinchliff Pearson
+ }
\end{flushright} |
- For Ton Roosendaal, the creator of Blender software and its related
+ 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
@@ -2725,21 +2758,21 @@ 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.
-
- Each open-movie project Blender runs produces a host of openly licensed
+
+ 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.
-
- Rather than just talking about the theoretical benefits of sharing and free
+
+ Rather than just talking about the theoretical benefits of sharing and free
culture, Ton is very much about doing and making free culture. Blenderâs
production coordinator Francesco Siddi told us, âTon believes if you
donât make content using your tools, then youâre not doing anything.â
-
- Blenderâs history begins in the late 1990s, when Ton created the Blender
+
+ Blenderâs 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
@@ -2747,47 +2780,47 @@ 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 investorsâif he could raise enough money, he could then make the
Blender software available under the GNU General Public License.
-
- This was long before Kickstarter and other online crowdfunding sites
+
+ 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
+however, was not enough to create a thriving community around it. Francesco
told us, âSoftware 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.â
-
- Like any successful free and open-source software project, Blender developed
+
+ Like any successful free and open-source software project, Blender developed
quickly because the community could make fixes and
improvements. âSoftware should be free and open to hack,â
Francesco said. âOtherwise, everyone is doing the same thing in the
dark for ten years.â Ton set up the Blender Foundation to oversee and
steward the software development and maintenance.
-
- After a few years, Ton began looking for new ways to push development of the
+
+ 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,
+together. They would not only produce high-quality openly licensed content,
they would improve the Blender software in the process.
-
- They turned to crowdfunding to subsidize the costs of the project. They had
+
+ 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. âThe idea that making money was
+succeeded, people were astounded. âThe idea that making money was
possible by producing CC-licensed material was mind-blowing to
-people,â he said. âThey were like, âI have to see it to
+people,â he said. âThey were like, âI have to see it to
believe it.ââ
-
- The first film, which was released in 2006, was an experiment. It was so
+
+ 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 Instituteâs next
-project was an even bigger success. The film, Big Buck Bunny, went viral,
+dedicated to hosting open-movie projects. The Blender Instituteâs next
+project was an even bigger success. The film, Big Buck Bunny, went viral,
and its animated characters were picked up by marketers.
-
- Francesco said that, over time, the Blender Institute projects have gotten
+
+ 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
@@ -2797,131 +2830,131 @@ needs to help on projects. âBlender ha
film projects because the talent emerges naturally,â Francesco
said. âSo many people want to work with us, and we canât always hire
them because of budget constraints.â
-
- 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
+
+ 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. âThere is a whole
community who sees and understands the benefit of these projects,â
Francesco said.
-
- While these benefits of each open-movie project make a compelling pitch for
+
+ 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. âOnce a project is over,
+specific project and ask for funding. âOnce a project is over,
everyone goes home,â he said. âIt is great fun, but then it
-ends. That is a problem.â
-
- To make their work more sustainable, they needed a way to receive ongoing
+ends. That is a problem.â
+
+ 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 producesâsoftware,
-art, training, and more. All of the assets are available under an
+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 Blenderâs 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.
-
- The continuous financial support provided by Blender Cloud subsidizes five
+
+ 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. âThis is our freedom,â
he told us, âand for artists, freedom is everything.â
-
- Blender Cloud is the primary revenue stream of the Blender Institute. The
+
+ 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.
-
- Ton has worked on projects relating to his Blender software for nearly
+
+ 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.
-
- Since 2006, he has been making films available along with all of their
+
+ 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
Blenderâs 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. âEven when you share everything, all your original
-sources, it still takes a lot of talent, skills, time, and budget to
-reproduce what you did,â Ton said.
-
- For Ton and Blender, it all comes back to doing.
- Kapitel 7. Cards Against Humanity| Â |
- 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.
+production process. âEven when you share everything, all your
+original sources, it still takes a lot of talent, skills, time, and budget
+to reproduce what you did,â Ton said.
+ For Ton and Blender, it all comes back to doing.
+ Kapitel 7. Cards Against Humanity| Â |
+ Cards Against Humanity is a private, for-profit company that makes a popular
+party game by the same name. Founded in 2011 in the U.S.
+
http://www.cardsagainsthumanity.com
Revenue model: charging for physical
copies
- Interview date: February 3, 2016
- Interviewee: Max Temkin, cofounder
- | Â | | Â | --\begin{flushright}
+ Interview date: February 3, 2016
+ Interviewee: Max Temkin, cofounder
+ | Â | | Â | --\begin{flushright}
\textit{
- Profile written by Sarah Hinchliff Pearson
- }
+ Profile written by Sarah Hinchliff Pearson
+ }
\end{flushright} |
- If you ask cofounder Max Temkin, there is nothing particularly interesting
+ If you ask cofounder Max Temkin, there is nothing particularly interesting
about the Cards Against Humanity business model. âWe make a
product. We sell it for money. Then we spend less money than we
make,â Max said.
-
- He is right. Cards Against Humanity is a simple party game, modeled after
+
+ 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
+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 (âhorrible people,â according to Cards Against
Humanity advertising), this makes for a hilarious and fun game.
-
- The revenue model is simple. Physical copies of the game are sold for a
+
+ 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.
-
- But Cards Against Humanity is also available for free. Anyone can download a
+
+ 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.
-
- The game is available under an Attribution-NonCommercial-ShareAlike license
+
+ 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.
-
- All together, these factorsâthe crass tone of the game and company, the free
+
+ All together, these factorsâthe crass tone of the game and company, the free
download, the openness to fans remixing the gameâgive the game a massive
cult following.
-
- Their success is not the result of a grand plan. Instead, Cards Against
+
+ 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 Yearâs
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
+they decided to run a Kickstarter to fund the printing. They set their
Kickstarter goal at $4,000âand raised $15,000. The game was officially
released in May 2011.
-
- The game caught on quickly, and it has only grown more popular over
+
+ 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. âIt kind of just happened,â he
said.
-
- But this tale of a âhappy accidentâ belies marketing
+
+ But this tale of a âhappy accidentâ 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 âYour dumb questions.â
-
- Like most quality satire, however, there is more to the joke than vulgarity
+
+ Like most quality satire, however, there is more to the joke than vulgarity
and shock value. The companyâs 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
@@ -2932,23 +2965,23 @@ support what he called the âorgy of co
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.
- âWe sweated it out the night before Black Friday, wondering if our
-fans were going to hate us for it,â he said. âBut it made us
+ âWe sweated it out the night before Black Friday, wondering if our
+fans were going to hate us for it,â he said. âBut it made us
laugh so we went with it. People totally caught the joke.â
-
- This sort of bold transparency delights the media, but more importantly, it
+
+ This sort of bold transparency delights the media, but more importantly, it
engages their fans. âOne of the most surprising things you can do in
capitalism is just be honest with people,â Max said. âIt shocks
people that there is transparency about what you are doing.â
-
- Max also likened it to a grand improv scene. âIf we do something a
+
+ Max also likened it to a grand improv scene. âIf we do something a
little subversive and unexpected, the public wants to be a part of the
joke.â 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.
-
- This remarkable trust they have in their customers is what inspired their
+
+ 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 isnât afraid of doing the unexpected, but there
@@ -2958,19 +2991,19 @@ jokes they intentionally never made because they crossed that
line. âIt happened, and the world didnât end,â Max
said. âIf that is the worst cost of using CC, Iâd pay that a hundred
times over because there are so many benefits.â
-
- Any successful product inspires its biggest fans to create remixes of it,
+
+ 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.
-
- Max said, âCC was a no-brainer for us because it gets the most people
+
+ Max said, âCC 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.â
-
- Of course, there are limits to what the company allows its customers to do
+
+ 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
@@ -2980,17 +3013,17 @@ brand and our game and make money off of it,â Max said. About 99
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.
-
- 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,
+
+ 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. âWe have daylong arguments about commas,â Max
said. âThe 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.â
-
- That means cocreation with their fans really doesnât work. The company has a
+
+ That means cocreation with their fans really doesnât 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
@@ -2998,99 +3031,99 @@ 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.
-
- For all of their success, the creators of Cards Against Humanity are only
+
+ 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. âWe donât make jokes
and games to make moneyâwe make money so we can make more jokes and
games,â he said.
-
- In fact, the company has given more than $4 million to various charities and
+
+ In fact, the company has given more than $4 million to various charities and
causes. âCards is not our life plan,â Max said. âWe 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.â
-
- Seeing money as fuel rather than the ultimate goal is what has enabled them
+
+ 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.
- âItâs not right for everyone to release everything under CC
+ âItâs not right for everyone to release everything under CC
licensing,â Max said. âIf 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 youâre making things.â
- Kapitel 8. The Conversation| Â |
- The Conversation is an independent source of news, sourced from the academic
+ Kapitel 8. The Conversation| Â |
+ The Conversation is an independent source of news, sourced from the academic
and research community and delivered direct to the public over the
Internet. Founded in 2011 in Australia.
-
+
http://theconversation.com
Revenue model: charging content creators
(universities pay membership fees to have their faculties serve as writers),
grant funding
- Interview date: February 4, 2016
- Interviewee: Andrew Jaspan, founder
- | Â | | Â | --\begin{flushright}
+ Interview date: February 4, 2016
+ Interviewee: Andrew Jaspan, founder
+ | Â | | Â | --\begin{flushright}
\textit{
- Profile written by Paul Stacey
- }
+ Profile written by Paul Stacey
+ }
\end{flushright} |
- Andrew Jaspan spent years as an editor of major newspapers including the
+ 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
didnât go away. Andrew made a commitment to come up with an alternative
model.
-
- Around the time he left his job as editor of the Melbourne Age, Andrew
+
+ 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.
-
- While at the Age, heâd become friends with a vice-chancellor of a university
+
+ While at the Age, heâd become friends with a vice-chancellor of a university
in Melbourne who encouraged him to talk to smart people across campusâan
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,
+media. However, they were reluctant to engage with mass media. Often,
journalists didnât 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. Itâs 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 makingâthere are the walled garden and ivory tower
-metaphors, and in more literal terms, the paywall. Broadly speaking,
+insights. Itâs 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 makingâthere 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.
-
- Andrew believed he could to help connect academics back into the public
+
+ 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
+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 journalismâthe subject matter expert would get a
chance to check the article and give final approval before it is
published. Compare this with reporters just picking and choosing the quotes
and writing whatever they want.
-
- The people he spoke to liked this idea, and Andrew embarked on raising money
+
+ 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
+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.
-
- The Conversation is founded on the belief that underpinning a functioning
+
+ The Conversation is founded on the belief that underpinning a functioning
democracy is access to independent, high-quality, informative
journalism. The Conversationâs aim is for people to have a better
understanding of current affairs and complex issuesâand hopefully a better
@@ -3098,21 +3131,21 @@ quality of public discourse. The Conversation sees itself as a source of
trusted information dedicated to the public good. Their core mission is
simple: to provide readers with a reliable source of evidence-based
information.
-
- Andrew worked hard to reinvent a methodology for creating reliable, credible
+
+ Andrew worked hard to reinvent a methodology for creating reliable, credible
content. He introduced strict new working practices, a charter, and codes of
conduct. 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 equalityâeveryone should have access, like access
-to clean water. The Conversation is committed to an open and free
-Internet. Everyone should have free access to their content, and be able to
-share it or republish it.
-
- Creative Commons help with these goals; articles are published with the
+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 equalityâeveryone should have access,
+like access to clean water. The Conversation is committed to an open and
+free Internet. Everyone should have free access to their content, and be
+able to share it or republish it.
+
+ Creative Commons help with these goals; articles are published with the
Attribution- NoDerivs license (CC BY-ND). Theyâre 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
@@ -3121,115 +3154,114 @@ million unique views per month, but through republication they have
thirty-five million readers. This couldnât have been done without the
Creative Commons license, and in Andrewâs view, Creative Commons is central
to everything the Conversation does.
-
- When readers come across the Conversation, they seem to like what they find
-and recommend it to their friends, peers, and networks. Readership has
-grown primarily through word of mouth. While they donât 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.
-
- Itâs usual for the founders of any company to ask themselves what kind of
+
+ 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 donât 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.
+
+ Itâs 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 didnât want
this model. It takes no advertising and is a not-for-profit venture.
-
- There are now different editions of the Conversation for Africa, the United
+
+ 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 Conversationâs global virtual newsroom has roughly
ninety staff working with thirty-five thousand academics from over sixteen
hundred universities around the world. The Conversation would like to be
working with university scholars from even more parts of the world.
-
- Additionally, each edition has its own set of founding partners, strategic
+
+ Additionally, each edition has its own set of founding partners, strategic
partners, and funders. Theyâve 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
+to sustain operations. This would safeguard the current service and help
improve coverage and features.
-
- When professors from member universities write an article, there is some
-branding of the university associated with the article. On the Conversation
+
+ 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 âmembers and
funders.â Early participants may be designated as âfounding
members,â with seats on the editorial advisory board.
-
- Academics are not paid for their contributions, but they get free editing
+
+ 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.
-
- The Conversation plans to expand the dashboard to show not just reach but
+
+ 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.
-
- These reach and impact metrics show the benefits of membership. With the
+
+ These reach and impact metrics show the benefits of membership. With the
Conversation, universities can engage with the public and show why theyâre
of value.
-
- With its tagline, âAcademic Rigor, Journalistic Flair,â the
+
+ With its tagline, âAcademic Rigor, Journalistic Flair,â 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 itâs possible to
generate both a public good and operational revenue at the same time.
- | Â |
- Cory Doctorow is a science fiction writer, activist, blogger, and
+ | Â |
+ Cory Doctorow is a science fiction writer, activist, blogger, and
journalist. Based in the U.S.
- http://craphound.com and http://boingboing.net
- Revenue model: charging for physical
+ http://craphound.com and http://boingboing.net
+ Revenue model: charging for physical
copies (book sales), pay-what-you-want, selling translation rights to books
- Interview date: January 12, 2016
- | Â | | Â | --\begin{flushright}
+ Interview date: January 12, 2016
+ | Â | | Â | --\begin{flushright}
\textit{
- Profile written by Sarah Hinchliff Pearson
- }
+ Profile written by Sarah Hinchliff Pearson
+ }
\end{flushright} |
- Cory Doctorow hates the term âbusiness model,â and he is
+ Cory Doctorow hates the term âbusiness model,â and he is
adamant that he is not a brand. âTo me, branding is the idea that you
can take a thing that has certain qualities, remove the qualities, and go on
-selling it,â he said. âIâm not out there trying to figure out
-how to be a brand. Iâm doing this thing that animates me to work crazy
+selling it,â he said. âIâm not out there trying to figure out
+how to be a brand. Iâm doing this thing that animates me to work crazy
insane hours because itâs the most important thing I know how to do.â
-
- Cory calls himself an entrepreneur. He likes to say his success came from
+
+ 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.
-
- 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 Doesnât Want to Be
-Free, about the ways in which creators can make a living in the Internet
-age.
-
- Cory primarily makes money by selling physical books, but he also takes on
+
+ 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 Doesnât Want to Be Free, about
+the ways in which creators can make a living in the Internet age.
+
+ Cory primarily makes money by selling physical books, but he also takes on
paid speaking gigs and is experimenting with pay-what-you-want models for
his work.
-
- While Coryâs extensive body of fiction work has a large following, he is
+
+ While Coryâs 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 doesnât directly make him money,
+protects DRM. Cory says his political work doesnât 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. âMy political
+importantly, lose the drive that propels him to create. âMy political
work is a different expression of the same artistic-political urge,â
he said. âI have this suspicion that if I gave up the things that
didnât 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.â
-
- Cory has been financially successful, but money is not his primary
+
+ Cory has been financially successful, but money is not his primary
motivation. At the start of his book Information Doesnât Want to Be Free, he
stresses how important it is not to become an artist if your goal is to get
rich. âEntering the arts because you want to get rich is like buying
@@ -3237,54 +3269,54 @@ lottery tickets because you want to get rich,â he wrote. â He acknowledges that he is one of the lucky few to
âmake it,â but he says he would be writing no matter
-what. âI am compelled to write,â he wrote. âLong before
-I wrote to keep myself fed and sheltered, I was writing to keep myself
+what. âI am compelled to write,â he wrote. âLong before I
+wrote to keep myself fed and sheltered, I was writing to keep myself
sane.â
-
- Just as money is not his primary motivation to create, money is not his
+
+ 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. âIt felt morally right,â he said
of his decision to adopt Creative Commons licenses. âI felt like I
wasnât contributing to the culture of surveillance and censorship that has
been created to try to stop copying.â In other words, using CC
licenses symbolizes his worldview.
-
- He also feels like there is a solid commercial basis for licensing his work
+
+ He also feels like there is a solid commercial basis for licensing his work
with Creative Commons. While he acknowledges he hasnât 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. âI started by not calling
them thieves,â he said.
-
- Cory started using CC licenses soon after they were first created. At the
+
+ 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. âI knew there was a
relationship between having enthusiastic readers and having a successful
-career as a writer,â he said. âAt the time, it took eighty
+career as a writer,â he said. âAt 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.â
-
- Cory admits the stakes were pretty low for him when he first adopted
+
+ 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.
-
- The bottom line, Cory says, is that no one has found a way to prevent people
+
+ 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. âGetting the hell out of the way
for people who want to share their love of you with other people sounds
obvious, but itâs remarkable how many people donât do it,â he said.
-
- Making his work available under Creative Commons licenses enables him to
-view his biggest fans as his ambassadors. âBeing open to fan activity
+
+ Making his work available under Creative Commons licenses enables him to
+view his biggest fans as his ambassadors. âBeing open to fan activity
makes you part of the conversation about what fans do with your work and how
-they interact with it,â he said. Coryâs own website routinely
-highlights cool things his audience has done with his work. Unlike
+they interact with it,â he said. Coryâs 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. âEngaging with your audience canât guarantee you
@@ -3292,9 +3324,9 @@ success,â he said. âA
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.â
-
- His first book was published under the most restrictive Creative Commons
-license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND). It allows only
+
+ 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
@@ -3304,8 +3336,8 @@ 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.
-
- In his book Information Doesnât Want to Be Free, Cory likens his philosophy
+
+ In his book Information Doesnât 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
@@ -3316,8 +3348,8 @@ likelihood that it will find one of those would-be customers in some
unsuspected crack in the metaphorical pavement,â he wrote. âThe
copies that others make of my work cost me nothing, and present the
possibility that Iâll get something.â
-
- Applying a CC license to his work increases the chances it will be shared
+
+ Applying a CC license to his work increases the chances it will be shared
more widely around the Web. He avoids DRMâand openly opposes the
practiceâfor similar reasons. DRM has the effect of tying a work to a
particular platform. This digital lock, in turn, strips the authors of
@@ -3325,8 +3357,8 @@ control over their own work and hands that control over to the platform. He
calls it Coryâs First Law: âAnytime someone puts a lock on something
that belongs to you and wonât give you the key, that lock isnât there for
your benefit.â
-
- Cory operates under the premise that artists benefit when there are more,
+
+ 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. âOn
the one hand, we can credibly make our work available to a widely dispersed
@@ -3334,8 +3366,8 @@ audience,â he said. âO
historically sold to are making it harder to go around them.â Cory
continually looks for ways to reach his audience without relying upon major
platforms that will try to take control over his work.
-
- Cory says his e-book sales have been lower than those of his competitors,
+
+ 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
@@ -3343,39 +3375,40 @@ 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
creatorâs work. He is planning to try his own pay-what-you-want experiment
soon.
-
- Fans are particularly willing to pay when they feel personally connected to
+
+ 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. âIf
you look at the history of artists, most die in penury,â he
said. âThat 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.â
-
- Coryâs realism about the difficulty of making a living in the arts does not
+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.â
+
+ Coryâs 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, âis how many ways there are to make things, and to get
them into other peopleâs hands and minds.â
-
- It has never been easier to think like a dandelion.
- | Â |
- Figshare is a for-profit company offering an online repository where
+
+ It has never been easier to think like a dandelion.
+ | Â |
+ Figshare is a for-profit company offering an online repository where
researchers can preserve and share the output of their research, including
figures, data sets, images, and videos. Founded in 2011 in the UK.
-
+
http://figshare.com
Revenue model: platform providing paid
services to creators
- Interview date: January 28, 2016
- Interviewee: Mark Hahnel, founder
- | Â | | Â | --\begin{flushright}
+ Interview date: January 28, 2016
+ Interviewee: Mark Hahnel, founder
+ | Â | | Â | --\begin{flushright}
\textit{
- Profile written by Paul Stacey
- }
+ Profile written by Paul Stacey
+ }
\end{flushright} |
- Figshareâs mission is to change the face of academic publishing through
+ Figshareâs 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 availableâfrom posters and presentations to data sets and
@@ -3383,103 +3416,103 @@ codeâin a way thatâs easy to discover, cite, and share. Users can upload any
file format, which can then be previewed in a Web browser. Research output
is disseminated in a way that the current scholarly-publishing model does
not allow.
-
- Figshare founder Mark Hahnel often gets asked: How do you make money? How do
+
+ Figshare founder Mark Hahnel often gets asked: How do you make money? How do
we know youâll be here in five years? Can you, as a for-profit venture, be
trusted? Answers have evolved over time.
-
- Mark traces the origins of Figshare back to when he was a graduate student
+
+ 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
+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.
-
- Mark does not consider himself an advanced software programmer.
+
+ 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.
-
- There were two key needs: licenses to make the data citable, and persistent
+
+ There were two key needs: licenses to make the data citable, and persistent
identifiersâ URL links that always point back to the original object
ensuring the research is citable for the long term.
-
- Mark chose Digital Object Identifiers (DOIs) to meet the need for a
+
+ Mark chose Digital Object Identifiers (DOIs) to meet the need for a
persistent identifier. In the DOI system, an objectâs metadata is stored as
-a series of numbers in the DOI name. Referring to an object by its DOI is
+a series of numbers in the DOI name. Referring to an object by its DOI is
more stable than referring to it by its URL, because the location of an
object (the web page or URL) can often change. Mark partnered with DataCite
for the provision of DOIs for research data.
-
- As for licenses, Mark chose Creative Commons. The open-access and
+
+ As for licenses, Mark chose Creative Commons. The open-access and
open-science communities were already using and recommending Creative
Commons. Based on what was happening in those communities and Markâs
dialogue with peers, he went with CC0 (in the public domain) for data sets
and CC BY (Attribution) for figures, videos, and data sets.
-
- So Mark began using DOIs and Creative Commons for his own research work. He
+
+ So Mark began using DOIs and Creative Commons for his own research work. He
had a science blog where he wrote about it and made all his data
open. People started commenting on his blog that they wanted to do the
same. So he opened it up for them to use, too.
-
- People liked the interface and simple upload process. People started asking
+
+ People liked the interface and simple upload process. People started asking
if they could also share theses, grant proposals, and code. Inclusion of
code raised new licensing issues, as Creative Commons licenses are not used
for software. To allow the sharing of software code, Mark chose the MIT
license, but GNU and Apache licenses can also be used.
-
- Mark sought investment to make this into a scalable product. After a few
+
+ Mark sought investment to make this into a scalable product. After a few
unsuccessful funding pitches, UK-based Digital Science expressed interest
-but insisted on a more viable business model. They made an initial
+but insisted on a more viable business model. They made an initial
investment, and together they came up with a freemium-like business model.
-
- Under the freemium model, academics upload their research to Figshare for
+
+ Under the freemium model, academics upload their research to Figshare for
storage and sharing for free. Each research object is licensed with Creative
Commons and receives a DOI link. The premium option charges researchers a
fee for gigabytes of private storage space, and for private online space
designed for a set number of research collaborators, which is ideal for
-larger teams and geographically dispersed research groups. Figshare sums up
-its value proposition to researchers as âYou retain ownership. You
+larger teams and geographically dispersed research groups. Figshare sums up
+its value proposition to researchers as âYou retain ownership. You
license it. You get credit. We just make sure it persists.â
-
- In January 2012, Figshare was launched. (The fig in Figshare stands for
+
+ In January 2012, Figshare was launched. (The fig in Figshare stands for
figures.) Using investment funds, Mark made significant improvements to
Figshare. For example, researchers could quickly preview their research
files within a browser without having to download them first or require
third-party software. Journals who were still largely publishing articles as
static noninteractive PDFs became interested in having Figshare provide that
functionality for them.
-
- Figshare diversified its business model to include services for
+
+ Figshare diversified its business model to include services for
journals. Figshare began hosting large amounts of data for the journalsâ
online articles. This additional data improved the quality of the
articles. Outsourcing this service to Figshare freed publishers from having
to develop this functionality as part of their own
infrastructure. Figshare-hosted data also provides a link back to the
article, generating additional click-through and readershipâa benefit to
-both journal publishers and researchers. Figshare now provides
-research-data infrastructure for a wide variety of publishers including
-Wiley, Springer Nature, PLOS, and Taylor and Francis, to name a few, and has
-convinced them to use Creative Commons licenses for the data.
-
- Governments allocate significant public funds to research. In parallel with
+both journal publishers and researchers. Figshare now provides research-data
+infrastructure for a wide variety of publishers including Wiley, Springer
+Nature, PLOS, and Taylor and Francis, to name a few, and has convinced them
+to use Creative Commons licenses for the data.
+
+ Governments allocate significant public funds to research. In parallel with
the launch of Figshare, governments around the world began requesting the
-research they fund be open and accessible. They mandated that researchers
+research they fund be open and accessible. They mandated that researchers
and academic institutions better manage and disseminate their research
outputs. Institutions looking to comply with this new mandate became
interested in Figshare. Figshare once again diversified its business model,
adding services for institutions.
-
- Figshare now offers a range of fee-based services to institutions, including
+
+ Figshare now offers a range of fee-based services to institutions, including
their own minibranded Figshare space (called Figshare for Institutions) that
securely hosts research data of institutions in the cloud. Services include
not just hosting but data metrics, data dissemination, and user-group
-administration. Figshareâs workflow, and the services they offer for
+administration. Figshareâs workflow, and the services they offer for
institutions, take into account the needs of librarians and administrators,
as well as of the researchers.
-
- As with researchers and publishers, Fig-share encouraged institutions to
-share their research with CC BY (Attribution) and their data with CC0 (into
+
+ As with researchers and publishers, Fig-share encouraged institutions to
+share their research with CC BY (Attribution) and their data with CC0 (into
the public domain). Funders who require researchers and institutions to use
open licensing believe in the social responsibilities and benefits of making
research accessible to all. Publishing research in this open way has come to
@@ -3487,23 +3520,23 @@ be called open access. But not all funders specify CC BY; some institutions
want to offer their researchers a choice, including less permissive licenses
like CC BY-NC (Attribution-NonCommercial), CC BY-SA
(Attribution-ShareAlike), or CC BY-ND (Attribution-NoDerivs).
-
- For Mark this created a conflict. On the one hand, the principles and
+
+ For Mark this created a conflict. On the one hand, the principles and
benefits of open science are at the heart of Figshare, and Mark believes CC
-BY is the best license for this. On the other hand, institutions were saying
-they wouldnât use Figshare unless it offered a choice in licenses. He
+BY is the best license for this. On the other hand, institutions were
+saying they wouldnât use Figshare unless it offered a choice in licenses. He
initially refused to offer anything beyond CC0 and CC BY, but after seeing
an open-source CERN project offer all Creative Commons licenses without any
negative repercussions, he decided to follow suit.
-
- Mark is thinking of doing a Figshare study that tracks research
+
+ Mark is thinking of doing a Figshare study that tracks research
dissemination according to Creative Commons license, and gathering metrics
on views, citations, and downloads. You could see which license generates
the biggest impact. If the data showed that CC BY is more impactful, Mark
believes more and more researchers and institutions will make it their
license of choice.
-
- Figshare has an Application Programming Interface (API) that makes it
+
+ Figshare has an Application Programming Interface (API) that makes it
possible for data to be pulled from Figshare and used in other
applications. As an example, Mark shared a Figshare data set showing the
journal subscriptions that higher-education institutions in the United
@@ -3512,8 +3545,8 @@ Figshareâs API enables that data to be pulled into an app developed by a
completely different researcher that converts the data into a visually
interesting graph, which any viewer can alter by changing any of the
variables.
-
- The free version of Figshare has built a community of academics, who through
+
+ The free version of Figshare has built a community of academics, who through
word of mouth and presentations have promoted and spread awareness of
Figshare. To amplify and reward the community, Figshare established an
Advisor program, providing those who promoted Figshare with hoodies and
@@ -3521,8 +3554,8 @@ T-shirts, early access to new features, and travel expenses when they gave
presentations outside of their area. These Advisors also helped Mark on what
license to use for software code and whether to offer universities an option
of using Creative Commons licenses.
-
- Mark says his success is partly about being in the right place at the right
+
+ Mark says his success is partly about being in the right place at the right
time. He also believes that the diversification of Figshareâs model over
time has been key to success. Figshare now offers a comprehensive set of
services to researchers, publishers, and institutions. If he had relied solely on revenue from premium
@@ -3530,14 +3563,14 @@ subscriptions, he believes Figshare would have struggled. In Figshareâs
early days, their primary users were early-career and late-career
academics. It has only been because funders mandated open licensing that
Figshare is now being used by the mainstream.
-
- Today Figshare has 26 millionâplus page views, 7.5 millionâplus downloads,
+
+ Today Figshare has 26 millionâplus page views, 7.5 millionâplus downloads,
800,000âplus user uploads, 2 millionâplus articles, 500,000-plus
collections, and 5,000âplus projects. Sixty percent of their traffic comes
from Google. A sister company called Altmetric tracks the use of Figshare by
others, including Wikipedia and news sources.
-
- Figshare uses the revenue it generates from the premium subscribers, journal
+
+ Figshare uses the revenue it generates from the premium subscribers, journal
publishers, and institutions to fund and expand what it can offer to
researchers for free. Figshare has publicly stuck to its principlesâkeeping
the free service free and requiring the use of CC BY and CC0 from the
@@ -3548,38 +3581,38 @@ free version. Figshareâs principles and advocacy for openness are a key
differentiator. Going forward, Mark sees Figshare not only as supporting
open access to research but also enabling people to collaborate and make new
discoveries.
- | Â |
- Figure.NZ is a nonprofit charity that makes an online data platform designed
-to make data reusable and easy to understand. Founded in 2012 in New
+ | Â |
+ Figure.NZ is a nonprofit charity that makes an online data platform designed
+to make data reusable and easy to understand. Founded in 2012 in New
Zealand.
-
+
http://figure.nz
Revenue model: platform providing paid
services to creators, donations, sponsorships
- Interview date: May 3, 2016
- Interviewee: Lillian Grace, founder
- | Â | | Â | --\begin{flushright}
+ Interview date: May 3, 2016
+ Interviewee: Lillian Grace, founder
+ | Â | | Â | --\begin{flushright}
\textit{
- Profile written by Paul Stacey
- }
+ Profile written by Paul Stacey
+ }
\end{flushright} |
- In the paper Harnessing the Economic and Social Power of Data presented at
+ In the paper Harnessing the Economic and Social Power of Data presented at
the New Zealand Data Futures Forum in 2014, Figure.NZ founder Lillian Grace said there are thousands of
valuable and relevant data sets freely available to us right now, but most
people donât use them. She used to think this meant people didnât care about
being informed, but sheâs come to see that she was wrong. Almost everyone
wants to be informed about issues that matterânot only to them, but also to
-their families, their communities, their businesses, and their country. But
+their families, their communities, their businesses, and their country. But
thereâs a big difference between availability and accessibility of
information. Data is spread across thousands of sites and is held within
databases and spreadsheets that require both time and skill to engage
with. To use data when making a decision, you have to know what specific
question to ask, identify a source that has collected the data, and
manipulate complex tools to extract and visualize the information within the
-data set. Lillian established Figure.NZ to make data truly accessible to
+data set. Lillian established Figure.NZ to make data truly accessible to
all, with a specific focus on New Zealand.
-
- Lillian had the idea for Figure.NZ in February 2012 while working for the
+
+ Lillian had the idea for Figure.NZ in February 2012 while working for the
New Zealand Institute, a think tank concerned with improving economic
prosperity, social well-being, environmental quality, and environmental
productivity for New Zealand and New Zealanders. While giving talks to
@@ -3587,8 +3620,8 @@ community and business groups, Lillian realized ââ But understanding the basic facts sometimes requires
data and research that you often have to pay for.
-
- Lillian began to imagine a website that lifted data up to a visual form that
+
+ Lillian began to imagine a website that lifted data up to a visual form that
could be easily understood and freely accessed. Initially launched as Wiki
New Zealand, the original idea was that people could contribute their data
and visuals via a wiki. However, few people had graphs that could be used
@@ -3598,26 +3631,26 @@ process of data aggregation, curation, and visual presentation in-house, and
invested in the technology to help automate some of it. Wiki New Zealand
became Figure.NZ, and efforts were reoriented toward providing services to
those wanting to open their data and present it visually.
-
- Hereâs how it works. Figure.NZ sources data from other organizations,
+
+ Hereâs how it works. Figure.NZ sources data from other organizations,
including corporations, public repositories, government departments, and
academics. Figure.NZ imports and extracts that data, and then validates and
standardizes itâall with a strong eye on what will be best for users. They
then make the data available in a series of standardized forms, both human-
and machine-readable, with rich metadata about the sources, the licenses,
and data types. Figure.NZ has a chart-designing tool that makes simple bar,
-line, and area graphs from any data source. The graphs are posted to the
+line, and area graphs from any data source. The graphs are posted to the
Figure.NZ website, and they can also be exported in a variety of formats for
-print or online use. Figure.NZ makes its data and graphs available using
-the Attribution (CC BY) license. This allows others to reuse, revise, remix,
-and redistribute Figure.NZ data and graphs as long as they give attribution
-to the original source and to Figure.NZ.
-
- Lillian characterizes the initial decision to use Creative Commons as
+print or online use. Figure.NZ makes its data and graphs available using the
+Attribution (CC BY) license. This allows others to reuse, revise, remix, and
+redistribute Figure.NZ data and graphs as long as they give attribution to
+the original source and to Figure.NZ.
+
+ Lillian characterizes the initial decision to use Creative Commons as
naively fortunate. It was first recommended to her by a colleague. Lillian
spent time looking at what Creative Commons offered and thought it looked
good, was clear, and made common sense. It was easy to use and easy for
-others to understand. Over time, sheâs come to realize just how fortunate
+others to understand. Over time, sheâs come to realize just how fortunate
and important that decision turned out to be. New Zealandâs government has
an open-access and licensing framework called NZGOAL, which provides
guidance for agencies when they release copyrighted and noncopyrighted work
@@ -3626,40 +3659,40 @@ the licensing of works with government copyright and how they can be reused,
and it does this with Creative Commons licenses. As a result, 98 percent of
all government-agency data is Creative Commons licensed, fitting in nicely
with Figure.NZâs decision.
-
- Lillian thinks current ideas of what a business is are relatively new, only
+
+ Lillian thinks current ideas of what a business is are relatively new, only
a hundred years old or so. Sheâs convinced that twenty years from now, we
-will see new and different models for business. Figure.NZ is set up as a
+will see new and different models for business. Figure.NZ is set up as a
nonprofit charity. It is purpose-driven but also strives to pay people well
-and thinks like a business. Lillian sees the charity-nonprofit status as an
+and thinks like a business. Lillian sees the charity-nonprofit status as an
essential element for the mission and purpose of Figure.NZ. She believes
Wikipedia would not work if it were for profit, and similarly, Figure.NZâs
nonprofit status assures people who have data and people who want to use it
that they can rely on Figure.NZâs motives. People see them as a trusted
wrangler and source.
-
- Although Figure.NZ is a social enterprise that openly licenses their data
+
+ Although Figure.NZ is a social enterprise that openly licenses their data
and graphs for everyone to use for free, they have taken care not to be
perceived as a free service all around the table. Lillian believes hundreds
of millions of dollars are spent by the government and organizations to
-collect data. However, very little money is spent on taking that data and
-making it accessible, understandable, and useful for decision making.
-Government uses some of the data for policy, but Lillian believes that it is
-underutilized and the potential value is much larger. Figure.NZ is focused
-on solving that problem. They believe a portion of money allocated to
-collecting data should go into making sure that data is useful and generates
-value. If the government wants citizens to understand why certain decisions
-are being made and to be more aware about what the government is doing, why
-not transform the data it collects into easily understood visuals? It could
-even become a way for a government or any organization to differentiate,
-market, and brand itself.
-
- Figure.NZ spends a lot of time seeking to understand the motivations of data
+collect data. However, very little money is spent on taking that data and
+making it accessible, understandable, and useful for decision
+making. Government uses some of the data for policy, but Lillian believes
+that it is underutilized and the potential value is much larger. Figure.NZ
+is focused on solving that problem. They believe a portion of money
+allocated to collecting data should go into making sure that data is useful
+and generates value. If the government wants citizens to understand why
+certain decisions are being made and to be more aware about what the
+government is doing, why not transform the data it collects into easily
+understood visuals? It could even become a way for a government or any
+organization to differentiate, market, and brand itself.
+
+ Figure.NZ spends a lot of time seeking to understand the motivations of data
collectors and to identify the channels where it can provide value. Every
part of their business model has been focused on who is going to get value
from the data and visuals.
-
- Figure.NZ has multiple lines of business. They provide commercial services
+
+ Figure.NZ has multiple lines of business. They provide commercial services
to organizations that want their data publicly available and want to use
Figure.NZ as their publishing platform. People who want to publish open data
appreciate Figure.NZâs ability to do it faster, more easily, and better than
@@ -3671,8 +3704,8 @@ want a specific collection of charts createdâfor example, for their website
or annual report. Charging the organizations that want to make their data
available enables Figure.NZ to provide their site free to all users, to
truly democratize data.
-
- Lillian notes that the current state of most data is terrible and often not
+
+ Lillian notes that the current state of most data is terrible and often not
well understood by the people who have it. This sometimes makes it difficult
for customers and Figure.NZ to figure out what it would cost to import,
standardize, and display that data in a useful way. To deal with this,
@@ -3682,24 +3715,24 @@ long as Figure.NZ frequently reports on what theyâve produced so the
customer can determine the value for money. This strategy has helped build
trust and transparency about the level of effort associated with doing work
that has never been done before.
-
- A second line of business is what Figure.NZ calls partners. ASB Bank and
+
+ A second line of business is what Figure.NZ calls partners. ASB Bank and
Statistics New Zealand are partners who back Figure.NZâs efforts. As one
example, with their support Figure.NZ has been able to create Business
Figures, a special way for businesses to find useful data without having to
know what questions to ask.
-
- Figure.NZ also has patrons. Patrons
+
+ Figure.NZ also has patrons. Patrons
donate to topic areas they care about, directly enabling Figure.NZ to get
data together to flesh out those areas. Patrons do not direct what data is
included or excluded.
-
- Figure.NZ also accepts philanthropic donations, which are used to provide
+
+ Figure.NZ also accepts philanthropic donations, which are used to provide
more content, extend technology, and improve services, or are targeted to
-fund a specific effort or provide in-kind support. As a charity, donations
+fund a specific effort or provide in-kind support. As a charity, donations
are tax deductible.
-
- Figure.NZ has morphed and grown over time. With data aggregation, curation,
+
+ Figure.NZ has morphed and grown over time. With data aggregation, curation,
and visualizing services all in-house, Figure.NZ has developed a deep
expertise in taking random styles of data, standardizing it, and making it
useful. Lillian realized that Figure.NZ could easily become a warehouse of
@@ -3708,16 +3741,16 @@ view, bigger often means less effective. Lillian set artificial constraints
on growth, forcing the organization to think differently and be more
efficient. Rather than in-house growth, they are growing and building
external relationships.
-
- Figure.NZâs website displays visuals and data associated with a wide range
+
+ Figure.NZâs website displays visuals and data associated with a wide range
of categories including crime, economy, education, employment, energy,
environment, health, information and communications technology, industry,
tourism, and many others. A search function helps users find tables and
graphs. Figure.NZ does not provide analysis or interpretation of the data or
-visuals. Their goal is to teach people how to think, not think for them.
-Figure.NZ wants to create intuitive experiences, not user manuals.
-
- Figure.NZ believes data and visuals should be useful. They provide their
+visuals. Their goal is to teach people how to think, not think for
+them. Figure.NZ wants to create intuitive experiences, not user manuals.
+
+ Figure.NZ believes data and visuals should be useful. They provide their
customers with a data collection template and teach them why itâs important
and how to use it. Theyâve begun putting more emphasis on tracking what
users of their website want. They also get requests from social media and
@@ -3728,23 +3761,23 @@ have that data and forge a relationship so they can be included on
Figure.NZâs site. Overall, Figure.NZ is seeking to provide a place for
people to be curious about, access, and interpret data on topics they are
interested in.
-
- Lillian has a deep and profound vision for Figure.NZ that goes well beyond
+
+ Lillian has a deep and profound vision for Figure.NZ that goes well beyond
simply providing open-data services. She says things are different now. "We
used to live in a world where it was really hard to share information
widely. And in that world, the best future was created by having a few great
leaders who essentially had access to the information and made decisions on
behalf of others, whether it was on behalf of a country or companies.
-
- "But now we live in a world where itâs really easy to share information
+
+ "But now we live in a world where itâs really easy to share information
widely and also to communicate widely. In the world we live in now, the best
future is the one where everyone can make well-informed decisions.
-
- "The use of numbers and data as a way of making well-informed decisions is
+
+ "The use of numbers and data as a way of making well-informed decisions is
one of the areas where there is the biggest gaps. We donât really use
numbers as a part of our thinking and part of our understanding yet.
-
- "Part of the reason is the way data is spread across hundreds of sites. In
+
+ "Part of the reason is the way data is spread across hundreds of sites. In
addition, for the most part, deep thinking based on data is constrained to
experts because most people donât have data literacy. There once was a time
when many citizens in society couldnât read or write. However, as a society,
@@ -3752,40 +3785,40 @@ weâve now come to believe that reading and writing skills should be
something all citizens have. We havenât yet adopted a similar belief around
numbers and data literacy. We largely still believe that only a few
specially trained people can analyze and think with numbers.
-
- "Figure.NZ may be the first organization to assert that everyone can use
+
+ "Figure.NZ may be the first organization to assert that everyone can use
numbers in their thinking, and itâs built a technological platform along
with trust and a network of relationships to make that possible. What you
can see on Figure.NZ are tens of thousands of graphs, maps, and data.
-
+
âFigure.NZ sees this as a new kind of alphabet that can help people
analyze what they see around them. A way to be thoughtful and informed about
society. A means of engaging in conversation and shaping decision making
-that transcends personal experience. The long-term value and impact is
+that transcends personal experience. The long-term value and impact is
almost impossible to measure, but the goal is to help citizens gain
understanding and work together in more informed ways to shape the
future.â
- Lillian sees Figure.NZâs model as having global potential. But for now,
+ Lillian sees Figure.NZâs model as having global potential. But for now,
their focus is completely on making Figure.NZ work in New Zealand and to get
the ânetwork effectââ users dramatically increasing value for
themselves and for others through use of their service. Creative Commons is
core to making the network effect possible.
- Kapitel 12. Knowledge Unlatched| Â |
- Knowledge Unlatched is a not-for-profit community interest company that
+ Kapitel 12. Knowledge Unlatched| Â |
+ Knowledge Unlatched is a not-for-profit community interest company that
brings libraries together to pool funds to publish open-access
books. Founded in 2012 in the UK.
-
+
http://knowledgeunlatched.org
Revenue model: crowdfunding (specialized)
- Interview date: February 26, 2016
- Interviewee: Frances Pinter, founder
- | Â | | Â | --\begin{flushright}
+ Interview date: February 26, 2016
+ Interviewee: Frances Pinter, founder
+ | Â | | Â | --\begin{flushright}
\textit{
- Profile written by Paul Stacey
- }
+ Profile written by Paul Stacey
+ }
\end{flushright} |
- The serial entrepreneur Dr. Frances Pinter has been at the forefront of
+ The serial entrepreneur Dr. Frances Pinter has been at the forefront of
innovation in the publishing industry for nearly forty years. She founded
the UK-based Knowledge Unlatched with a mission to enable open access to
scholarly books. For Frances, the current scholarly- book-publishing system
@@ -3793,22 +3826,22 @@ is not working for anyone, and especially not for monographs in the
humanities and social sciences. Knowledge Unlatched is committed to changing
this and has been working with libraries to create a sustainable alternative
model for publishing scholarly books, sharing the cost of making monographs
-(released under a Creative Commons license) and savings costs over the long
+(released under a Creative Commons license) and savings costs over the long
term. Since its launch, Knowledge Unlatched has received several awards,
including the IFLA/Brill Open Access award in 2014 and a Curtin University
Commercial Innovation Award for Innovation in Education in 2015.
-
- Dr. Pinter has been in academic publishing most of her career. About ten
+
+ Dr. Pinter has been in academic publishing most of her career. About ten
years ago, she became acquainted with the Creative Commons founder Lawrence
Lessig and got interested in Creative Commons as a tool for both protecting
content online and distributing it free to users.
-
- Not long after, she ran a project in Africa convincing publishers in Uganda
+
+ Not long after, she ran a project in Africa convincing publishers in Uganda
and South Africa to put some of their content online for free using a
Creative Commons license and to see what happened to print sales. Sales went
up, not down.
-
- In 2008, Bloomsbury Academic, a new imprint of Bloomsbury Publishing in the
+
+ In 2008, Bloomsbury Academic, a new imprint of Bloomsbury Publishing in the
United Kingdom, appointed her its founding publisher in London. As part of
the launch, Frances convinced Bloomsbury to differentiate themselves by
putting out monographs for free online under a Creative Commons license
@@ -3821,29 +3854,29 @@ print would be lost. Surprisingly, Bloomsbury found that sales of the print
versions of these books were 10 to 20 percent higher than normal. Frances
found it intriguing that the Creative Commonsâlicensed free online book acts
as a marketing vehicle for the print format.
-
- Frances began to look at customer interest in the three forms of the book:
+
+ Frances began to look at customer interest in the three forms of the book:
1) the Creative Commonsâlicensed free online book in PDF form, 2) the
printed book, and 3) a digital version of the book on an aggregator platform
with enhanced features. She thought of this as the âice cream
modelâ: the free PDF was vanilla ice cream, the printed book was an
ice cream cone, and the enhanced e-book was an ice cream sundae.
-
- After a while, Frances had an epiphanyâwhat if there was a way to get
+
+ After a while, Frances had an epiphanyâwhat if there was a way to get
libraries to underwrite the costs of making these books up until theyâre
ready be printed, in other words, cover the fixed costs of getting to the
first digital copy? Then you could either bring down the cost of the printed
book, or do a whole bunch of interesting things with the printed book and
e-bookâthe ice cream cone or sundae part of the model.
-
- This idea is similar to the article-processing charge some open-access
-journals charge researchers to cover publishing costs. Frances began to
+
+ This idea is similar to the article-processing charge some open-access
+journals charge researchers to cover publishing costs. Frances began to
imagine a coalition of libraries paying for the prepress costsâa
âbook-processing chargeââand providing everyone in the world
with an open-access version of the books released under a Creative Commons
license.
-
- This idea really took hold in her mind. She didnât really have a name for it
+
+ This idea really took hold in her mind. She didnât really have a name for it
but began talking about it and making presentations to see if there was
interest. The more she talked about it, the more people agreed it had
appeal. She offered a bottle of champagne to anyone who could come up with a
@@ -3851,51 +3884,51 @@ good name for the idea. Her husband came up with Knowledge Unlatched, and
after two years of generating interest, she decided to move forward and
launch a community interest company (a UK term for not-for-profit social
enterprises) in 2012.
-
- She describes the business model in a paper called Knowledge Unlatched:
+
+ She describes the business model in a paper called Knowledge Unlatched:
Toward an Open and Networked Future for Academic Publishing:
-
- Publishers offer titles for sale reflecting origination costs only via
+
+ Publishers offer titles for sale reflecting origination costs only via
Knowledge Unlatched.
-
- Individual libraries select titles either as individual titles or as
+
+ Individual libraries select titles either as individual titles or as
collections (as they do from library suppliers now).
-
- Their selections are sent to Knowledge Unlatched specifying the titles to be
+
+ Their selections are sent to Knowledge Unlatched specifying the titles to be
purchased at the stated price(s).
-
- The price, called a Title Fee (set by publishers and negotiated by Knowledge
+
+ The price, called a Title Fee (set by publishers and negotiated by Knowledge
Unlatched), is paid to publishers to cover the fixed costs of publishing
each of the titles that were selected by a minimum number of libraries to
cover the Title Fee.
-
- Publishers make the selected titles available Open Access (on a Creative
+
+ Publishers make the selected titles available Open Access (on a Creative
Commons or similar open license) and are then paid the Title Fee which is
the total collected from the libraries.
-
- Publishers make print copies, e-Pub, and other digital versions of selected
+
+ Publishers make print copies, e-Pub, and other digital versions of selected
titles available to member libraries at a discount that reflects their
contribution to the Title Fee and incentivizes membership.
-
- The first round of this model resulted in a collection of twenty-eight
+
+ The first round of this model resulted in a collection of twenty-eight
current titles from thirteen recognized scholarly publishers being
unlatched. The target was to have two hundred libraries participate. The
cost of the package per library was capped at $1,680, which was an average
price of sixty dollars per book, but in the end they had nearly three
hundred libraries sharing the costs, and the price per book came in at just
under forty-three dollars.
-
- The open-access, Creative Commons versions of these twenty-eight books are
+
+ The open-access, Creative Commons versions of these twenty-eight books are
still available online. Most books have
been licensed with CC BY-NC or CC BY-NC-ND. Authors are the copyright
holder, not the publisher, and negotiate choice of license as part of the
-publishing agreement. Frances has found that most authors want to retain
-control over the commercial and remix use of their work. Publishers list the
-book in their catalogs, and the noncommercial restriction in the Creative
-Commons license ensures authors continue to get royalties on sales of
-physical copies.
-
- There are three cost variables to consider for each round: the overall cost
+publishing agreement. Frances has found that most authors want to retain
+control over the commercial and remix use of their work. Publishers list
+the book in their catalogs, and the noncommercial restriction in the
+Creative Commons license ensures authors continue to get royalties on sales
+of physical copies.
+
+ There are three cost variables to consider for each round: the overall cost
incurred by the publishers, total cost for each library to acquire all the
books, and the individual price per book. The fee publishers charge for each
title is a fixed charge, and Knowledge Unlatched calculates the total amount
@@ -3903,8 +3936,8 @@ for all the books being unlatched at a time. The cost of an order for each
library is capped at a maximum based on a minimum number of libraries
participating. If the number of participating libraries exceeds the minimum,
then the cost of the order and the price per book go down for each library.
-
- The second round, recently completed, unlatched seventy-eight books from
+
+ The second round, recently completed, unlatched seventy-eight books from
twenty-six publishers. For this round, Frances was experimenting with the
size and shape of the offerings. Books were being bundled into eight small
packages separated by subject (including Anthropology, History, Literature,
@@ -3915,58 +3948,58 @@ under fifty dollars. The unlatching process took roughly ten months. It
started with a call to publishers for titles, followed by having a library
task force select the titles, getting authorsâ permissions, getting the
libraries to pledge, billing the libraries, and finally, unlatching.
-
- The longest part of the whole process is getting libraries to pledge and
+
+ The longest part of the whole process is getting libraries to pledge and
commit funds. It takes about five months, as library buy-in has to fit
within acquisition cycles, budget cycles, and library-committee meetings.
-
- Knowledge Unlatched informs and recruits libraries through social media,
+
+ Knowledge Unlatched informs and recruits libraries through social media,
mailing lists, listservs, and library associations. Of the three hundred
libraries that participated in the first round, 80 percent are also
participating in the second round, and there are an additional eighty new
libraries taking part. Knowledge Unlatched is also working not just with
individual libraries but also library consortia, which has been getting even
more libraries involved.
-
- Knowledge Unlatched is scaling up, offering 150 new titles in the second
+
+ Knowledge Unlatched is scaling up, offering 150 new titles in the second
half of 2016. It will also offer backlist titles, and in 2017 will start to
make journals open access too.
-
- Knowledge Unlatched deliberately chose monographs as the initial type of
+
+ Knowledge Unlatched deliberately chose monographs as the initial type of
book to unlatch. Monographs are foundational and important, but also
problematic to keep going in the standard closed publishing model.
-
- The cost for the publisher to get to a first digital copy of a monograph is
+
+ The cost for the publisher to get to a first digital copy of a monograph is
$5,000 to $50,000. A good one costs in the $10,000 to $15,000
range. Monographs typically donât sell a lot of copies. A publisher who in
the past sold three thousand copies now typically sells only three
hundred. That makes unlatching monographs a low risk for publishers. For the
first round, it took five months to get thirteen publishers. For the second
round, it took one month to get twenty-six.
-
- Authors donât generally make a lot of royalties from monographs. Royalties
-range from zero dollars to 5 to 10 percent of receipts. The value to the
+
+ Authors donât generally make a lot of royalties from monographs. Royalties
+range from zero dollars to 5 to 10 percent of receipts. The value to the
author is the awareness it brings to them; when their book is being read, it
increases their reputation. Open access through unlatching generates many
more downloads and therefore awareness. (On the Knowledge Unlatched website,
you can find interviews with the twenty-eight round-one authors describing
their experience and the benefits of taking part.)
-
- Library budgets are constantly being squeezed, partly due to the inflation
+
+ Library budgets are constantly being squeezed, partly due to the inflation
of journal subscriptions. But even without budget constraints, academic
libraries are moving away from buying physical copies. An academic library
catalog entry is typically a URL to wherever the book is hosted. Or if they
have enough electronic storage space, they may download the digital file
into their digital repository. Only secondarily do they consider getting a
print book, and if they do, they buy it separately from the digital version.
-
- Knowledge Unlatched offers libraries a compelling economic argument. Many of
+
+ Knowledge Unlatched offers libraries a compelling economic argument. Many of
the participating libraries would have bought a copy of the monograph
anyway, but instead of paying $95 for a print copy or $150 for a digital
multiple-use copy, they pay $50 to unlatch. It costs them less, and it opens
the book to not just the participating libraries, but to the world.
-
- Not only do the economics make sense, but there is very strong alignment
+
+ Not only do the economics make sense, but there is very strong alignment
with library mandates. The participating libraries pay less than they would
have in the closed model, and the open-access book is available to all
libraries. While this means nonparticipating libraries could be seen as free
@@ -3975,11 +4008,11 @@ poor libraries and accept that part of their money should be spent to
support open access. âFree rideâ is more like community
responsibility. By the end of March 2016, the round-one books had been
downloaded nearly eighty thousand times in 175 countries.
-
- For publishers, authors, and librarians, the Knowledge Unlatched model for
+
+ For publishers, authors, and librarians, the Knowledge Unlatched model for
monographs is a win-win-win.
-
- In the first round, Knowledge Unlatchedâs overheads were covered by
+
+ In the first round, Knowledge Unlatchedâs overheads were covered by
grants. In the second round, they aim to demonstrate the model is
sustainable. Libraries and publishers will each pay a 7.5 percent service
charge that will go toward Knowledge Unlatchedâs running costs. With plans
@@ -3987,8 +4020,8 @@ to scale up in future rounds, Frances figures they can fully recover costs
when they are unlatching two hundred books at a time. Moving forward,
Knowledge Unlatched is making investments in technology and
processes. Future plans include unlatching journals and older books.
-
- Frances believes that Knowledge Unlatched is tapping into new ways of
+
+ Frances believes that Knowledge Unlatched is tapping into new ways of
valuing academic content. Itâs about considering how many people can find,
access, and use your content without pay barriers. Knowledge Unlatched taps
into the new possibilities and behaviors of the digital world. In the
@@ -3996,22 +4029,22 @@ Knowledge Unlatched model, the content-creation process is exactly the same
as it always has been, but the economics are different. For Frances,
Knowledge Unlatched is connected to the past but moving into the future, an
evolution rather than a revolution.
- Kapitel 13. Lumen Learning| Â |
- Lumen Learning is a for-profit company helping educational institutions use
+ Kapitel 13. Lumen Learning| Â |
+ Lumen Learning is a for-profit company helping educational institutions use
open educational resources (OER). Founded in 2013 in the U.S.
-
+
http://lumenlearning.com
Revenue model: charging for custom
services, grant funding
- Interview date: December 21, 2015
- Interviewees: David Wiley and Kim Thanos,
+ Interview date: December 21, 2015
+ Interviewees: David Wiley and Kim Thanos,
cofounders
- | Â | | Â | --\begin{flushright}
+ | Â | | Â | --\begin{flushright}
\textit{
- Profile written by Paul Stacey
- }
+ Profile written by Paul Stacey
+ }
\end{flushright} |
- Cofounded by open education visionary Dr. David Wiley and
+ Cofounded by open education visionary Dr. David Wiley and
education-technology strategist Kim Thanos, Lumen Learning is dedicated to
improving student success, bringing new ideas to pedagogy, and making
education more affordable by facilitating adoption of open educational
@@ -4019,7 +4052,7 @@ resources. In 2012, David and Kim partnered on a grant-funded project called
the Kaleidoscope Open Course Initiative. It involved a set of fully open general-education courses across
eight colleges predominantly serving at-risk students, with goals to
dramatically reduce textbook costs and collaborate to improve the courses to
-help students succeed. David and Kim exceeded those goals: the cost of the
+help students succeed. David and Kim exceeded those goals: the cost of the
required textbooks, replaced with OER, decreased to zero dollars, and
average student-success rates improved by 5 to 10 percent when compared with
previous years. After a second round of funding, a total of more than
@@ -4029,29 +4062,29 @@ on low-income students. David and Kim sought further funding from the Bill
and Melinda Gates Foundation, who asked them to define a plan to scale their
work in a financially sustainable way. That is when they decided to create
Lumen Learning.
-
- David and Kim went back and forth on whether it should be a nonprofit or
+
+ David and Kim went back and forth on whether it should be a nonprofit or
for- profit. A nonprofit would make it a more comfortable fit with the
education sector but meant theyâd be constantly fund-raising and seeking
grants from philanthropies. Also, grants usually require money to be used
in certain ways for specific deliverables. If you learn things along the way
that change how you think the grant money should be used, there often isnât
a lot of flexibility to do so.
-
- But as a for-profit, theyâd have to convince educational institutions to pay
+
+ But as a for-profit, theyâd have to convince educational institutions to pay
for what Lumen had to offer. On the positive side, theyâd have more control
over what to do with the revenue and investment money; they could make
decisions to invest the funds or use them differently based on the situation
and shifting opportunities. In the end, they chose the for-profit status,
with its different model for and approach to sustainability.
-
- Right from the start, David and Kim positioned Lumen Learning as a way to
+
+ Right from the start, David and Kim positioned Lumen Learning as a way to
help institutions engage in open educational resources, or OER. OER are
teaching, learning, and research materials, in all different media, that
reside in the public domain or are released under an open license that
permits free use and repurposing by others.
-
- Originally, Lumen did custom contracts for each institution. This was
+
+ Originally, Lumen did custom contracts for each institution. This was
complicated and challenging to manage. However, through that process
patterns emerged which allowed them to generalize a set of approaches and
offerings. Today they donât customize as much as they used to, and instead
@@ -4062,44 +4095,44 @@ disadvantaged learner populations has led Lumen to be very pragmatic; they
describe what they offer in quantitative termsâwith facts and figuresâand in
a way that is very student-focused. Lumen Learning helps colleges and
universitiesâ
-
- replace expensive textbooks in high-enrollment courses with OER;
-
- provide enrolled students day one access to Lumenâs fully customizable OER
+
+ replace expensive textbooks in high-enrollment courses with OER;
+
+ provide enrolled students day one access to Lumenâs fully customizable OER
course materials through the institutionâs learning-management system;
-
- measure improvements in student success with metrics like passing rates,
+
+ measure improvements in student success with metrics like passing rates,
persistence, and course completion; and
-
- collaborate with faculty to make ongoing improvements to OER based on
+
+ collaborate with faculty to make ongoing improvements to OER based on
student success research.
-
- Lumen has developed a suite of open, Creative Commonsâlicensed courseware in
+
+ Lumen has developed a suite of open, Creative Commonsâlicensed courseware in
more than sixty-five subjects. All courses are freely and publicly available
right off their website. They can be copied and used by others as long as
they provide attribution to Lumen Learning following the terms of the
Creative Commons license.
-
- Then there are three types of bundled services that cost money. One option,
+
+ Then there are three types of bundled services that cost money. One option,
which Lumen calls Candela courseware, offers integration with the
institutionâs learning-management system, technical and pedagogical support,
-and tracking of effectiveness. Candela courseware costs institutions ten
+and tracking of effectiveness. Candela courseware costs institutions ten
dollars per enrolled student.
-
- A second option is Waymaker, which offers the services of Candela but adds
+
+ A second option is Waymaker, which offers the services of Candela but adds
personalized learning technologies, such as study plans, automated messages,
and assessments, and helps instructors find and support the students who
-need it most. Waymaker courses cost twenty-five dollars per enrolled
+need it most. Waymaker courses cost twenty-five dollars per enrolled
student.
-
- The third and emerging line of business for Lumen is providing guidance and
+
+ The third and emerging line of business for Lumen is providing guidance and
support for institutions and state systems that are pursuing the development
of complete OER degrees. Often called Z-Degrees, these programs eliminate
textbook costs for students in all courses that make up the degree (both
-required and elective) by replacing commercial textbooks and other
-expensive resources with OER.
-
- Lumen generates revenue by charging for their value-added tools and services
+required and elective) by replacing commercial textbooks and other expensive
+resources with OER.
+
+ Lumen generates revenue by charging for their value-added tools and services
on top of their free courses, just as solar-power companies provide the
tools and services that help people use a free resourceâsunlight. And
Lumenâs business model focuses on getting the institutions to pay, not the
@@ -4109,11 +4142,11 @@ success. If students had to pay, Lumen would have to restrict access to
those who paid. Right from the start, their stance was that they would not
put their content behind a paywall. Lumen invests zero dollars in
technologies and processes for restricting accessâno digital rights
-management, no time bombs. While this has been a challenge from a
+management, no time bombs. While this has been a challenge from a
business-model perspective, from an open-access perspective, it has
generated immense goodwill in the community.
-
- In most cases, development of their courses is funded by the institution
+
+ In most cases, development of their courses is funded by the institution
Lumen has a contract with. When creating new courses, Lumen typically works
with the faculty who are teaching the new course. Theyâre often part of the
institution paying Lumen, but sometimes Lumen has to expand the team and
@@ -4121,23 +4154,23 @@ contract faculty from other institutions. First, the faculty identifies all
of the courseâs learning outcomes. Lumen then searches for, aggregates, and
curates the best OER they can find that addresses those learning needs,
which the faculty reviews.
-
- Sometimes faculty like the existing OER but not the way it is presented. The
+
+ Sometimes faculty like the existing OER but not the way it is presented. The
open licensing of existing OER allows Lumen to pick and choose from images,
videos, and other media to adapt and customize the course. Lumen creates new
content as they discover gaps in existing OER. Test-bank items and feedback
for students on their progress are areas where new content is frequently
-needed. Once a course is created, Lumen puts it on their platform with all
+needed. Once a course is created, Lumen puts it on their platform with all
the attributions and links to the original sources intact, and any of
Lumenâs new content is given an Attribution (CC BY) license.
-
- Using only OER made them experience firsthand how complex it could be to mix
+
+ Using only OER made them experience firsthand how complex it could be to mix
differently licensed work together. A common strategy with OER is to place
the Creative Commons license and attribution information in the websiteâs
footer, which stays the same for all pages. This doesnât quite work,
however, when mixing different OER together.
-
- Remixing OER often results in multiple attributions on every page of every
+
+ Remixing OER often results in multiple attributions on every page of every
courseâtext from one place, images from another, and videos from yet
another. Some are licensed as Attribution (CC BY), others as
Attribution-ShareAlike (CC BY-SA). If this information is put within the
@@ -4145,14 +4178,14 @@ text of the course, faculty members sometimes try to edit it and students
find it a distraction. Lumen dealt with this challenge by capturing the
license and attribution information as metadata, and getting it to show up
at the end of each page.
-
- Lumenâs commitment to open licensing and helping low-income students has led
+
+ Lumenâs commitment to open licensing and helping low-income students has led
to strong relationships with institutions, open-education enthusiasts, and
grant funders. People in their network generously increase the visibility of
Lumen through presentations, word of mouth, and referrals. Sometimes the
number of general inquiries exceed Lumenâs sales capacity.
-
- To manage demand and ensure the success of projects, their strategy is to be
+
+ To manage demand and ensure the success of projects, their strategy is to be
proactive and focus on whatâs going on in higher education in different
regions of the United States, watching out for things happening at the
system level in a way that fits with what Lumen offers. A great example is
@@ -4162,31 +4195,31 @@ system-level activity where Lumen is strategically focusing its
efforts. Where there are projects that would require a lot of resources on
Lumenâs part, they prioritize the ones that would impact the largest number
of students.
-
- As a business, Lumen is committed to openness. There are two core
+
+ As a business, Lumen is committed to openness. There are two core
nonnegotiables: Lumenâs use of CC BY, the most permissive of the Creative
Commons licenses, for all the materials it creates; and day-one access for
students. Having clear nonnegotiables allows them to then engage with the
education community to solve for other challenges and work with institutions
to identify new business models that achieve institution goals, while
keeping Lumen healthy.
-
- Openness also means that Lumenâs OER must necessarily be nonexclusive and
+
+ Openness also means that Lumenâs OER must necessarily be nonexclusive and
nonrivalrous. This represents several big challenges for the business model:
Why should you invest in creating something that people will be reluctant to
pay for? How do you ensure that the investment the diverse education
community makes in OER is not exploited? Lumen thinks we all need to be
clear about how we are benefiting from and contributing to the open
community.
-
- In the OER sector, there are examples of corporations, and even
+
+ In the OER sector, there are examples of corporations, and even
institutions, acting as free riders. Some simply take and use open resources
-without paying anything or contributing anything back. Others give back the
+without paying anything or contributing anything back. Others give back the
minimum amount so they can save face. Sustainability will require those
using open resources to give back an amount that seems fair or even give
back something that is generous.
-
- Lumen does track institutions accessing and using their free content. They
+
+ Lumen does track institutions accessing and using their free content. They
proactively contact those institutions, with an estimate of how much their
students are saving and encouraging them to switch to a paid model. Lumen
explains the advantages of the paid model: a more interactive relationship
@@ -4194,20 +4227,20 @@ with Lumen; integration with the institutionâs learning-management system; a
guarantee of support for faculty and students; and future sustainability
with funding supporting the evolution and improvement of the OER they are
using.
-
- Lumen works hard to be a good corporate citizen in the OER community. For
+
+ Lumen works hard to be a good corporate citizen in the OER community. For
David and Kim, a good corporate citizen gives more than they take, adds
unique value, and is very transparent about what they are taking from
community, what they are giving back, and what they are monetizing. Lumen
believes these are the building blocks of a sustainable model and strives
for a correct balance of all these factors.
-
- Licensing all the content they produce with CC BY is a key part of giving
+
+ Licensing all the content they produce with CC BY is a key part of giving
more value than they take. Theyâve also worked hard at finding the right
structure for their value-add and how to package it in a way that is
understandable and repeatable.
-
- As of the fall 2016 term, Lumen had eighty-six different open courses,
+
+ As of the fall 2016 term, Lumen had eighty-six different open courses,
working relationships with ninety-two institutions, and more than
seventy-five thousand student enrollments. Lumen received early start-up
funding from the Bill and Melinda Gates Foundation, the Hewlett Foundation,
@@ -4216,28 +4249,28 @@ investment funding. Over the last three years, Lumen has been roughly 60
percent grant funded, 20 percent revenue earned, and 20 percent funded with
angel capital. Going forward, their strategy is to replace grant funding
with revenue.
-
- In creating Lumen Learning, David and Kim say theyâve landed on solutions
+
+ In creating Lumen Learning, David and Kim say theyâve landed on solutions
they never imagined, and there is still a lot of learning taking place. For
them, open business models are an emerging field where we are all learning
through sharing. Their biggest recommendations for others wanting to pursue
the open model are to make your commitment to open resources public, let
people know where you stand, and donât back away from it. It really is about
trust.
- Kapitel 14. Jonathan Mann| Â |
- Jonathan Mann is a singer and songwriter who is most well known as the
+ Kapitel 14. Jonathan Mann| Â |
+ Jonathan Mann is a singer and songwriter who is most well known as the
âSong A Dayâ guy. Based in the U.S.
- http://jonathanmann.net and http://jonathanmann.bandcamp.com
- Revenue model: charging for custom
+ http://jonathanmann.net and http://jonathanmann.bandcamp.com
+ Revenue model: charging for custom
services, pay-what-you-want, crowdfunding (subscription-based), charging for
in-person version (speaking engagements and musical performances)
- Interview date: February 22, 2016
- | Â | | Â | --\begin{flushright}
+ Interview date: February 22, 2016
+ | Â | | Â | --\begin{flushright}
\textit{
- Profile written by Sarah Hinchliff Pearson
- }
+ Profile written by Sarah Hinchliff Pearson
+ }
\end{flushright} |
- Jonathan Mann thinks of his business model as
+ Jonathan Mann thinks of his business model as
âhustlingââseizing nearly every opportunity he sees to make
money. The bulk of his income comes from writing songs under commission for
people and companies, but he has a wide variety of income sources. He has
@@ -4246,8 +4279,8 @@ from YouTube and Bandcamp, where he posts all of his music. He gives paid
speaking engagements about creativity and motivation. He has been hired by
major conferences to write songs summarizing what speakers have said in the
conference sessions.
-
- His entrepreneurial spirit is coupled with a willingness to take action
+
+ His entrepreneurial spirit is coupled with a willingness to take action
quickly. A perfect illustration of his ability to act fast happened in 2010,
when he read that Apple was having a conference the following day to address
a snafu related to the iPhone 4. He decided to write and post a song about
@@ -4255,77 +4288,77 @@ the iPhone 4 that day, and the next day he got a call from the public
relations people at Apple wanting to use and promote his video at the Apple
conference. The song then went viral, and the experience landed him in Time
magazine.
-
- Jonathanâs successful âhustlingâ is also about old-fashioned
+
+ Jonathanâs successful âhustlingâ is also about old-fashioned
persistence. He is currently in his eighth straight year of writing one song
each day. He holds the Guinness World Record for consecutive daily
songwriting, and he is widely known as the âsong-a-day guy.â
-
- He fell into this role by, naturally, seizing a random opportunity a friend
+
+ He fell into this role by, naturally, seizing a random opportunity a friend
alerted him to seven years agoâan event called Fun-A-Day, where people are
supposed to create a piece of art every day for thirty-one days straight. He
was in need of a new project, so he decided to give it a try by writing and
-posting a song each day. He added a video component to the songs because he
+posting a song each day. He added a video component to the songs because he
knew people were more likely to watch video online than simply listening to
audio files.
-
- He had a really good time doing the thirty-one-day challenge, so he decided
+
+ He had a really good time doing the thirty-one-day challenge, so he decided
to see if he could continue it for one year. He never stopped. He has
written and posted a new song literally every day, seven days a week, since
he began the project in 2009. When he isnât writing songs that he is hired
to write by clients, he writes songs about whatever is on his mind that
day. His songs are catchy and mostly lighthearted, but they often contain at
-least an undercurrent of a deeper theme or meaning. Occasionally, they are
+least an undercurrent of a deeper theme or meaning. Occasionally, they are
extremely personal, like the song he cowrote with his exgirlfriend
announcing their breakup. Rain or shine, in sickness or health, Jonathan
posts and writes a song every day. If he is on a flight or otherwise
incapable of getting Internet access in time to meet the deadline, he will
prepare ahead and have someone else post the song for him.
-
- Over time, the song-a-day gig became the basis of his livelihood. In the
+
+ Over time, the song-a-day gig became the basis of his livelihood. In the
beginning, he made money one of two ways. The first was by entering a wide
variety of contests and winning a handful. The second was by having the
occasional song and video go some varying degree of viral, which would bring
more eyeballs and mean that there were more people wanting him to write
songs for them. Today he earns most of his money this way.
-
- His website explains his gig as âtaking any message, from the super
+
+ His website explains his gig as âtaking any message, from the super
simple to the totally complicated, and conveying that message through a
heartfelt, fun and quirky song.â He charges $500 to create a produced
song and $300 for an acoustic song. He has been hired for product launches,
weddings, conferences, and even Kickstarter campaigns like the one that
funded the production of this book.
-
- Jonathan canât recall when exactly he first learned about Creative Commons,
+
+ Jonathan canât recall when exactly he first learned about Creative Commons,
but he began applying CC licenses to his songs and videos as soon as he
discovered the option. âCC seems like such a no-brainer,â
Jonathan said. âI donât understand how anything else would make
sense. It seems like such an obvious thing that you would want your work to
be able to be shared.â
-
- His songs are essentially marketing for his services, so obviously the
+
+ His songs are essentially marketing for his services, so obviously the
further his songs spread, the better. Using CC licenses helps grease the
wheels, letting people know that Jonathan allows and encourages them to
-copy, interact with, and remix his music. âIf you let someone cover
+copy, interact with, and remix his music. âIf you let someone cover
your song or remix it or use parts of it, thatâs how music is supposed to
work,â Jonathan said. âThat is how music has worked since the
beginning of time. Our me-me, mine-mine culture has undermined that.â
-
- There are some people who cover his songs fairly regularly, and he would
+
+ There are some people who cover his songs fairly regularly, and he would
never shut that down. But he acknowledges there is a lot more he could do to
build community. âThere is all of this conventional wisdom about how
to build an audience online, and I generally think I donât do any of
that,â Jonathan said.
-
- He does have a fan community he cultivates on Bandcamp, but it isnât his
+
+ He does have a fan community he cultivates on Bandcamp, but it isnât his
major focus. âI do have a core audience that has stuck around for a
really long time, some even longer than Iâve been doing song-a-day,â
he said. âThere is also a transitional aspect that drop in and get
what they need and then move on.â Focusing less on community building
than other artists makes sense given Jonathanâs primary income source of
writing custom songs for clients.
-
- Jonathan recognizes what comes naturally to him and leverages those
+
+ Jonathan recognizes what comes naturally to him and leverages those
skills. Through the practice of daily songwriting, he realized he has a gift
for distilling complicated subjects into simple concepts and putting them to
music. In his song âHow to Choose a Master Password,â Jonathan
@@ -4334,8 +4367,8 @@ song. He was hired to write the song by a client who handed him a long
technical blog post from which to draw the information. Like a good (and
rare) journalist, he translated the technical concepts into something
understandable.
-
- When he is hired by a client to write a song, he first asks them to send a
+
+ When he is hired by a client to write a song, he first asks them to send a
list of talking points and other information they want to include in the
song. He puts all of that into a text file and starts moving things around,
cutting and pasting until the message starts to come together. The first
@@ -4347,13 +4380,13 @@ challenged and forced to take information that doesnât seem like it should
be sung about or doesnât seem like it lends itself to a song,â he
said. âI find that creative challenge really satisfying. I enjoy
getting lost in that process.â
-
- Jonathan admits that in an ideal world, he would exclusively write the music
+
+ Jonathan admits that in an ideal world, he would exclusively write the music
he wanted to write, rather than what clients hire him to write. But his
business model is about capitalizing on his strengths as a songwriter, and
he has found a way to keep it interesting for himself.
-
- Jonathan uses nearly every tool possible to make money from his art, but he
+
+ Jonathan uses nearly every tool possible to make money from his art, but he
does have lines he wonât cross. He wonât write songs about things he
fundamentally does not believe in, and there are times he has turned down
jobs on principle. He also wonât stray too much from his natural
@@ -4362,119 +4395,119 @@ want something super serious,â Jonathan said. âSuccess feels like itâs over,â he said. âTo a certain
+ âSuccess feels like itâs over,â he said. âTo a certain
extent, a creative person is not ever going to feel completely satisfied
because then so much of what drives you would be gone.â
- | Â |
- The Noun Project is a for-profit company offering an online platform to
+ | Â |
+ The Noun Project is a for-profit company offering an online platform to
display visual icons from a global network of designers. Founded in 2010 in
the U.S.
-
+
http://thenounproject.com
Revenue model: charging a transaction
fee, charging for custom services
- Interview date: October 6, 2015
- Interviewee: Edward Boatman, cofounder
- | Â | | Â | --\begin{flushright}
+ Interview date: October 6, 2015
+ Interviewee: Edward Boatman, cofounder
+ | Â | | Â | --\begin{flushright}
\textit{
- Profile written by Paul Stacey
- }
+ Profile written by Paul Stacey
+ }
\end{flushright} |
- The Noun Project creates and shares visual language. There are millions who
+ The Noun Project creates and shares visual language. There are millions who
use Noun Project symbols to simplify communication across borders,
languages, and cultures.
-
- The original idea for the Noun Project came to cofounder Edward Boatman
-while he was a student in architecture design school. Heâd always done a lot
-of sketches and started to draw what used to fascinate him as a child, like
-trains, sequoias, and bulldozers. He began thinking how great it would be
-if he had a simple image or small icon of every single object or concept on
-the planet.
-
- When Edward went on to work at an architecture firm, he had to make a lot of
+
+ The original idea for the Noun Project came to cofounder Edward Boatman
+while he was a student in architecture design school. Heâd always done a
+lot of sketches and started to draw what used to fascinate him as a child,
+like trains, sequoias, and bulldozers. He began thinking how great it would
+be if he had a simple image or small icon of every single object or concept
+on the planet.
+
+ When Edward went on to work at an architecture firm, he had to make a lot of
presentation boards for clients. But finding high-quality sources for
symbols and icons was difficult. He couldnât find any website that could
provide them. Perhaps his idea for creating a library of icons could
actually help people in similar situations.
-
- With his partner, Sofya Polyakov, he began collecting symbols for a website
+
+ With his partner, Sofya Polyakov, he began collecting symbols for a website
and writing a business plan. Inspiration came from the book Professor and
the Madman, which chronicles the use of crowdsourcing to create the Oxford
English Dictionary in 1870. Edward began to imagine crowdsourcing icons and
symbols from volunteer designers around the world.
-
- Then Edward got laid off during the recession, which turned out to be a huge
+
+ Then Edward got laid off during the recession, which turned out to be a huge
catalyst. He decided to give his idea a go, and in 2010 Edward and Sofya
launched the Noun Project with a Kickstarter campaign, back when Kickstarter
was in its infancy. They thought itâd
be a good way to introduce the global web community to their idea. Their
goal was to raise $1,500, but in twenty days they got over $14,000. They
realized their idea had the potential to be something much bigger.
-
- They created a platform where symbols and icons could be uploaded, and
+
+ They created a platform where symbols and icons could be uploaded, and
Edward began recruiting talented designers to contribute their designs, a
process he describes as a relatively easy sell. Lots of designers have old
drawings just gathering âdigital dustâ on their hard
drives. Itâs easy to convince them to finally share them with the world.
-
- The Noun Project currently has about seven thousand designers from around
+
+ The Noun Project currently has about seven thousand designers from around
the world. But not all submissions are accepted. The Noun Projectâs
quality-review process means that only the best works become part of its
collection. They make sure to provide encouraging, constructive feedback
whenever they reject a piece of work, which maintains and builds the
relationship they have with their global community of designers.
-
- Creative Commons is an integral part of the Noun Projectâs business model;
+
+ Creative Commons is an integral part of the Noun Projectâs business model;
this decision was inspired by Chris Andersonâs book Free: The Future of
Radical Price, which introduced Edward to the idea that you could build a
business model around free content.
-
- Edward knew he wanted to offer a free visual language while still providing
-some protection and reward for its contributors. There is a tension between
+
+ Edward knew he wanted to offer a free visual language while still providing
+some protection and reward for its contributors. There is a tension between
those two goals, but for Edward, Creative Commons licenses bring this
idealism and business opportunity together elegantly. He chose the
-Attribution (CC BY) license, which means people can download the icons for
+Attribution (CC BY) license, which means people can download the icons for
free and modify them and even use them commercially. The requirement to give
attribution to the original creator ensures that the creator can build a
reputation and get global recognition for their work. And if they simply
want to offer an icon that people can use without having to give credit,
they can use CC0 to put the work into the public domain.
-
- Noun Projectâs business model and means of generating revenue have evolved
+
+ Noun Projectâs business model and means of generating revenue have evolved
significantly over time. Their initial plan was to sell T-shirts with the
icons on it, which in retrospect Edward says was a horrible idea. They did
get a lot of email from people saying they loved the icons but asking if
they could pay a fee instead of giving attribution. Ad agencies (among
-others) wanted to keep marketing and presentation materials clean and free
+others) wanted to keep marketing and presentation materials clean and free
of attribution statements. For Edward, âThatâs when our lightbulb went
off.â
-
- They asked their global network of designers whether theyâd be open to
+
+ They asked their global network of designers whether theyâd be open to
receiving modest remuneration instead of attribution. Designers saw it as a
win-win. The idea that you could offer your designs for free and have a
global audience and maybe even make some money was pretty exciting for most
designers.
-
- The Noun Project first adopted a model whereby using an icon without giving
+
+ The Noun Project first adopted a model whereby using an icon without giving
attribution would cost $1.99 per icon. The modelâs second iteration added a
subscription component, where there would be a monthly fee to access a
certain number of iconsâten, fifty, a hundred, or five hundred. However,
@@ -4485,23 +4518,23 @@ users have unlimited access to the whole library for a flat monthly
fee. This service is called NounPro and costs $9.99 per month. Edward says
this model is working wellâgood for customers, good for creators, and good
for the platform.
-
- Customers then began asking for an application-programming interface (API),
+
+ Customers then began asking for an application-programming interface (API),
which would allow Noun Project icons and symbols to be directly accessed
-from within other applications. Edward knew that the icons and symbols would
-be valuable in a lot of different contexts and that they couldnât possibly
-know all of them in advance, so they built an API with a lot of
-flexibility. Knowing that most API applications would want to use the icons
+from within other applications. Edward knew that the icons and symbols
+would be valuable in a lot of different contexts and that they couldnât
+possibly know all of them in advance, so they built an API with a lot of
+flexibility. Knowing that most API applications would want to use the icons
without giving attribution, the API was built with the aim of charging for
its use. You can use whatâs called the âPlayground APIâ for
free to test how it integrates with your application, but full
implementation will require you to purchase the API Pro version.
-
- The Noun Project shares revenue with its international designers. For
+
+ The Noun Project shares revenue with its international designers. For
one-off purchases, the revenue is split 70 percent to the designer and 30
percent to Noun Project.
-
- The revenue from premium purchases (the subscription and API options) is
+
+ The revenue from premium purchases (the subscription and API options) is
split a little differently. At the end of each month, the total revenue from
subscriptions is divided by Noun Projectâs total number of downloads,
resulting in a rate per downloadâfor example, it could be $0.13 per download
@@ -4509,18 +4542,18 @@ for that month. For each download, the revenue is split 40 percent to the
designer and 60 percent to the Noun Project. (For API usage, itâs per use
instead of per download.) Noun Projectâs share is higher this time as itâs
providing more service to the user.
-
- The Noun Project tries to be completely transparent about their royalty
+
+ The Noun Project tries to be completely transparent about their royalty
structure. They tend to over
communicate with creators about it because building trust is the top
priority.
-
- For most creators, contributing to the Noun Project is not a full-time job
+
+ For most creators, contributing to the Noun Project is not a full-time job
but something they do on the side. Edward categorizes monthly earnings for
creators into three broad categories: enough money to buy beer; enough to
pay the bills; and most successful of all, enough to pay the rent.
-
- Recently the Noun Project launched a new app called Lingo. Designers can
+
+ Recently the Noun Project launched a new app called Lingo. Designers can
use Lingo to organize not just their Noun Project icons and symbols but also
their photos, illustrations, UX designs, et cetera. You simply drag any
visual item directly into Lingo to save it. Lingo also works for teams so
@@ -4528,85 +4561,85 @@ people can share visuals with each other and search across their combined
collections. Lingo is free for personal use. A pro version for $9.99 per
month lets you add guests. A team version for $49.95 per month allows up to
twenty-five team members to collaborate, and to view, use, edit, and add new
-assets to each otherâs collections. And if you subscribe to NounPro, you
-can access Noun Project from within Lingo.
-
- The Noun Project gives a ton of value away for free. A very large percentage
+assets to each otherâs collections. And if you subscribe to NounPro, you can
+access Noun Project from within Lingo.
+
+ The Noun Project gives a ton of value away for free. A very large percentage
of their roughly one million members have a free account, but there are
still lots of paid accounts coming from digital designers, advertising and
design agencies, educators, and others who need to communicate ideas
visually.
-
- For Edward, âcreating, sharing, and celebrating the worldâs visual
+
+ For Edward, âcreating, sharing, and celebrating the worldâs visual
languageâ is the most important aspect of what they do; itâs their
stated mission. It differentiates them from others who offer graphics,
icons, or clip art.
-
- Noun Project creators agree. When surveyed on why they participate in the
-Noun Project, this is how designers rank their reasons: 1) to support the
+
+ Noun Project creators agree. When surveyed on why they participate in the
+Noun Project, this is how designers rank their reasons: 1) to support the
Noun Project mission, 2) to promote their own personal brand, and 3) to
generate money. Itâs striking to see that money comes third, and mission,
first. If you want to engage a global network of contributors, itâs
important to have a mission beyond making money.
-
- In Edwardâs view, Creative Commons is central to their mission of sharing
+
+ In Edwardâs view, Creative Commons is central to their mission of sharing
and social good. Using Creative Commons makes the Noun Projectâs mission
genuine and has generated a lot of their initial traction and
credibility. CC comes with a built-in community of users and fans.
-
- Edward told us, âDonât underestimate the power of a passionate
+
+ Edward told us, âDonât underestimate the power of a passionate
community around your product or your business. They are going to go to bat
for you when youâre getting ripped in the media. If you go down the road of
choosing to work with Creative Commons, youâre taking the first step to
building a great community and tapping into a really awesome community that
comes with it. But you need to continue to foster that community through
other initiatives and continue to nurture it.â
-
- The Noun Project nurtures their creatorsâ second motivationâpromoting a
+
+ The Noun Project nurtures their creatorsâ second motivationâpromoting a
personal brandâby connecting every icon and symbol to the creatorâs name and
profile page; each profile features their full collection. Users can also
search the icons by the creatorâs name.
-
- The Noun Project also builds community through Iconathonsâhackathons for
+
+ The Noun Project also builds community through Iconathonsâhackathons for
icons. In partnership with a sponsoring
organization, the Noun Project comes up with a theme (e.g., sustainable
energy, food bank, guerrilla gardening, human rights) and a list of icons
-that are needed, which designers are invited to create at the event. The
+that are needed, which designers are invited to create at the event. The
results are vectorized, and added to the Noun Project using CC0 so they can
be used by anyone for free.
-
- Providing a free version of their product that satisfies a lot of their
+
+ Providing a free version of their product that satisfies a lot of their
customersâ needs has actually enabled the Noun Project to build the paid
version, using a service-oriented model. The Noun Projectâs success lies in
creating services and content that are a strategic mix of free and paid
while staying true to their missionâcreating, sharing, and celebrating the
worldâs visual language. Integrating Creative Commons into their model has
been key to that goal.
- Kapitel 16. Open Data Institute| Â |
- The Open Data Institute is an independent nonprofit that connects, equips,
+ Kapitel 16. Open Data Institute| Â |
+ The Open Data Institute is an independent nonprofit that connects, equips,
and inspires people around the world to innovate with data. Founded in 2012
in the UK.
-
+
http://theodi.org
Revenue model: grant and government
funding, charging for custom services, donations
- Interview date: November 11, 2015
- Interviewee: Jeni Tennison, technical
+ Interview date: November 11, 2015
+ Interviewee: Jeni Tennison, technical
director
- | Â | | Â | --\begin{flushright}
+ | Â | | Â | --\begin{flushright}
\textit{
- Profile written by Paul Stacey
- }
+ Profile written by Paul Stacey
+ }
\end{flushright} |
- Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
+ Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
London-based Open Data Institute (ODI) offers data-related training, events,
consulting services, and research. For ODI, Creative Commons licenses are
central to making their own business model and their customersâ open. CC BY
(Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the
-public domain) all play a critical role in ODIâs mission to help people
+public domain) all play a critical role in ODIâs mission to help people
around the world innovate with data.
-
- Data underpins planning and decision making across all aspects of
+
+ Data underpins planning and decision making across all aspects of
society. Weather data helps farmers know when to plant their crops, flight
time data from airplane companies helps us plan our travel, data on local
housing informs city planning. When this data is not only accurate and
@@ -4615,52 +4648,52 @@ can be a resource businesses use to build new products and services. It can
help governments measure progress, improve efficiency, and target
investments. It can help citizens improve their lives by better
understanding what is happening around them.
-
- The Open Data Instituteâs 2012â17 business plan starts out by describing its
+
+ The Open Data Instituteâs 2012â17 business plan starts out by describing its
vision to establish itself as a world-leading center and to research and be
innovative with the opportunities created by the UK governmentâs open data
policy. (The government was an early pioneer in open policy and open-data
-initiatives.) It goes on to say that the ODI wants toâ
-
- demonstrate the commercial value of open government data and how open-data
+initiatives.) It goes on to say that the ODI wants toâ
+
+ demonstrate the commercial value of open government data and how open-data
policies affect this;
-
- develop the economic benefits case and business models for open data;
-
- help UK businesses use open data; and
-
- show how open data can improve public services.
-
- ODI is very explicit about how it wants to make open business models, and
+
+ develop the economic benefits case and business models for open data;
+
+ help UK businesses use open data; and
+
+ show how open data can improve public services.
+
+ ODI is very explicit about how it wants to make open business models, and
defining what this means. Jeni Tennison, ODIâs technical director, puts it
this way: âThere is a whole ecosystem of openâopen-source software,
open government, open-access researchâand a whole ecosystem of data. ODIâs
work cuts across both, with an emphasis on where they overlapâwith open
data.â ODIâs particular focus is to show open dataâs potential for
revenue.
-
- As an independent nonprofit, ODI secured £10 million over five years from
+
+ As an independent nonprofit, ODI secured £10 million over five years from
the UK government via Innovate UK, an agency that promotes innovation in
science and technology. For this funding, ODI has to secure matching funds
from other sources, some of which were met through a $4.75-million
investment from the Omidyar Network.
-
- Jeni started out as a developer and technical architect for data.gov.uk, the
-UK governmentâs pioneering open-data initiative. She helped make data sets
+
+ Jeni started out as a developer and technical architect for data.gov.uk, the
+UK governmentâs pioneering open-data initiative. She helped make data sets
from government departments available as open data. She joined ODI in 2012
when it was just starting up, as one of six people. It now has a staff of
about sixty.
-
- ODI strives to have half its annual budget come from the core UK government
+
+ ODI strives to have half its annual budget come from the core UK government
and Omidyar grants, and the other half from project-based research and
commercial work. In Jeniâs view, having this balance of revenue sources
establishes some stability, but also keeps them motivated to go out and
generate these matching funds in response to market needs.
-
- On the commercial side, ODI generates funding through memberships, training,
+
+ On the commercial side, ODI generates funding through memberships, training,
and advisory services.
-
- You can join the ODI as an individual or commercial member. Individual
+
+ You can join the ODI as an individual or commercial member. Individual
membership is pay-what-you-can, with options ranging from £1 to
£100. Members receive a newsletter and related communications and a discount
on ODI training courses and the annual summit, and they can display an
@@ -4670,8 +4703,8 @@ and corporations and government organizations at £2,200 a year. Commercial
members have greater opportunities to connect and collaborate, explore the
benefits of open data, and unlock new business opportunities. (All members
are listed on their website.)
-
- ODI provides standardized open data training courses in which anyone can
+
+ ODI provides standardized open data training courses in which anyone can
enroll. The initial idea was to offer an intensive and academically oriented
diploma in open data, but it quickly became clear there was no market for
that. Instead, they offered a five-day-long public training course, which
@@ -4681,53 +4714,53 @@ for participation. Jeni says, âMost of
pay donât know they need it. Most who know they need it canât pay.â
Public-sector organizations sometimes give vouchers to their employees so
they can attend as a form of professional development.
-
- ODI customizes training for clients as well, for which there is more
+
+ ODI customizes training for clients as well, for which there is more
demand. Custom training usually emerges through an established relationship
with an organization. The training program is based on a definition of
open-data knowledge as applicable to the organization and on the skills
needed by their high-level executives, management, and technical staff. The
training tends to generate high interest and commitment.
-
- Education about open data is also a part of ODIâs annual summit event, where
+
+ Education about open data is also a part of ODIâs annual summit event, where
curated presentations and speakers showcase the work of ODI and its members
across the entire ecosystem. Tickets to the summit are available to the
public, and hundreds of people and organizations attend and participate. In
2014, there were four thematic tracks and over 750 attendees.
-
- In addition to memberships and training, ODI provides advisory services to
+
+ In addition to memberships and training, ODI provides advisory services to
help with technical-data support, technology development, change management,
policies, and other areas. ODI has advised large commercial organizations,
small businesses, and international governments; the focus at the moment is
on government, but ODI is working to shift more toward commercial
organizations.
-
- On the commercial side, the following value propositions seem to resonate:
-
- Data-driven insights. Businesses need data from outside their business to
+
+ On the commercial side, the following value propositions seem to resonate:
+
+ Data-driven insights. Businesses need data from outside their business to
get more insight. Businesses can generate value and more effectively pursue
their own goals if they open up their own data too. Big data is a hot topic.
-
- Open innovation. Many large-scale enterprises are aware they donât innovate
+
+ Open innovation. Many large-scale enterprises are aware they donât innovate
very well. One way they can innovate is to open up their data. ODI
encourages them to do so even if it exposes problems and challenges. The key
is to invite other people to help while still maintaining organizational
autonomy.
-
- Corporate social responsibility. While this resonates with businesses, ODI
+
+ Corporate social responsibility. While this resonates with businesses, ODI
cautions against having it be the sole reason for making data open. If a
business is just thinking about open data as a way to be transparent and
accountable, they can miss out on efficiencies and opportunities.
-
- During their early years, ODI wanted to focus solely on the United
+
+ During their early years, ODI wanted to focus solely on the United
Kingdom. But in their first year, large delegations of government visitors
from over fifty countries wanted to learn more about the UK governmentâs
open-data practices and how ODI saw that translating into economic
value. They were contracted as a service provider to international
governments, which prompted a need to set up international ODI
ânodes.â
-
- Nodes are franchises of the ODI at a regional or city level. Hosted by
+
+ Nodes are franchises of the ODI at a regional or city level. Hosted by
existing (for-profit or not-for-profit) organizations, they operate locally
but are part of the global network. Each ODI node adopts the charter, a set
of guiding principles and rules under which ODI operates. They develop and
@@ -4736,35 +4769,35 @@ events, and communicate open-data stories from their part of the
world. There are twenty-seven different nodes across nineteen countries. ODI
nodes are charged a small fee to be part of the network and to use the
brand.
-
- ODI also runs programs to help start-ups in the UK and across Europe develop
+
+ ODI also runs programs to help start-ups in the UK and across Europe develop
a sustainable business around open data, offering mentoring, advice,
training, and even office space.
-
- A big part of ODIâs business model revolves around community
+
+ A big part of ODIâs business model revolves around community
building. Memberships, training, summits, consulting services, nodes, and
start-up programs create an ever-growing network of open-data users and
leaders. (In fact, ODI even operates something called an Open Data Leaders
Network.) For ODI, community is key to success. They devote significant time
and effort to build it, not just online but through face-to-face events.
-
- ODI has created an online tool that organizations can use to assess the
+
+ ODI has created an online tool that organizations can use to assess the
legal, practical, technical, and social aspects of their open data. If it is
of high quality, the organization can earn ODIâs Open Data Certificate, a
globally recognized mark that signals that their open data is useful,
reliable, accessible, discoverable, and supported.
-
- Separate from commercial activities, the ODI generates funding through
+
+ Separate from commercial activities, the ODI generates funding through
research grants. Research includes looking at evidence on the impact of open
data, development of open-data tools and standards, and how to deploy open
data at scale.
-
- Creative Commons 4.0 licenses cover database rights and ODI recommends CC
+
+ Creative Commons 4.0 licenses cover database rights and ODI recommends CC
BY, CC BY-SA, and CC0 for data releases. ODI encourages publishers of data
to use Creative Commons licenses rather than creating new âopen
licensesâ of their own.
-
- For ODI, open is at the heart of what they do. They also release any
+
+ For ODI, open is at the heart of what they do. They also release any
software code they produce under open-source-software licenses, and
publications and reports under CC BY or CC BY-SA licenses. ODIâs mission is
to connect and equip people around the world so they can innovate with
@@ -4778,48 +4811,48 @@ use. Producing open content, data, and source code helps establish
credibility and creates leads for the paid services that they
offer. According to Jeni, âThe biggest lesson we have learned is that
it is completely possible to be open, get customers, and make money.â
-
- To serve as evidence of a successful open business model and return on
+
+ To serve as evidence of a successful open business model and return on
investment, ODI has a public dashboard of key performance indicators. Here
are a few metrics as of April 27, 2016:
- | Â |
- Opendesk is a for-profit company offering an online platform that connects
+ | Â |
+ Opendesk is a for-profit company offering an online platform that connects
furniture designers around the world with customers and local makers who
bring the designs to life. Founded in 2014 in the UK.
-
+
http://www.opendesk.cc
Revenue model: charging a transaction fee
- Interview date: November 4, 2015
- Interviewees: Nick Ierodiaconou and Joni
+ Interview date: November 4, 2015
+ Interviewees: Nick Ierodiaconou and Joni
Steiner, cofounders
- | Â | | Â | --\begin{flushright}
+ | Â | | Â | --\begin{flushright}
\textit{
- Profile written by Paul Stacey
- }
+ Profile written by Paul Stacey
+ }
\end{flushright} |
- Opendesk is an online platform that connects furniture designers around the
+ Opendesk is an online platform that connects furniture designers around the
world not just with customers but also with local registered makers who
bring the designs to life. Opendesk and the designer receive a portion of
every sale that is made by a maker.
-
- Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as
+
+ Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as
architects together. They also made goods. Their first client was Mint
Digital, who had an interest in open licensing. Nick and Joni were exploring
digital fabrication, and Mintâs interest in open licensing got them to
@@ -4830,16 +4863,16 @@ not the goods.â They created the design using software, put it u
an open license, and had it manufactured locally near the client. This was
the start of the idea for Opendesk. The idea for Wikihouseâanother open
project dedicated to accessible housing for allâstarted as discussions
-around the same table. The two projects ultimately went on separate paths,
+around the same table. The two projects ultimately went on separate paths,
with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit
company.
-
- When Nick and Joni set out to create Opendesk, there were a lot of questions
-about the viability of distributed manufacturing. No one was doing it in a
+
+ When Nick and Joni set out to create Opendesk, there were a lot of questions
+about the viability of distributed manufacturing. No one was doing it in a
way that was even close to realistic or competitive. The design community
had the intent, but fulfilling this vision was still a long way away.
-
- And now this sector is emerging, and Nick and Joni are highly interested in
+
+ And now this sector is emerging, and Nick and Joni are highly interested in
the commercialization aspects of it. As part of coming up with a business
model, they began investigating intellectual property and licensing
options. It was a thorny space, especially for designs. Just what aspect of
@@ -4847,215 +4880,215 @@ a design is copyrightable? What is patentable? How can allowing for digital
sharing and distribution be balanced against the designerâs desire to still
hold ownership? In the end, they decided there was no need to reinvent the
wheel and settled on using Creative Commons.
-
- When designing the Opendesk system, they had two goals. They wanted anyone,
+
+ When designing the Opendesk system, they had two goals. They wanted anyone,
anywhere in the world, to be able to download designs so that they could be
made locally, and they wanted a viable model that benefited designers when
their designs were sold. Coming up with a business model was going to be
complex.
-
- They gave a lot of thought to three anglesâthe potential for social sharing,
+
+ They gave a lot of thought to three anglesâthe potential for social sharing,
allowing designers to choose their license, and the impact these choices
would have on the business model.
-
- In support of social sharing, Opendesk actively advocates for (but doesnât
+
+ In support of social sharing, Opendesk actively advocates for (but doesnât
demand) open licensing. And Nick and Joni are agnostic about which Creative
Commons license is used; itâs up to the designer. They can be proprietary or
choose from the full suite of Creative Commons licenses, deciding for
themselves how open or closed they want to be.
-
- For the most part, designers love the idea of sharing content. They
+
+ For the most part, designers love the idea of sharing content. They
understand that you get positive feedback when youâre attributed, what Nick
and Joni called âreputational glow.â And Opendesk does an
awesome job profiling the designers.
-
- While designers are largely OK with personal sharing, there is a concern
+
+ While designers are largely OK with personal sharing, there is a concern
that someone will take the design and manufacture the furniture in bulk,
-with the designer not getting any benefits. So most Opendesk designers
+with the designer not getting any benefits. So most Opendesk designers
choose the Attribution-NonCommercial license (CC BY-NC).
-
- Anyone can download a design and make it themselves, provided itâs for
-noncommercial useâââand there have been many, many downloads. Or users can
+
+ Anyone can download a design and make it themselves, provided itâs for
+noncommercial useâââand there have been many, many downloads. Or users can
buy the product from Opendesk, or from a registered maker in Opendeskâs
-network, for on-demand personal fabrication. The network of Opendesk makers
+network, for on-demand personal fabrication. The network of Opendesk makers
currently is made up of those who do digital fabrication using a
computer-controlled CNC (Computer Numeric Control) machining device that
cuts shapes out of wooden sheets according to the specifications in the
design file.
-
- Makers benefit from being part of Opendeskâs network. Making furniture for
+
+ Makers benefit from being part of Opendeskâs network. Making furniture for
local customers is paid work, and Opendesk generates business for them. Joni
said, âFinding a whole network and community of makers was pretty easy
because we built a site where people could write in about their
-capabilities. Building the community by learning from the maker community is
-how we have moved forward.â Opendesk now has relationships with
+capabilities. Building the community by learning from the maker community
+is how we have moved forward.â Opendesk now has relationships with
hundreds of makers in countries all around the world.
-
- The makers are a critical part of the Opendesk business model. Their model
+
+ The makers are a critical part of the Opendesk business model. Their model
builds off the makersâ quotes. Hereâs how itâs expressed on Opendeskâs
website:
-
- When customers buy an Opendesk product directly from a registered maker,
+
+ When customers buy an Opendesk product directly from a registered maker,
they pay:
-
- the manufacturing cost as set by the maker (this covers material and labour
+
+ the manufacturing cost as set by the maker (this covers material and labour
costs for the product to be manufactured and any extra assembly costs
charged by the maker)
-
- a design fee for the designer (a design fee that is paid to the designer
+
+ a design fee for the designer (a design fee that is paid to the designer
every time their design is used)
-
- a percentage fee to the Opendesk platform (this supports the infrastructure
+
+ a percentage fee to the Opendesk platform (this supports the infrastructure
and ongoing development of the platform that helps us build out our
marketplace)
-
- a percentage fee to the channel through which the sale is made (at the
+
+ a percentage fee to the channel through which the sale is made (at the
moment this is Opendesk, but in the future we aim to open this up to
third-party sellers who can sell Opendesk products through their own
channelsâthis covers sales and marketing fees for the relevant channel)
-
- a local delivery service charge (the delivery is typically charged by the
+
+ a local delivery service charge (the delivery is typically charged by the
maker, but in some cases may be paid to a third-party delivery partner)
-
- charges for any additional services the customer chooses, such as on-site
+
+ charges for any additional services the customer chooses, such as on-site
assembly (additional services are discretionaryâin many cases makers will be
happy to quote for assembly on-site and designers may offer bespoke design
options)
-
- local sales taxes (variable by customer and maker location)
-
- They then go into detail how makersâ quotes are created:
-
- When a customer wants to buy an Opendesk . . . they are provided with a
+
+ local sales taxes (variable by customer and maker location)
+
+ They then go into detail how makersâ quotes are created:
+
+ When a customer wants to buy an Opendesk . . . they are provided with a
transparent breakdown of fees including the manufacturing cost, design fee,
Opendesk platform fee and channel fees. If a customer opts to buy by getting
in touch directly with a registered local maker using a downloaded Opendesk
file, the maker is responsible for ensuring the design fee, Opendesk
platform fee and channel fees are included in any quote at the time of
-sale. Percentage fees are always based on the underlying manufacturing cost
+sale. Percentage fees are always based on the underlying manufacturing cost
and are typically apportioned as follows:
-
- manufacturing cost: fabrication, finishing and any other costs as set by the
+
+ manufacturing cost: fabrication, finishing and any other costs as set by the
maker (excluding any services like delivery or on-site assembly)
-
- design fee: 8 percent of the manufacturing cost
-
- platform fee: 12 percent of the manufacturing cost
-
- channel fee: 18 percent of the manufacturing cost
-
- sales tax: as applicable (depends on product and location)
-
- Opendesk shares revenue with their community of designers. According to
+
+ design fee: 8 percent of the manufacturing cost
+
+ platform fee: 12 percent of the manufacturing cost
+
+ channel fee: 18 percent of the manufacturing cost
+
+ sales tax: as applicable (depends on product and location)
+
+ Opendesk shares revenue with their community of designers. According to
Nick and Joni, a typical designer fee is around 2.5 percent, so Opendeskâs 8
percent is more generous, and providing a higher value to the designer.
-
- The Opendesk website features stories of designers and makers. Denis Fuzii
+
+ The Opendesk website features stories of designers and makers. Denis Fuzii
published the design for the Valovi Chair from his studio in São Paulo. His
designs have been downloaded over five thousand times in ninety-five
countries. I.J. CNC Services is Ian Jinks, a professional maker based in the
-United Kingdom. Opendesk now makes up a large proportion of his business.
-
- To manage resources and remain effective, Opendesk has so far focused on a
+United Kingdom. Opendesk now makes up a large proportion of his business.
+
+ To manage resources and remain effective, Opendesk has so far focused on a
very narrow nicheâprimarily office furniture of a certain simple aesthetic,
which uses only one type of material and one manufacturing technique. This
allows them to be more strategic and more disruptive in the market, by
getting things to market quickly with competitive prices. It also reflects
their vision of creating reproducible and functional pieces.
-
- On their website, Opendesk describes what they do as âopen
+
+ On their website, Opendesk describes what they do as âopen
makingâ: âDesigners get a global distribution channel. Makers
get profitable jobs and new customers. You get designer products without the
designer price tag, a more social, eco-friendly alternative to
mass-production and an affordable way to buy custom-made products.â
-
- Nick and Joni say that customers like the fact that the furniture has a
+
+ Nick and Joni say that customers like the fact that the furniture has a
known provenance. People really like that their furniture was designed by a
certain international designer but was made by a maker in their local
community; itâs a great story to tell. It certainly sets apart Opendesk
furniture from the usual mass-produced items from a store.
-
- Nick and Joni are taking a community-based approach to define and evolve
-Opendesk and the âopen makingâ business model. Theyâre
-engaging thought leaders and practitioners to define this new movement. They
-have a separate Open Making site, which includes a manifesto, a field guide,
-and an invitation to get involved in the Open Making community. People can submit ideas and discuss the principles
+
+ Nick and Joni are taking a community-based approach to define and evolve
+Opendesk and the âopen makingâ business model. Theyâre engaging
+thought leaders and practitioners to define this new movement. They have a
+separate Open Making site, which includes a manifesto, a field guide, and an
+invitation to get involved in the Open Making community. People can submit ideas and discuss the principles
and business practices theyâd like to see used.
-
- Nick and Joni talked a lot with us about intellectual property (IP) and
+
+ Nick and Joni talked a lot with us about intellectual property (IP) and
commercialization. Many of their designers fear the idea that someone could
take one of their design files and make and sell infinite number of pieces
of furniture with it. As a consequence, most Opendesk designers choose the
Attribution-NonCommercial license (CC BY-NC).
-
- Opendesk established a set of principles for what their community considers
+
+ Opendesk established a set of principles for what their community considers
commercial and noncommercial use. Their website states:
-
- It is unambiguously commercial use when anyone:
-
- It follows from this that noncommercial use is when you make an Opendesk
+
+ It is unambiguously commercial use when anyone:
+
+ It follows from this that noncommercial use is when you make an Opendesk
yourself, with no intention to gain commercial advantage or monetary
compensation. For example, these qualify as noncommercial:
-
- you are an individual with your own CNC machine, or access to a shared CNC
+
+ you are an individual with your own CNC machine, or access to a shared CNC
machine, and will personally cut and make a few pieces of furniture yourself
-
- you are a student (or teacher) and you use the design files for educational
+
+ you are a student (or teacher) and you use the design files for educational
purposes or training (and do not intend to sell the resulting pieces)
-
- you work for a charity and get furniture cut by volunteers, or by employees
+
+ you work for a charity and get furniture cut by volunteers, or by employees
at a fab lab or maker space
-
- Whether or not people technically are doing things that implicate IP, Nick
+
+ Whether or not people technically are doing things that implicate IP, Nick
and Joni have found that people tend to comply with the wishes of creators
-out of a sense of fairness. They have found that behavioral economics can
+out of a sense of fairness. They have found that behavioral economics can
replace some of the thorny legal issues. In their business model, Nick and
Joni are trying to suspend the focus on IP and build an open business model
that works for all stakeholdersâdesigners, channels, manufacturers, and
customers. For them, the value Opendesk generates hangs off
âopen,â not IP.
-
- The mission of Opendesk is about relocalizing manufacturing, which changes
+
+ The mission of Opendesk is about relocalizing manufacturing, which changes
the way we think about how goods are made. Commercialization is integral to
their mission, and theyâve begun to focus on success metrics that track how
many makers and designers are engaged through Opendesk in revenue-making
work.
-
- As a global platform for local making, Opendeskâs business model has been
+
+ As a global platform for local making, Opendeskâs business model has been
built on honesty, transparency, and inclusivity. As Nick and Joni describe
it, they put ideas out there that get traction and then have faith in
people.
- | Â |
- OpenStax is a nonprofit that provides free, openly licensed textbooks for
+ | Â |
+ OpenStax is a nonprofit that provides free, openly licensed textbooks for
high-enrollment introductory college courses and Advanced Placement
courses. Founded in 2012 in the U.S.
-
+
http://www.openstaxcollege.org
Revenue model: grant funding, charging
for custom services, charging for physical copies (textbook sales)
- Interview date: December 16, 2015
- Interviewee: David Harris,
+ Interview date: December 16, 2015
+ Interviewee: David Harris,
editor-in-chief
- | Â | | Â | --\begin{flushright}
+ | Â | | Â | --\begin{flushright}
\textit{
- Profile written by Paul Stacey
- }
+ Profile written by Paul Stacey
+ }
\end{flushright} |
- OpenStax is an extension of a program called Connexions, which was started
-in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of
+ OpenStax is an extension of a program called Connexions, which was started
+in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of
Electrical and Computer Engineering at Rice University in Houston,
Texas. Frustrated by the limitations of traditional textbooks and courses,
Dr. Baraniuk wanted to provide authors and learners a way to share and
-freely adapt educational materials such as courses, books, and
-reports. Today, Connexions (now called OpenStax CNX) is one of the worldâs
-best libraries of customizable educational materials, all licensed with
-Creative Commons and available to anyone, anywhere, anytimeâfor free.
-
- In 2008, while in a senior leadership role at WebAssign and looking at ways
+freely adapt educational materials such as courses, books, and reports.
+Today, Connexions (now called OpenStax CNX) is one of the worldâs best
+libraries of customizable educational materials, all licensed with Creative
+Commons and available to anyone, anywhere, anytimeâfor free.
+
+ In 2008, while in a senior leadership role at WebAssign and looking at ways
to reduce the risk that came with relying on publishers, David Harris began
investigating open educational resources (OER) and discovered Connexions. A
year and a half later, Connexions received a grant to help grow the use of
@@ -5063,8 +5096,8 @@ OER so that it could meet the needs of students who couldnât afford
textbooks. David came on board to spearhead this effort. Connexions became
OpenStax CNX; the program to create open textbooks became OpenStax College,
now simply called OpenStax.
-
- David brought with him a deep understanding of the best practices of
+
+ David brought with him a deep understanding of the best practices of
publishing along with where publishers have inefficiencies. In Davidâs view,
peer review and high standards for quality are critically important if you
want to scale easily. Books have to have logical scope and sequence, they
@@ -5073,94 +5106,94 @@ find. The working hypothesis for the launch of OpenStax was to
professionally produce a turnkey textbook by investing effort up front, with
the expectation that this would lead to rapid growth through easy downstream
adoptions by faculty and students.
-
- In 2012, OpenStax College launched as a nonprofit with the aim of producing
+
+ In 2012, OpenStax College launched as a nonprofit with the aim of producing
high-quality, peer-reviewed full-color textbooks that would be available for
free for the twenty-five most heavily attended college courses in the
nation. Today they are fast approaching that number. There is data that
proves the success of their original hypothesis on how many students they
could help and how much money they could help save. Professionally produced content scales rapidly. All
with no sales force!
-
- OpenStax textbooks are all Attribution (CC BY) licensed, and each textbook
-is available as a PDF, an e-book, or web pages. Those who want a physical
+
+ OpenStax textbooks are all Attribution (CC BY) licensed, and each textbook
+is available as a PDF, an e-book, or web pages. Those who want a physical
copy can buy one for an affordable price. Given the cost of education and
student debt in North America, free or very low-cost textbooks are very
-appealing. OpenStax encourages students to talk to their professor and
+appealing. OpenStax encourages students to talk to their professor and
librarians about these textbooks and to advocate for their use.
-
- Teachers are invited to try out a single chapter from one of the textbooks
+
+ Teachers are invited to try out a single chapter from one of the textbooks
with students. If that goes well, theyâre encouraged to adopt the entire
book. They can simply paste a URL into their course syllabus, for free and
unlimited access. And with the CC BY license, teachers are free to delete
chapters, make changes, and customize any book to fit their needs.
-
- Any teacher can post corrections, suggest examples for difficult concepts,
+
+ Any teacher can post corrections, suggest examples for difficult concepts,
or volunteer as an editor or author. As many teachers also want supplemental
material to accompany a textbook, OpenStax also provides slide
presentations, test banks, answer keys, and so on.
-
- Institutions can stand out by offering students a lower-cost education
+
+ Institutions can stand out by offering students a lower-cost education
through the use of OpenStax textbooks; thereâs even a textbook-savings
calculator they can use to see how much students would save. OpenStax keeps
a running list of institutions that have adopted their
textbooks.
-
- Unlike traditional publishersâ monolithic approach of controlling
+
+ Unlike traditional publishersâ monolithic approach of controlling
intellectual property, distribution, and so many other aspects, OpenStax has
adopted a model that embraces open licensing and relies on an extensive
network of partners.
-
- Up-front funding of a professionally produced all-color turnkey textbook is
+
+ Up-front funding of a professionally produced all-color turnkey textbook is
expensive. For this part of their model, OpenStax relies on
philanthropy. They have initially been funded by the William and Flora
Hewlett Foundation, the Laura and John Arnold Foundation, the Bill and
Melinda Gates Foundation, the 20 Million Minds Foundation, the Maxfield
-Foundation, the Calvin K. Kazanjian Foundation, and Rice University. To
+Foundation, the Calvin K. Kazanjian Foundation, and Rice University. To
develop additional titles and supporting technology is probably still going
to require philanthropic investment.
-
- However, ongoing operations will not rely on foundation grants but instead
+
+ However, ongoing operations will not rely on foundation grants but instead
on funds received through an ecosystem of over forty partners, whereby a
partner takes core content from OpenStax and adds features that it can
create revenue from. For example, WebAssign, an online homework and
assessment tool, takes the physics book and adds algorithmically generated
physics problems, with problem-specific feedback, detailed solutions, and
tutorial support. WebAssign resources are available to students for a fee.
-
- Another example is Odigia, who has turned OpenStax books into interactive
+
+ Another example is Odigia, who has turned OpenStax books into interactive
learning experiences and created additional tools to measure and promote
student engagement. Odigia licenses its learning platform to
institutions. Partners like Odigia and WebAssign give a percentage of the
revenue they earn back to OpenStax, as mission-support fees. OpenStax has
already published revisions of their titles, such as Introduction to
Sociology 2e, using these funds.
-
- In Davidâs view, this approach lets the market operate at peak
+
+ In Davidâs view, this approach lets the market operate at peak
efficiency. OpenStaxâs partners donât have to worry about developing
textbook content, freeing them up from those development costs and letting
them focus on what they do best. With OpenStax textbooks available at no
cost, they can provide their services at a lower costânot free, but still
saving students money. OpenStax benefits not only by receiving
-mission-support fees but through free publicity and marketing. OpenStax
+mission-support fees but through free publicity and marketing. OpenStax
doesnât have a sales force; partners are out there showcasing their
materials.
-
- OpenStaxâs cost of sales to acquire a single student is very, very low and
+
+ OpenStaxâs cost of sales to acquire a single student is very, very low and
is a fraction of what traditional players in the market face. This year,
Tyton Partners is actually evaluating the costs of sales for an OER effort
like OpenStax in comparison with incumbents. David looks forward to sharing
these findings with the community.
-
- While OpenStax books are available online for free, many students still want
+
+ While OpenStax books are available online for free, many students still want
a print copy. Through a partnership with a print and courier company,
-OpenStax offers a complete solution that scales. OpenStax sells tens of
-thousands of print books. The price of an OpenStax sociology textbook is
+OpenStax offers a complete solution that scales. OpenStax sells tens of
+thousands of print books. The price of an OpenStax sociology textbook is
about twenty-eight dollars, a fraction of what sociology textbooks usually
cost. OpenStax keeps the prices low but does aim to earn a small margin on
each book sold, which also contributes to ongoing operations.
-
- Campus-based bookstores are part of the OpenStax solution. OpenStax
+
+ Campus-based bookstores are part of the OpenStax solution. OpenStax
collaborates with NACSCORP (the National Association of College Stores
Corporation) to provide print versions of their textbooks in the
stores. While the overall cost of the textbook is significantly less than a
@@ -5170,15 +5203,15 @@ buy other things in the bookstore. And OpenStax is trying to break the
expensive behavior of excessive returns by having a no-returns policy. This
is working well, since the sell-through of their print titles is virtually a
hundred percent.
-
- David thinks of the OpenStax model as âOER 2.0.â So what is OER
+
+ David thinks of the OpenStax model as âOER 2.0.â So what is OER
1.0? Historically in the OER field, many OER initiatives have been locally
funded by institutions or government ministries. In Davidâs view, this
results in content that has high local value but is infrequently adopted
nationally. Itâs therefore difficult to show payback over a time scale that
is reasonable.
-
- OER 2.0 is about OER intended to be used and adopted on a national level
+
+ OER 2.0 is about OER intended to be used and adopted on a national level
right from the start. This requires a bigger investment up front but pays
off through wide geographic adoption. The OER 2.0 process for OpenStax
involves two development models. The first is what David calls the
@@ -5187,12 +5220,12 @@ author for an already published book and then extensively revises it. The
OpenStax physics textbook, for example, was licensed from an author after
the publisher released the rights back to the authors. The second model is
to develop a book from scratch, a good example being their biology book.
-
- The process is similar for both models. First they look at the scope and
+
+ The process is similar for both models. First they look at the scope and
sequence of existing textbooks. They ask questions like what does the
customer need? Where are students having challenges? Then they identify
potential authors and put them through a rigorous evaluationâonly one in ten
-authors make it through. OpenStax selects a team of authors who come
+authors make it through. OpenStax selects a team of authors who come
together to develop a template for a chapter and collectively write the
first draft (or revise it, in the acquisitions model). (OpenStax doesnât do
books with just a single author as David says it risks the project going
@@ -5202,111 +5235,111 @@ illustrations and visuals to go along with the text. The book is then
copyedited to ensure grammatical correctness and a singular voice. Finally,
it goes into production and through a final proofread. The whole process is
very time-consuming.
-
- All the people involved in this process are paid. OpenStax does not rely on
+
+ All the people involved in this process are paid. OpenStax does not rely on
volunteers. Writers, reviewers, illustrators, and editors are all paid an
up-front feeâOpenStax does not use a royalty model. A best-selling author
might make more money under the traditional publishing model, but that is
only maybe 5 percent of all authors. From Davidâs perspective, 95 percent of
all authors do better under the OER 2.0 model, as there is no risk to them
and they earn all the money up front.
-
- David thinks of the Attribution license (CC BY) as the âinnovation
+
+ David thinks of the Attribution license (CC BY) as the âinnovation
license.â Itâs core to the mission of OpenStax, letting people use
their textbooks in innovative ways without having to ask for permission. It
frees up the whole market and has been central to OpenStax being able to
-bring on partners. OpenStax sees a lot of customization of their
+bring on partners. OpenStax sees a lot of customization of their
materials. By enabling frictionless remixing, CC BY gives teachers control
and academic freedom.
-
- Using CC BY is also a good example of using strategies that traditional
+
+ Using CC BY is also a good example of using strategies that traditional
publishers canât. Traditional publishers rely on copyright to prevent others
from making copies and heavily invest in digital rights management to ensure
-their books arenât shared. By using CC BY, OpenStax avoids having to deal
+their books arenât shared. By using CC BY, OpenStax avoids having to deal
with digital rights management and its costs. OpenStax books can be copied
and shared over and over again. CC BY changes the rules of engagement and
takes advantage of traditional market inefficiencies.
-
- As of September 16, 2016, OpenStax has achieved some impressive
+
+ As of September 16, 2016, OpenStax has achieved some impressive
results. From the OpenStax at a Glance fact sheet from their recent press
kit:
-
- Books published: 23
-
- Students who have used OpenStax: 1.6 million
-
- Money saved for students: $155 million
-
- Money saved for students in the 2016/17 academic year: $77 million
-
- Schools that have used OpenStax: 2,668 (This number reflects all
+
+ Books published: 23
+
+ Students who have used OpenStax: 1.6 million
+
+ Money saved for students: $155 million
+
+ Money saved for students in the 2016/17 academic year: $77 million
+
+ Schools that have used OpenStax: 2,668 (This number reflects all
institutions using at least one OpenStax textbook. Out of 2,668 schools, 517
are two-year colleges, 835 four-year colleges and universities, and 344
colleges and universities outside the U.S.)
-
- While OpenStax has to date been focused on the United States, there is
+
+ While OpenStax has to date been focused on the United States, there is
overseas adoption especially in the science, technology, engineering, and
math (STEM) fields. Large scale adoption in the United States is seen as a
necessary precursor to international interest.
-
- OpenStax has primarily focused on introductory-level college courses where
+
+ OpenStax has primarily focused on introductory-level college courses where
there is high enrollment, but they are starting to think about verticalsâa
broad offering for a specific group or need. David thinks it would be
terrific if OpenStax could provide access to free textbooks through the
entire curriculum of a nursing degree, for example.
-
- Finally, for OpenStax success is not just about the adoption of their
+
+ Finally, for OpenStax success is not just about the adoption of their
textbooks and student savings. There is a human aspect to the work that is
hard to quantify but incredibly important. They get emails from students
saying how OpenStax saved them from making difficult choices like buying
-food or a textbook. OpenStax would also like to assess the impact their
+food or a textbook. OpenStax would also like to assess the impact their
books have on learning efficiency, persistence, and completion. By building
an open business model based on Creative Commons, OpenStax is making it
possible for every student who wants access to education to get it.
- Kapitel 19. Amanda Palmer| Â |
- Amanda Palmer is a musician, artist, and writer. Based in the U.S.
-
+ Kapitel 19. Amanda Palmer| Â |
+ Amanda Palmer is a musician, artist, and writer. Based in the U.S.
+
http://amandapalmer.net
Revenue model: crowdfunding
(subscription-based), pay-what-you-want, charging for physical copies (book
and album sales), charg-ing for in-person version (performances), selling
merchandise
- Interview date: December 15, 2015
- | Â | | Â | --\begin{flushright}
+ Interview date: December 15, 2015
+ | Â | | Â | --\begin{flushright}
\textit{
- Profile written by Sarah Hinchliff Pearson
- }
+ Profile written by Sarah Hinchliff Pearson
+ }
\end{flushright} |
- Since the beginning of her career, Amanda Palmer has been on what she calls
+ Since the beginning of her career, Amanda Palmer has been on what she calls
a âjourney with no roadmap,â continually experimenting to find
new ways to sustain her creative work.
-
- In her best-selling book, The Art of Asking, Amanda articulates exactly what
+
+ In her best-selling book, The Art of Asking, Amanda articulates exactly what
she has been and continues to strive forââthe ideal sweet spot
. . . in which the artist can share freely and directly feel the
reverberations of their artistic gifts to the community, and make a living
doing that.â
-
- While she seems to have successfully found that sweet spot for herself,
+
+ While she seems to have successfully found that sweet spot for herself,
Amanda is the first to acknowledge there is no silver bullet. She thinks the
digital age is both an exciting and frustrating time for creators. âOn
the one hand, we have this beautiful shareability,â Amanda
said. âOn the other, youâve got a bunch of confused artists wondering
how to make money to buy food so we can make more art.â
-
- Amanda began her artistic career as a street performer. She would dress up
+
+ Amanda began her artistic career as a street performer. She would dress up
in an antique wedding gown, paint her face white, stand on a stack of milk
crates, and hand out flowers to strangers as part of a silent dramatic
performance. She collected money in a hat. Most people walked by her without
stopping, but an essential few stopped to watch and drop some money into her
hat to show their appreciation. Rather than dwelling on the majority of
-people who ignored her, she felt thankful for those who stopped. âAll
-I needed was . . . some people,â she wrote in her book. âEnough
-people. Enough to make it worth coming back the next day, enough people to
-help me make rent and put food on the table. Enough so I could keep making
-art.â
-
- Amanda has come a long way from her street-performing days, but her career
+people who ignored her, she felt thankful for those who stopped. âAll
+I needed was . . . some people,â she wrote in her
+book. âEnough people. Enough to make it worth coming back the next
+day, enough people to help me make rent and put food on the table. Enough so
+I could keep making art.â
+
+ Amanda has come a long way from her street-performing days, but her career
remains dominated by that same sentimentâfinding ways to reach âher
crowdâ and feeling gratitude when she does. With her band the Dresden
Dolls, Amanda tried the traditional path of signing with a record label. It
@@ -5314,8 +5347,8 @@ didnât take for a variety of reasons, but one of them was that the label had
absolutely no interest in Amandaâs view of success. They wanted hits, but
making music for the masses was never what Amanda and the Dresden Dolls set
out to do.
-
- After leaving the record label in 2008, she began experimenting with
+
+ After leaving the record label in 2008, she began experimenting with
different ways to make a living. She released music directly to the public
without involving a middle man, releasing digital files on a âpay what
you wantâ basis and selling CDs and vinyl. She also made money from
@@ -5324,8 +5357,8 @@ try her hand at the sort of crowdfunding we know so well today. Her
Kickstarter project started with a goal of $100,000, and she made $1.2
million. It remains one of the most successful Kickstarter projects of all
time.
-
- Today, Amanda has switched gears away from crowdfunding for specific
+
+ Today, Amanda has switched gears away from crowdfunding for specific
projects to instead getting consistent financial support from her fan base
on Patreon, a crowdfunding site that allows artists to get recurring
donations from fans. More than eight thousand people have signed up to
@@ -5334,8 +5367,8 @@ support her so she can create music, art, and any other creative
made on a âper thingâ basis. All of the content she makes is
made freely available under an Attribution-NonCommercial-ShareAlike license
(CC BY-NC-SA).
-
- Making her music and art available under Creative Commons licensing
+
+ Making her music and art available under Creative Commons licensing
undoubtedly limits her options for how she makes a living. But sharing her
work has been part of her model since the beginning of her career, even
before she discovered Creative Commons. Amanda says the Dresden Dolls used
@@ -5349,76 +5382,76 @@ ad,â Amanda said. Once she discovered Creative Commons, adopting
licenses was an easy decision because it gave them a more formal,
standardized way of doing what they had been doing all along. The
NonCommercial licenses were a natural fit.
-
- Amanda embraces the way her fans share and build upon her music. In The Art
+
+ Amanda embraces the way her fans share and build upon her music. In The Art
of Asking, she wrote that some of her fansâ unofficial videos using her
music surpass the official videos in number of views on YouTube. Rather than
seeing this sort of thing as competition, Amanda celebrates it. âWe
got into this because we wanted to share the joy of music,â she said.
-
- This is symbolic of how nearly everything she does in her career is
+
+ This is symbolic of how nearly everything she does in her career is
motivated by a desire to connect with her fans. At the start of her career,
she and the band would throw concerts at house parties. As the gatherings
grew, the line between fans and friends was completely blurred. âNot
only did most our early fans know where I lived and where we practiced, but
most of them had also been in my kitchen,â Amanda wrote in The Art of
Asking.
-
- Even though her fan base is now huge and global, she continues to seek this
+
+ Even though her fan base is now huge and global, she continues to seek this
sort of human connection with her fans. She seeks out face-to-face contact
-with her fans every chance she can get. Her hugely successful Kickstarter
+with her fans every chance she can get. Her hugely successful Kickstarter
featured fifty concerts at house parties for backers. She spends hours in
the signing line after shows. It helps that Amanda has the kind of dynamic,
engaging personality that instantly draws people to her, but a big component
of her ability to connect with people is her willingness to
listen. âListening fast and caring immediately is a skill unto
itself,â Amanda wrote.
-
- Another part of the connection fans feel with Amanda is how much they know
+
+ Another part of the connection fans feel with Amanda is how much they know
about her life. Rather than trying to craft a public persona or image, she
-essentially lives her life as an open book. She has written openly about
+essentially lives her life as an open book. She has written openly about
incredibly personal events in her life, and she isnât afraid to be
vulnerable. Having that kind of trust in her fansâthe trust it takes to be
truly honestâbegets trust from her fans in return. When she meets fans for
the first time after a show, they can legitimately feel like they know her.
- âWith social media, weâre so concerned with the picture looking
+ âWith social media, weâre so concerned with the picture looking
palatable and consumable that we forget that being human and showing the
flaws and exposing the vulnerability actually create a deeper connection
than just looking fantastic,â Amanda said. âEverything in our
culture is telling us otherwise. But my experience has shown me that the
risk of making yourself vulnerable is almost always worth it.â
-
- Not only does she disclose intimate details of her life to them, she sleeps
+
+ Not only does she disclose intimate details of her life to them, she sleeps
on their couches, listens to their stories, cries with them. In short, she
treats her fans like friends in nearly every possible way, even when they
are complete strangers. This mentalityâthat fans are friendsâis completely
intertwined with Amandaâs success as an artist. It is also intertwined with
her use of Creative Commons licenses. Because that is what you do with your
friendsâyou share.
-
- After years of investing time and energy into building trust with her fans,
+
+ After years of investing time and energy into building trust with her fans,
she has a strong enough relationship with them to ask for supportâthrough
pay-what-you-want donations, Kickstarter, Patreon, or even asking them to
lend a hand at a concert. As Amanda explains it, crowdfunding (which is
really what all of these different things are) is about asking for support
from people who know and trust you. People who feel personally invested in
your success.
- âWhen you openly, radically trust people, they not only take care of
+ âWhen you openly, radically trust people, they not only take care of
you, they become your allies, your family,â she wrote. There really
is a feeling of solidarity within her core fan base. From the beginning,
Amanda and her band encouraged people to dress up for their shows. They
consciously cultivated a feeling of belonging to their âweird little
family.â
-
- This sort of intimacy with fans is not possible or even desirable for every
+
+ This sort of intimacy with fans is not possible or even desirable for every
creator. âI donât take for granted that I happen to be the type of
person who loves cavorting with strangers,â Amanda said. âI
recognize that itâs not necessarily everyoneâs idea of a good time. Everyone
does it differently. Replicating what I have done wonât work for others if
it isnât joyful to them. Itâs about finding a way to channel energy in a way
that is joyful to you.â
-
- Yet while Amanda joyfully interacts with her fans and involves them in her
+
+ Yet while Amanda joyfully interacts with her fans and involves them in her
work as much as possible, she does keep one job primarily to herselfâwriting
the music. She loves the creativity with which her fans use and adapt her
work, but she intentionally does not involve them at the first stage of
@@ -5428,38 +5461,38 @@ people through her music that she can then begin to build ties with them on
a more personal level, both in person and online. In her book, Amanda
describes it as casting a net. It starts with the art and then the bond
strengthens with human connection.
-
- For Amanda, the entire point of being an artist is to establish and maintain
+
+ For Amanda, the entire point of being an artist is to establish and maintain
this connection. âIt sounds so corny,â she said, âbut my
experience in forty years on this planet has pointed me to an obvious
truthâthat connection with human beings feels so much better and more
fulfilling than approaching art through a capitalist lens. There is no more
satisfying end goal than having someone tell you that what you do is
genuinely of value to them.â
-
- As she explains it, when a fan gives her a ten-dollar bill, usually what
+
+ As she explains it, when a fan gives her a ten-dollar bill, usually what
they are saying is that the money symbolizes some deeper value the music
provided them. For Amanda, art is not just a product; itâs a
relationship. Viewed from this lens, what Amanda does today is not that
different from what she did as a young street performer. She shares her
-music and other artistic gifts. She shares herself. And then rather than
+music and other artistic gifts. She shares herself. And then rather than
forcing people to help her, she lets them.
- Kapitel 20. PLOS (Public Library of Science)| Â |
- PLOS (Public Library of Science) is a nonprofit that publishes a library of
-academic journals and other scientific literature. Founded in 2000 in the
+ Kapitel 20. PLOS (Public Library of Science)| Â |
+ PLOS (Public Library of Science) is a nonprofit that publishes a library of
+academic journals and other scientific literature. Founded in 2000 in the
U.S.
-
+
http://plos.org
Revenue model: charging content creators
an author processing charge to be featured in the journal
- Interview date: March 7, 2016
- Interviewee: Louise Page, publisher
- | Â | | Â | --\begin{flushright}
+ Interview date: March 7, 2016
+ Interviewee: Louise Page, publisher
+ | Â | | Â | --\begin{flushright}
\textit{
- Profile written by Paul Stacey
- }
+ Profile written by Paul Stacey
+ }
\end{flushright} |
- The Public Library of Science (PLOS) began in 2000 when three leading
+ The Public Library of Science (PLOS) began in 2000 when three leading
scientistsâHarold E. Varmus, Patrick O. Brown, and Michael Eisenâstarted an
online petition. They were calling for scientists to stop submitting papers
to journals that didnât make the full text of their papers freely available
@@ -5470,18 +5503,18 @@ do just what the petition promised. With start-up grant support from the
Gordon and Betty Moore Foundation, PLOS was launched to provide new
open-access journals for biomedicine, with research articles being released
under Attribution (CC BY) licenses.
-
- Traditionally, academic publishing begins with an author submitting a
+
+ Traditionally, academic publishing begins with an author submitting a
manuscript to a publisher. After in-house technical and ethical
considerations, the article is then peer-reviewed to determine if the
-quality of the work is acceptable for publishing. Once accepted, the
+quality of the work is acceptable for publishing. Once accepted, the
publisher takes the article through the process of copyediting, typesetting,
and eventual publishing in a print or online publication. Traditional
journal publishers recover costs and earn profit by charging a subscription
fee to libraries or an access fee to users wanting to read the journal or
article.
-
- For Louise Page, the current publisher of PLOS, this traditional model
+
+ For Louise Page, the current publisher of PLOS, this traditional model
results in inequity. Access is restricted to those who can pay. Most
research is funded through government-appointed agencies, that is, with
public funds. Itâs unjust that the public who funded the research would be
@@ -5490,8 +5523,8 @@ ever-escalating subscription fees publishers charge, especially when library
budgets are being reduced. Restricting access to the results of scientific
research slows the dissemination of this research and advancement of the
field. It was time for a new model.
-
- That new model became known as open access. That is, free and open
+
+ That new model became known as open access. That is, free and open
availability on the Internet. Open-access research articles are not behind a
paywall and do not require a login. A key benefit of open access is that it
allows people to freely use, copy, and distribute the articles, as they are
@@ -5500,36 +5533,36 @@ requires the user to provide appropriate attribution). And more importantly,
policy makers, clinicians, entrepreneurs, educators, and students around the
world have free and timely access to the latest research immediately on
publication.
-
- However, open access requires rethinking the business model of research
+
+ However, open access requires rethinking the business model of research
publication. Rather than charge a subscription fee to access the journal,
PLOS decided to turn the model on its head and charge a publication fee,
-known as an article-processing charge. This up-front fee, generally paid by
+known as an article-processing charge. This up-front fee, generally paid by
the funder of the research or the authorâs institution, covers the expenses
such as editorial oversight, peer-review management, journal production,
online hosting, and support for discovery. Fees are per article and are
billed upon acceptance for publishing. There are no additional charges based
on word length, figures, or other elements.
-
- Calculating the article-processing charge involves taking all the costs
+
+ Calculating the article-processing charge involves taking all the costs
associated with publishing the journal and determining a cost per article
that collectively recovers costs. For PLOSâs journals in biology, medicine,
genetics, computational biology, neglected tropical diseases, and pathogens,
-the article-processing charge ranges from $2,250 to
-$2,900. Article-publication charges for PLOS ONE, a journal started in 2006,
-are just under $1,500.
-
- PLOS believes that lack of funds should not be a barrier to
+the article-processing charge ranges from $2,250 to $2,900.
+Article-publication charges for PLOS ONE, a journal started in 2006, are
+just under $1,500.
+
+ PLOS believes that lack of funds should not be a barrier to
publication. Since its inception, PLOS has provided fee support for
individuals and institutions to help authors who canât afford the
article-processing charges.
-
- Louise identifies marketing as one area of big difference between PLOS and
+
+ Louise identifies marketing as one area of big difference between PLOS and
traditional journal publishers. Traditional journals have to invest heavily
in staff, buildings, and infrastructure to market their journal and convince
-customers to subscribe. Restricting access to subscribers means that tools
+customers to subscribe. Restricting access to subscribers means that tools
for managing access control are necessary. They spend millions of dollars on
-access-control systems, staff to manage them, and sales staff. With PLOSâs
+access-control systems, staff to manage them, and sales staff. With PLOSâs
open-access publishing, thereâs no need for these massive expenses; the
articles are free, open, and accessible to all upon
publication. Additionally, traditional publishers tend to spend more on
@@ -5537,44 +5570,44 @@ marketing to libraries, who ultimately pay the subscription fees. PLOS
provides a better service for authors by promoting their research directly
to the research community and giving the authors exposure. And this
encourages other authors to submit their work for publication.
-
- For Louise, PLOS would not exist without the Attribution license (CC
+
+ For Louise, PLOS would not exist without the Attribution license (CC
BY). This makes it very clear what rights are associated with the content
and provides a safe way for researchers to make their work available while
ensuring they get recognition (appropriate attribution). For PLOS, all of
this aligns with how they think research content should be published and
disseminated.
-
- PLOS also has a broad open-data policy. To get their research paper
+
+ PLOS also has a broad open-data policy. To get their research paper
published, PLOS authors must also make their data available in a public
repository and provide a data-availability statement.
-
- Business-operation costs associated with the open-access model still largely
+
+ Business-operation costs associated with the open-access model still largely
follow the existing publishing model. PLOS journals are online only, but the
editorial, peer-review, production, typesetting, and publishing stages are
all the same as for a traditional publisher. The editorial teams must be top
notch. PLOS has to function as well as or better than other premier
journals, as researchers have a choice about where to publish.
-
- Researchers are influenced by journal rankings, which reflect the place of a
+
+ Researchers are influenced by journal rankings, which reflect the place of a
journal within its field, the relative difficulty of being published in that
journal, and the prestige associated with it. PLOS journals rank high, even
though they are relatively new.
-
- The promotion and tenure of researchers are partially based how many times
+
+ The promotion and tenure of researchers are partially based how many times
other researchers cite their articles. Louise says when researchers want to
discover and read the work of others in their field, they go to an online
aggregator or search engine, and not typically to a particular journal. The
CC BY licensing of PLOS research articles ensures easy access for readers
and generates more discovery and citations for authors.
-
- Louise believes that open access has been a huge success, progressing from a
+
+ Louise believes that open access has been a huge success, progressing from a
movement led by a small cadre of researchers to something that is now
widespread and used in some form by every journal publisher. PLOS has had a
big impact. In 2012 to 2014, they published more open-access articles than
BioMed Central, the original open-access publisher, or anyone else.
-
- PLOS further disrupted the traditional journal-publishing model by
+
+ PLOS further disrupted the traditional journal-publishing model by
pioneering the concept of a megajournal. The PLOS ONE megajournal, launched
in 2006, is an open-access peer-reviewed academic journal that is much
larger than a traditional journal, publishing thousands of articles per year
@@ -5593,32 +5626,32 @@ is the biggest journal in the world and has really set the bar for
publishing academic journal articles on a large scale. Other publishers see
the value of the PLOS ONE model and are now offering their own
multidisciplinary forums for publishing all sound science.
-
- Louise outlined some other aspects of the research-journal business model
+
+ Louise outlined some other aspects of the research-journal business model
PLOS is experimenting with, describing each as a kind of slider that could
be adjusted to change current practice.
-
- One slider is time to publication. Time to publication may shorten as
-journals get better at providing quicker decisions to authors. However,
+
+ One slider is time to publication. Time to publication may shorten as
+journals get better at providing quicker decisions to authors. However,
there is always a trade-off with scale, as the bigger the volume of
articles, the more time the approval process inevitably takes.
-
- Peer review is another part of the process that could change. Itâs possible
+
+ Peer review is another part of the process that could change. Itâs possible
to redefine what peer review actually is, when to review, and what
-constitutes the final article for publication. Louise talked about the
+constitutes the final article for publication. Louise talked about the
potential to shift to an open-review process, placing the emphasis on
transparency rather than double-blind reviews. Louise thinks weâre moving
into a direction where itâs actually beneficial for an author to know who is
reviewing their paper and for the reviewer to know their review will be
public. An open-review process can also ensure everyone gets credit; right
now, credit is limited to the publisher and author.
-
- Louise says research with negative outcomes is almost as important as
+
+ Louise says research with negative outcomes is almost as important as
positive results. If journals published more research with negative
outcomes, weâd learn from what didnât work. It could also reduce how much
the research wheel gets reinvented around the world.
-
- Another adjustable practice is the sharing of articles at early preprint
+
+ Another adjustable practice is the sharing of articles at early preprint
stages. Publication of research in a peer-reviewed journal can take a long
time because articles must undergo extensive peer review. The need to
quickly circulate current results within a scientific community has led to a
@@ -5631,16 +5664,16 @@ with findings based on their research. Other researches may see findings the
preprint author has not yet thought of. However, preprints help researchers
get their discoveries out early and establish precedence. A big challenge is
that researchers donât have a lot of time to comment on preprints.
-
- What constitutes a journal article could also change. The idea of a research
+
+ What constitutes a journal article could also change. The idea of a research
article as printed, bound, and in a library stack is outdated. Digital and
online open up new possibilities, such as a living document evolving over
time, inclusion of audio and video, and interactivity, like discussion and
-recommendations. Even the size of what gets published could change. With
+recommendations. Even the size of what gets published could change. With
these changes the current form factor for what constitutes a research
article would undergo transformation.
-
- As journals scale up, and new journals are introduced, more and more
+
+ As journals scale up, and new journals are introduced, more and more
information is being pushed out to readers, making the experience feel like
drinking from a fire hose. To help mitigate this, PLOS aggregates and
curates content from PLOS journals and their network of blogs. It also offers something called Article-Level
@@ -5650,117 +5683,116 @@ dissemination activity, media and blog coverage, discussions, and
ratings. Louise believes that the
journal model could evolve to provide a more friendly and interactive user
experience, including a way for readers to communicate with authors.
-
- The big picture for PLOS going forward is to combine and adjust these
+
+ The big picture for PLOS going forward is to combine and adjust these
experimental practices in ways that continue to improve accessibility and
dissemination of research, while ensuring its integrity and reliability. The
ways they interlink are complex. The process of change and adjustment is
not linear. PLOS sees itself as a very flexible publisher interested in
exploring all the permutations research-publishing can take, with authors
and readers who are open to experimentation.
-
- For PLOS, success is not about revenue. Success is about proving that
+
+ For PLOS, success is not about revenue. Success is about proving that
scientific research can be communicated rapidly and economically at scale,
-for the benefit of researchers and society. The CC BY license makes it
+for the benefit of researchers and society. The CC BY license makes it
possible for PLOS to publish in a way that is unfettered, open, and fast,
while ensuring that the authors get credit for their work. More than two
million scientists, scholars, and clinicians visit PLOS every month, with
more than 135,000 quality articles to peruse for free.
-
- Ultimately, for PLOS, its authors, and its readers, success is about making
+
+ Ultimately, for PLOS, its authors, and its readers, success is about making
research discoverable, available, and reproducible for the advancement of
science.
- | Â |
- The Rijksmuseum is a Dutch national museum dedicated to art and
+ | Â |
+ The Rijksmuseum is a Dutch national museum dedicated to art and
history. Founded in 1800 in the Netherlands
-
+
http://www.rijksmuseum.nl
Revenue model: grants and government
funding, charging for in-person version (museum admission), selling
merchandise
- Interview date: December 11, 2015
- Interviewee: Lizzy Jongma, the data
+ Interview date: December 11, 2015
+ Interviewee: Lizzy Jongma, the data
manager of the collections information department
- | Â | | Â | --\begin{flushright}
+ | Â | | Â | --\begin{flushright}
\textit{
- Profile written by Paul Stacey
- }
+ Profile written by Paul Stacey
+ }
\end{flushright} |
- The Rijksmuseum, a national museum in the Netherlands dedicated to art and
+ The Rijksmuseum, a national museum in the Netherlands dedicated to art and
history, has been housed in its current building since 1885. The monumental
building enjoyed more than 125 years of intensive use before needing a
thorough overhaul. In 2003, the museum was closed for renovations. Asbestos
was found in the roof, and although the museum was scheduled to be closed
-for only three to four years, renovations ended up taking ten years. During
+for only three to four years, renovations ended up taking ten years. During
this time, the collection was moved to a different part of Amsterdam, which
created a physical distance with the curators. Out of necessity, they
started digitally photographing the collection and creating metadata
(information about each object to put into a database). With the renovations
-going on for so long, the museum became largely forgotten by the public. Out
-of these circumstances emerged a new and more open model for the museum.
-
- By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager,
-staff were fed up with the situation the museum was in. They also realized
+going on for so long, the museum became largely forgotten by the public.
+Out of these circumstances emerged a new and more open model for the museum.
+
+ By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager,
+staff were fed up with the situation the museum was in. They also realized
that even with the new and larger space, it still wouldnât be able to show
very much of the whole collectionâeight thousand of over one million works
representing just 1 percent. Staff began exploring ways to express
themselves, to have something to show for all of the work they had been
-doing. The Rijksmuseum is primarily funded by Dutch taxpayers, so was there
+doing. The Rijksmuseum is primarily funded by Dutch taxpayers, so was there
a way for the museum provide benefit to the public while it was closed? They
began thinking about sharing Rijksmuseumâs collection using information
-technology. And they put up a card-catalog like database of the entire
+technology. And they put up a card-catalog like database of the entire
collection online.
-
- It was effective but a bit boring. It was just data. A hackathon they were
+
+ It was effective but a bit boring. It was just data. A hackathon they were
invited to got them to start talking about events like that as having
potential. They liked the idea of inviting people to do cool stuff with
their collection. What about giving online access to digital representations
of the one hundred most important pieces in the Rijksmuseum collection? That
eventually led to why not put the whole collection online?
-
- Then, Lizzy says, Europeana came along. Europeana is Europeâs digital
+
+ Then, Lizzy says, Europeana came along. Europeana is Europeâs digital
library, museum, and archive for cultural heritage. As an online portal to museum collections all
across Europe, Europeana had become an important online platform. In October
2010 Creative Commons released CC0 and its public-domain mark as tools
people could use to identify works as free of known copyright. Europeana was
the first major adopter, using CC0 to release metadata about their
collection and the public domain mark for millions of digital works in their
-collection. Lizzy says the Rijksmuseum initially found this change in
+collection. Lizzy says the Rijksmuseum initially found this change in
business practice a bit scary, but at the same time it stimulated even more
discussion on whether the Rijksmuseum should follow suit.
-
- They realized that they donât âownâ the collection and couldnât
+
+ They realized that they donât âownâ the collection and couldnât
realistically monitor and enforce compliance with the restrictive licensing
terms they currently had in place. For example, many copies and versions of
Vermeerâs Milkmaid (part of their collection) were already online, many of
them of very poor quality. They could spend time and money policing its use,
but it would probably be futile and wouldnât make people stop using their
images online. They ended up thinking itâs an utter waste of time to hunt
-down people who use the Rijksmuseum collection. And anyway, restricting
+down people who use the Rijksmuseum collection. And anyway, restricting
access meant the people they were frustrating the most were schoolkids.
-
- In 2011 the Rijksmuseum began making their digital photos of works known to
+
+ In 2011 the Rijksmuseum began making their digital photos of works known to
be free of copyright available online, using Creative Commons CC0 to place
works in the public domain. A medium-resolution image was offered for free,
but a high-resolution version cost forty euros. People started paying, but
Lizzy says getting the money was frequently a nightmare, especially from
overseas customers. The administrative costs often offset revenue, and
-income above costs was relatively low. In addition, having to pay for an
+income above costs was relatively low. In addition, having to pay for an
image of a work in the public domain from a collection owned by the Dutch
government (i.e., paid for by the public) was contentious and frustrating
for some. Lizzy says they had lots of fierce debates about what to do.
-
- In 2013 the Rijksmuseum changed its business model. They Creative Commons
+
+ In 2013 the Rijksmuseum changed its business model. They Creative Commons
licensed their highest-quality images and released them online for
free. Digitization still cost money, however; they decided to define
discrete digitization projects and find sponsors willing to fund each
project. This turned out to be a successful strategy, generating high
-interest from sponsors and lower administrative effort for the
-Rijksmuseum. They started out making 150,000 high-quality images of their
-collection available, with the goal to eventually have the entire collection
-online.
-
- Releasing these high-quality images for free reduced the number of
+interest from sponsors and lower administrative effort for the Rijksmuseum.
+They started out making 150,000 high-quality images of their collection
+available, with the goal to eventually have the entire collection online.
+
+ Releasing these high-quality images for free reduced the number of
poor-quality images that were proliferating. The high-quality image of
Vermeerâs Milkmaid, for example, is downloaded two to three thousand times a
month. On the Internet, images from a source like the Rijksmuseum are more
@@ -5771,15 +5803,15 @@ views per month. This extends Rijksmuseumâs reach far beyond the scope of
its website. Sharing these images online creates what Lizzy calls the
âMona Lisa effect,â where a work of art becomes so famous that
people want to see it in real life by visiting the actual museum.
-
- Every museum tends to be driven by the number of physical visitors. The
+
+ Every museum tends to be driven by the number of physical visitors. The
Rijksmuseum is primarily publicly funded, receiving roughly 70 percent of
-its operating budget from the government. But like many museums, it must
+its operating budget from the government. But like many museums, it must
generate the rest of the funding through other means. The admission fee has
long been a way to generate revenue generation, including for the
Rijksmuseum.
-
- As museums create a digital presence for themselves and put up digital
+
+ As museums create a digital presence for themselves and put up digital
representations of their collection online, thereâs frequently a worry that
it will lead to a drop in actual physical visits. For the Rijksmuseum, this
has not turned out to be the case. Lizzy told us the Rijksmuseum used to get
@@ -5789,15 +5821,15 @@ publicity and acts as a form of marketing. The Creative Commons mark
encourages reuse as well. When the image is found on protest leaflets, milk
cartons, and childrenâs toys, people also see what museum the image comes
from and this increases the museumâs visibility.
-
- In 2011 the Rijksmuseum received â¬1 million from the Dutch lottery to create
+
+ In 2011 the Rijksmuseum received â¬1 million from the Dutch lottery to create
a new web presence that would be different from any other museumâs. In
addition to redesigning their main website to be mobile friendly and
responsive to devices like the iPad, the Rijksmuseum also created the
Rijksstudio, where users and artists could use and do various things with
the Rijksmuseum collection.
-
- The Rijksstudio gives users access to over two hundred thousand high-quality
+
+ The Rijksstudio gives users access to over two hundred thousand high-quality
digital representations of masterworks from the collection. Users can zoom
in to any work and even clip small parts of images they like. Rijksstudio is
a bit like Pinterest. You can âlikeâ works and compile your
@@ -5805,13 +5837,13 @@ personal favorites, and you can share them with friends or download them
free of charge. All the images in the Rijksstudio are copyright and royalty
free, and users are encouraged to use them as they like, for private or even
commercial purposes.
-
- Users have created over 276,000 Rijksstudios, generating their own themed
+
+ Users have created over 276,000 Rijksstudios, generating their own themed
virtual exhibitions on a wide variety of topics ranging from tapestries to
ugly babies and birds. Sets of images have also been created for educational
purposes including use for school exams.
-
- Some contemporary artists who have works in the Rijksmuseum collection
+
+ Some contemporary artists who have works in the Rijksmuseum collection
contacted them to ask why their works were not included in the
Rijksstudio. The answer was that contemporary artistsâ works are still bound
by copyright. The Rijksmuseum does encourage contemporary artists to use a
@@ -5819,18 +5851,18 @@ Creative Commons license for their works, usually a CC BY-SA license
(Attribution-ShareAlike), or a CC BY-NC (Attribution-NonCommercial) if they
want to preclude commercial use. That way, their works can be made available
to the public, but within limits the artists have specified.
-
- The Rijksmuseum believes that art stimulates entrepreneurial activity. The
-line between creative and commercial can be blurry. As Lizzy says, even
+
+ The Rijksmuseum believes that art stimulates entrepreneurial activity. The
+line between creative and commercial can be blurry. As Lizzy says, even
Rembrandt was commercial, making his livelihood from selling his
paintings. The Rijksmuseum encourages entrepreneurial commercial use of the
-images in Rijksstudio. Theyâve even partnered with the DIY marketplace Etsy
+images in Rijksstudio. Theyâve even partnered with the DIY marketplace Etsy
to inspire people to sell their creations. One great example you can find on
Etsy is a kimono designed by Angie Johnson, who used an image of an
elaborate cabinet along with an oil painting by Jan Asselijn called The
Threatened Swan.
-
- In 2013 the Rijksmuseum organized their first high-profile design
+
+ In 2013 the Rijksmuseum organized their first high-profile design
competition, known as the Rijksstudio Award. With the call to action Make Your Own Masterpiece, the competition
invites the public to use Rijksstudio images to make new creative designs. A
jury of renowned designers and curators selects ten finalists and three
@@ -5840,21 +5872,21 @@ up with their work sold through the Rijksmuseum store, such as the 2014
entry featuring makeup based on a specific color scheme of a work of
art. The Rijksmuseum has been thrilled
with the results. Entries range from the fun to the weird to the
-inspirational. The third international edition of the Rijksstudio Award
+inspirational. The third international edition of the Rijksstudio Award
started in September 2016.
-
- For the next iteration of the Rijksstudio, the Rijksmuseum is considering an
+
+ For the next iteration of the Rijksstudio, the Rijksmuseum is considering an
upload tool, for people to upload their own works of art, and enhanced
social elements so users can interact with each other more.
-
- Going with a more open business model generated lots of publicity for the
+
+ Going with a more open business model generated lots of publicity for the
Rijksmuseum. They were one of the first museums to open up their collection
-(that is, give free access) with high-quality images. This strategy, along
+(that is, give free access) with high-quality images. This strategy, along
with the many improvements to the Rijksmuseumâs website, dramatically
increased visits to their website from thirty-five thousand visits per month
to three hundred thousand.
-
- The Rijksmuseum has been experimenting with other ways to invite the public
+
+ The Rijksmuseum has been experimenting with other ways to invite the public
to look at and interact with their collection. On an international day
celebrating animals, they ran a successful bird-themed event. The museum put
together a showing of two thousand works that featured birds and invited
@@ -5864,8 +5896,8 @@ about certain details in the paintings such as bird species. Over eight
hundred different birds were identified, including a specific species of
crane bird that was unknown to the scientific community at the time of the
painting.
-
- For the Rijksmuseum, adopting an open business model was scary. They came
+
+ For the Rijksmuseum, adopting an open business model was scary. They came
up with many worst-case scenarios, imagining all kinds of awful things
people might do with the museumâs works. But Lizzy says those fears did not
come true because âninety-nine percent of people have respect for
@@ -5873,39 +5905,39 @@ great art.â Many museums think they can make a lot of money by
selling things related to their collection. But in Lizzyâs experience,
museums are usually bad at selling things, and sometimes efforts to generate
a small amount of money block something much biggerâthe real value that the
-collection has. For Lizzy, clinging to small amounts of revenue is being
+collection has. For Lizzy, clinging to small amounts of revenue is being
penny-wise but pound-foolish. For the Rijksmuseum, a key lesson has been to
-never lose sight of its vision for the collection. Allowing access to and
+never lose sight of its vision for the collection. Allowing access to and
use of their collection has generated great promotional valueâfar more than
the previous practice of charging fees for access and use. Lizzy sums up
their experience: âGive away; get something in return. Generosity
makes people happy to join you and help out.â
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