X-Git-Url: https://pere.pagekite.me/gitweb/text-madewithcc.git/blobdiff_plain/49508853d93eba0523d7e5315a9a91c60e221308..1223e99846e27080e3166b6f7b2b464c519c1b9e:/MadewithCreativeCommonsmostup-to-dateversion.md diff --git a/MadewithCreativeCommonsmostup-to-dateversion.md b/MadewithCreativeCommonsmostup-to-dateversion.md index 3aa197e..16ec64d 100644 --- a/MadewithCreativeCommonsmostup-to-dateversion.md +++ b/MadewithCreativeCommonsmostup-to-dateversion.md @@ -1,10 +1,4 @@ -Made - -with - -Creative - -Commons +Made with Creative Commons Paul Stacey and Sarah Hinchliff Pearson @@ -63,18 +57,18 @@ Made With Creative Commons is published with the kind support of Creative Commons and backers of our crowdfunding-campaign on the Kickstarter.com platform. -“I don’t know a whole lot about nonfiction -journalism. . . The way that I think about these things, and in terms of -what I can do is. . . essays like this are occasions to watch somebody -reasonably bright but also reasonably average pay far closer attention -and think at far more length about all sorts of different stuff than -most of us have a chance to in our daily lives.” +“I don’t know a whole lot about nonfiction journalism. . . +The way that I think about these things, and in terms of what I can do +is. . . essays like this are occasions to watch somebody reasonably +bright but also reasonably average pay far closer attention and think at +far more length about all sorts of different stuff than most of us have +a chance to in our daily lives.” + - -- David Foster Wallace +- David Foster Wallace -Foreword +## Foreword Three years ago, just after I was hired as CEO of Creative Commons, I met with Cory Doctorow in the hotel bar of Toronto’s Gladstone Hotel. As @@ -219,7 +213,7 @@ That’s the true value of things that are Made with Creative Commons. *CEO, Creative Commons* -Introduction +## Introduction This book shows the world how sharing can be good for business—but with a twist. @@ -316,17 +310,11 @@ of our economy and world for the better. *Paul and Sarah * -Part 1 +# Part 1 -The Big Picture +# The Big Picture -The New - -World of - -Digital - -Commons +## The New World of Digital Commons Paul Stacey @@ -358,7 +346,7 @@ 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 +### 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 @@ -399,6 +387,9 @@ contribute to and build the commons. Beyond money, laws and regulations regarding property, copyright, business, and finance can all be designed to foster the commons. +![](Pictures/10000201000008000000045C30360249076453E6.png){width="6.5in" +height="3.5417in"} + It’s helpful to understand how the commons, market, and state manage resources differently, and not just for those who consider themselves primarily as a commons. For businesses or governmental organizations who @@ -407,7 +398,7 @@ will help them understand how best to do so. Participating in and using the commons the same way you do the market or state is not a strategy for success. -The Four Aspects of a Resource +### The Four Aspects of a Resource As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework for analyzing how natural resources are managed in a commons.6 @@ -423,7 +414,10 @@ characteristics, the people involved and the process they use, the norms and rules they develop to govern use, and finally actual resource use along with outcomes of that use (see Fig. 2). -Characteristics +![](Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png){width="6.5in" +height="6.5in"} + +#### Characteristics Resources have particular characteristics or attributes that affect the way they can be used. Some resources are natural; others are human @@ -471,7 +465,7 @@ 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. -People and processes +#### 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 @@ -506,7 +500,10 @@ Commons require users to give the original creator credit. Knowing the person behind a resource makes the commons less anonymous and more personal. -Norms and rules +![](Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png){width="6.5in" +height="4.2362in"} + +#### Norms and rules The social interactions between people, and the processes used by the state, market, and commons, evolve social norms and rules. These norms @@ -530,7 +527,7 @@ against the costs and benefits to the whole community. Consideration is given not just to economic efficiency but also to equity and sustainability.9 -Goals +#### Goals The combination of the aspects we’ve discussed so far—the resource’s inherent characteristics, people and processes, and norms and @@ -563,7 +560,7 @@ 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 +### 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 @@ -587,6 +584,9 @@ commons was the primary way in which resources were managed and needs met. (Fig. 4 illustrates the commons in relation to the state and the market.) +![](Pictures/10000201000009C4000005153EACBD62F00F6BA9.png){width="6.5in" +height="3.389in"} + This is followed by a long history of the state (a monarchy or ruler) taking over the commons for their own purposes. This is called enclosure of the commons.12 In olden days, “commoners” were evicted from the land, @@ -607,6 +607,9 @@ goods resulted in a rising standard of living, improved health, and education. Fig. 6 shows how today the market is the primary means by which resources are managed. +![](Pictures/10000201000009C4000005150F069409C1CC12F0.png){width="6.5in" +height="3.389in"} + However, the world today is going through turbulent times. The benefits of the market have been offset by unequal distribution and overexploitation. @@ -662,7 +665,10 @@ 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. -The Digital Revolution +![](Pictures/10000201000009C400000515F1CAA15B223F6BAF.png){width="6.5in" +height="3.389in"} + +### The Digital Revolution In the early days of computing, programmers and developers learned from each other by sharing software. In the 1980s, the free-software movement @@ -718,7 +724,7 @@ relationships, seeks to change opinions, encourages action, and informs others about who we are and what we care about. Sharing lets us feel more involved with the world.19 -The Birth of Creative Commons +### The Birth of 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 @@ -782,7 +788,7 @@ 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. -The Changing Market +### The Changing Market Today’s market is largely driven by global capitalism. Law and financial systems are structured to support extraction, privatization, and @@ -910,7 +916,7 @@ 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 +### 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 @@ -998,7 +1004,7 @@ goals of individuals, communities, businesses in the market, or state enterprises, choosing to manage resources as a commons ought to be the option of choice. -Our Case Studies +### Our Case Studies The creators, organizations, and businesses in our case studies operate as nonprofits, for-profits, and social enterprises. Regardless of legal @@ -1060,7 +1066,7 @@ 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. -Notes +### Notes 1. Jonathan Rowe, Our Common Wealth (San Francisco: Berrett-Koehler, 2013), 14. @@ -1082,8 +1088,8 @@ Notes 10. Joshua Farley and Ida Kubiszewski, “The Economics of Information in a Post-Carbon Economy,” in Free Knowledge: Confronting the Commodification of Human Discovery, eds. Patricia W. Elliott and - Daryl H. Hepting (Regina, SK: University of Regina Press, - 2015), 201–4. + Daryl H. Hepting (Regina, SK: University of Regina Press, 2015), + 201–4. 11. Rowe, Our Common Wealth, 19; and Heather Menzies, Reclaiming the Commons for the Common Good: A Memoir and Manifesto (Gabriola Island, BC: New Society, 2014), 42–43. @@ -1104,8 +1110,8 @@ Notes 22, 2016. 18. Eric S. Raymond, “The Magic Cauldron,” in The Cathedral and the Bazaar: Musings on Linux and Open Source by an Accidental - Revolutionary, rev. ed. (Sebastopol, CA: O’Reilly Media, - 2001), www.catb.org/esr/writings/cathedral-bazaar/. + Revolutionary, rev. ed. (Sebastopol, CA: O’Reilly Media, 2001), + www.catb.org/esr/writings/cathedral-bazaar/. 19. New York Times Customer Insight Group, The Psychology of Sharing: Why Do People Share Online? (New York: New York Times Customer Insight Group, 2011), www.iab.net/media/file/POSWhitePaper.pdf. @@ -1114,8 +1120,8 @@ Notes 21. Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative Commons, 2015), stateof.creativecommons.org/2015/. 22. Wikipedia, s.v. “Open Government Partnership,” last modified - September 24, - 2016, en.wikipedia.org/wiki/Open\_Government\_Partnership. + September 24, 2016, + en.wikipedia.org/wiki/Open\_Government\_Partnership. 23. Capra and Mattei, Ecology of Law, 114. 24. Ibid., 116. 25. The Swedish International Development Cooperation Agency, “Stockholm @@ -1124,8 +1130,8 @@ Notes 26. City of Bologna, Regulation on Collaboration between Citizens and the City for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory for the GOVernance of Commons) (Bologna, Italy: - City of Bologna, - 2014), www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf. + City of Bologna, 2014), + www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf. 27. The Seoul Sharing City website is english.sharehub.kr; for Amsterdam Sharing City, go to www.sharenl.nl/amsterdam-sharing-city/. 28. Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New @@ -1146,31 +1152,23 @@ Notes 33. Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ: John Wiley and Sons, 2010). A preview of the book is available at strategyzer.com/books/business-model-generation. -34. This business model canvas is available to download - at strategyzer.com/canvas/business-model-canvas. +34. This business model canvas is available to download at + strategyzer.com/canvas/business-model-canvas. 35. We’ve made the “Open Business Model Canvas,” designed by the - coauthor Paul Stacey, available online - at docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit. + coauthor Paul Stacey, available online at + docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit. You can also find the accompanying Open Business Model Canvas - Questions - at docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit. + Questions at + docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit. 36. A more comprehensive list of revenue streams is available in this post I wrote on Medium on March 6, 2016. “What Is an Open Business - Model and How Can You Generate Revenue?”, available - at medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15. + Model and How Can You Generate Revenue?”, available at + medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15. 37. Henry Chesbrough, Open Innovation: The New Imperative for Creating and Profiting from Technology (Boston: Harvard Business Review Press, 2006), 31–44. -How - -to Be - -Made with - -Creative - -Commons +## How to Be Made with Creative Commons Sarah Hinchliff Pearson @@ -1370,7 +1368,7 @@ There are, however, plenty of ways in which CC licensing can be good for business in fairly predictable ways. The first is how it helps solve “problem zero.” -Problem Zero: Getting Discovered +### Problem Zero: Getting Discovered Once you create or collect your content, the next step is finding users, customers, fans—in other words, your people. As Amanda Palmer wrote, “It @@ -1475,7 +1473,7 @@ 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 your benefit. Here are a few. -Use CC to grow a larger audience +#### Use CC to grow a larger audience Putting a Creative Commons license on your content won’t make it automatically go viral, but eliminating legal barriers to copying the @@ -1514,8 +1512,7 @@ in part, because we simply have a tendency to engage in herd behavior, but it is also because a large following is at least a partial indicator of quality or usefulness.18 -Use CC to get attribution and name -recognition +#### 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 @@ -1563,7 +1560,7 @@ 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 +#### 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 @@ -1596,12 +1593,10 @@ buy in the case of physical copies, which makes them much more attractive to students who then demand them from their universities. They also partner with service providers who build atop the CC-licensed content and, in turn, spend money and - resources marketing those services (and by extension, the OpenStax textbooks). -Use CC to enable hands-on engagement with -your work +#### 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 @@ -1638,7 +1633,7 @@ your presence matters, as if, when you see something or hear something, your response is part of the event.”26 Opening the door to your content can get people more deeply tied to your work. -Use CC to differentiate yourself +#### Use CC to differentiate yourself Operating under a traditional copyright regime usually means operating under the rules of establishment players in the media. Business @@ -1652,7 +1647,7 @@ specifically pursue strategies they know that traditional publishers cannot. “Don’t go into a market and play by the incumbent rules,” David said. “Change the rules of engagement.” -Making Money +### Making Money Like any moneymaking endeavor, those that are Made with Creative Commons have to generate some type of value for their audience or customers. @@ -1665,7 +1660,6 @@ streams used by endeavors that are Made with Creative Commons are directly tied to the value they generate, where the recipient is paying for the value they receive like any standard market transaction. In still other - 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. @@ -1685,7 +1679,7 @@ them makes money, so it is a bit dangerous to generalize too much about what we learned. Nonetheless, zooming out and viewing things from a higher level of abstraction can be instructive. -Market-based revenue streams +#### Market-based revenue streams In the market, the central question when determining how to bring in revenue is what value people are willing to pay for.30 By definition, if @@ -1728,13 +1722,11 @@ 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 * \[MARKET-BASED\]* +#### Providing a custom service to consumers of your work * \[MARKET-BASED\]* In this age of information abundance, we don’t lack for content. The trick is finding content that matches our needs and wants, so customized @@ -1745,8 +1737,7 @@ wants to be expensive.”34 This can be anything from the artistic and cultural consulting services provided by Ártica to the custom-song business of Jonathan “Song-A-Day” Mann. -Charging for the physical copy * -\[MARKET-BASED\]* +#### Charging for the physical copy * \[MARKET-BASED\]* In his book about maker culture, Anderson characterizes this model as giving away the bits and selling the atoms (where bits refers to digital @@ -1769,8 +1760,7 @@ furniture or electronics, the provider of the physical goods can compete with other providers of the same works based on quality, service, or other traditional business principles. -Charging for the in-person version * -\[MARKET-BASED\]* +#### Charging for the in-person version * \[MARKET-BASED\]* As anyone who has ever gone to a concert will tell you, experiencing creativity in person is a completely different experience from consuming @@ -1780,7 +1770,7 @@ for the in-person version of experience. You can see this effect when people go view original art in person or pay to attend a talk or training course. -Selling merchandise * \[MARKET-BASED\]* +#### Selling merchandise * \[MARKET-BASED\]* In many cases, people who like your work will pay for products demonstrating a connection to your work. As a child of the 1980s, I can @@ -1798,8 +1788,7 @@ a traditional business model built on free called multi-sided platforms.36 Access to your audience isn’t the only thing people are willing to pay for—there are other services you can provide as well. -Charging advertisers or sponsors * -\[MARKET-BASED\]* +#### Charging advertisers or sponsors * \[MARKET-BASED\]* The traditional model of subsidizing free content is advertising. In this version of multi-sided platforms, advertisers pay for the @@ -1812,8 +1801,7 @@ those who are Made with Creative Commons. Often, instead of paying to display advertising, the advertiser pays to be an official sponsor of particular content or projects, or of the overall endeavor. -Charging your content creators * -\[MARKET-BASED\]* +#### Charging your content creators * \[MARKET-BASED\]* Another type of multisided platform is where the content creators themselves pay to be featured on the platform. Obviously, this revenue @@ -1825,8 +1813,7 @@ Conversation is primarily funded by a university-membership model, where universities pay to have their faculties participate as writers of the content on the Conversation website. -Charging a transaction fee * -\[MARKET-BASED\]* +#### Charging a transaction fee * \[MARKET-BASED\]* This is a version of a traditional business model based on brokering transactions between parties.39 Curation is an important element of this @@ -1838,8 +1825,7 @@ customers; for example, Opendesk makes money every time someone on their site pays a maker to make furniture based on one of the designs on the platform. -Providing a service to your creators* -\[MARKET-BASED\]* +#### Providing a service to your creators* \[MARKET-BASED\]* As mentioned above, endeavors can make money by providing customized services to their users. Platforms can undertake a variation of this @@ -1848,7 +1834,7 @@ feature. The data platforms Figure.NZ and Figshare both capitalize on this model by providing paid tools to help their users make the data they contribute to the platform more discoverable and reusable. -Licensing a trademark* \[MARKET-BASED\]* +#### Licensing a trademark* \[MARKET-BASED\]* Finally, some that are Made with Creative Commons make money by selling use of their trademarks. Well known brands that consumers associate with @@ -1859,7 +1845,7 @@ 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 +#### 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 @@ -1887,8 +1873,7 @@ endeavor that also engages with the market.40 We almost can’t help but think of relationships in the market as being centered on an even-steven exchange of value.41 -Memberships and individual donations -*\[RECIPROCITY-BASED\]* +#### Memberships and individual donations *\[RECIPROCITY-BASED\]* While memberships and donations are traditional nonprofit funding models, in the Made with Creative Commons context, they are directly @@ -1902,8 +1887,7 @@ 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 -*\[RECIPROCITY-BASED\]* +#### The pay-what-you-want model *\[RECIPROCITY-BASED\]* In the pay-what-you-want model, the beneficiary of Creative Commons content is invited to give—at any amount they can and feel is @@ -1915,7 +1899,7 @@ 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 *\[RECIPROCITY-BASED\]* Crowdfunding models are based on recouping the costs of creating and distributing content before the content is created. If the endeavor is @@ -1939,7 +1923,7 @@ 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. -Making Human Connections +### Making Human Connections Regardless of how they made money, in our interviews, we repeatedly heard language like “persuading people to buy” and “inviting people to @@ -1995,7 +1979,7 @@ creators, companies, and organizations use to remind us that there are humans behind every creative endeavor. To remind us we have obligations to each other. To remind us what sharing really looks like. -Be human +#### Be human Humans are social animals, which means we are naturally inclined to treat each other well.42 But the further removed we are from the person @@ -2035,7 +2019,7 @@ than an anonymous corporate entity. In business-speak, this is about “humanizing your interactions” with the public.44 But it can’t be a gimmick. You can’t fake being human. -Be open and accountable +#### Be open and accountable Transparency helps people understand who you are and why you do what you do, but it also inspires trust. Max Temkin of Cards Against Humanity @@ -2050,7 +2034,6 @@ critical.46 Being accountable does not mean operating on consensus. According to James Surowiecki, consensus-driven groups tend to resort to lowest-common-denominator solutions and - avoid the sort of candid exchange of ideas that cultivates healthy collaboration.47 Instead, it can be as simple as asking for input and then giving context and explanation about decisions you make, even if @@ -2061,7 +2044,7 @@ 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 +#### Design for the good actors Traditional economics assumes people make decisions based solely on their own economic self-interest.49 Any relatively introspective human @@ -2095,7 +2078,7 @@ that its managers and workers live up to their obligation.” Instead, we largely trust that people—mostly strangers—will do what they are supposed to do.52 And most often, they do. -Treat humans like, well, humans +#### Treat humans like, well, humans For creators, treating people as humans means not treating them like fans. As Kleon says, “If you want fans, you have to be a fan first.”53 @@ -2123,7 +2106,7 @@ we introduce money into a relationship—at least when it takes a form of paying monetary value in exchange for other value—it can dramatically change the dynamic.56 -State your principles and stick to them +#### 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 @@ -2150,7 +2133,7 @@ when you have a sense of purpose that transcends your own self-interest.57 It attracts committed employees, motivates contributors, and builds trust. -Build a community +#### Build a community Endeavors that are Made with Creative Commons thrive when community is built around what they do. This may mean a community collaborating @@ -2160,7 +2143,6 @@ interests or beliefs.58 To a certain extent, simply being Made with Creative Commons automatically brings with it some element of community, by helping connect you to like-minded others who recognize and are drawn to the values symbolized by - using CC. To be sustainable, though, you have to work to nurture community. People @@ -2173,7 +2155,6 @@ For organizations like Red Hat, that means connecting around common beliefs or goals. As the CEO Jim Whitehurst wrote in The Open Organization, “Tapping into passion is especially important in building the kinds of participative communities that drive open - organizations.”60 Communities that collaborate together take deliberate planning. @@ -2192,7 +2173,7 @@ 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 +#### 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 @@ -2225,7 +2206,7 @@ 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 +#### 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 @@ -2237,7 +2218,6 @@ online collaborate best when people can work independently and asynchronously, and particularly for larger groups with loose ties, when contributors can make simple improvements without a particularly heavy time - commitment.68 As the success of Wikipedia demonstrates, editing an online encyclopedia @@ -2286,7 +2266,7 @@ what they do. The goal for any form of collaboration is to move away from thinking of consumers as passive recipients of your content and transition them into active participants.75 -Notes +#### Notes 1. Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ: John Wiley and Sons, 2010), 14. A preview of the book @@ -2374,8 +2354,8 @@ Notes 64. Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with new epilogue (New York: Portfolio, 2012). 65. David Lee, “Inside Medium: An Attempt to Bring Civility to the - Internet,” BBC News, March 3, - 2016, www.bbc.com/news/technology-35709680. + Internet,” BBC News, March 3, 2016, + www.bbc.com/news/technology-35709680. 66. Anderson, Makers, 148. 67. Shirky, Cognitive Surplus, 164. 68. Whitehurst, foreword to Open Organization. @@ -2389,17 +2369,10 @@ Notes 75. Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of Collaborative Consumption (New York: Harper Business, 2010), 188. -The - -Creative - -Commons - -Licenses +## The Creative Commons Licenses 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 @@ -2413,12 +2386,18 @@ trademarks. Here are the six licenses: +![](Pictures/10000201000001930000008D83BF99FC0821C489.png){width="4.198in" +height="1.4689in"} + 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. +![](Pictures/10000201000001930000008DFD3592CB17C4EC38.png){width="4.198in" +height="1.4689in"} + 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 @@ -2426,19 +2405,31 @@ license is often compared to “copyleft” free and open source software licenses. All new works based on yours will carry the same license, so any derivatives will also allow commercial use. +![](Pictures/10000201000001930000008D254882DE24793FEA.png){width="4.198in" +height="1.4689in"} + The Attribution-NoDerivs license (CC BY-ND) allows for redistribution, commercial and noncommercial, as long as it is passed along unchanged with credit to you. +![](Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png){width="4.198in" +height="1.4689in"} + The Attribution-NonCommercial license (CC BY-NC) lets others remix, tweak, and build upon your work noncommercially. Although their new works must also acknowledge you, they don’t have to license their derivative works on the same terms. +![](Pictures/10000201000001930000008D16DA603376395620.png){width="4.198in" +height="1.4689in"} + The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA) lets others remix, tweak, and build upon your work noncommercially, as long as they credit you and license their new creations under the same terms. +![](Pictures/10000201000001930000008DC3FEF92B21310965.png){width="4.198in" +height="1.4689in"} + 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 @@ -2449,9 +2440,15 @@ public-domain tools—one for creators and the other for those who manage collections of existing works by authors whose terms of copyright have expired: +![](Pictures/10000201000001900000008DBE3414994CD27786.png){width="4.1665in" +height="1.4689in"} + CC0 enables authors and copyright owners to dedicate their works to the worldwide public domain (“no rights reserved”). +![](Pictures/10000201000001900000008D36DCD649C5B1411F.png){width="4.1665in" +height="1.4689in"} + The Creative Commons Public Domain Mark facilitates the labeling and discovery of works that are already free of known copyright restrictions. @@ -2504,7 +2501,7 @@ 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 +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 @@ -2512,9 +2509,9 @@ work in the digital commons, start with the Creative Commons page called creativecommons.org/share-your-work/. -Part 2 +# Part 2 -The Case Studies +# The Case Studies The twenty-four case studies in this section were chosen from hundreds of nominations received from Kickstarter backers, Creative Commons @@ -2530,7 +2527,7 @@ 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. -Arduino +## Arduino Arduino is a for-profit open-source electronics platform and computer hardware and software company. Founded in 2005 in Italy. @@ -2581,7 +2578,6 @@ would outlive the Ivrea closure. Persistence is one thing Tom really likes about open source. If key people leave, or a company shuts down, an open-source product lives on. In Tom’s view, “Open sourcing makes it easier to trust a - product.” With the school closing, David and some of the other Arduino founders @@ -2735,7 +2731,7 @@ Web links 1. www.arduino.cc/en/Main/Products 2. blog.arduino.cc/2013/07/10/send-in-the-clones/ -Ártica +## Ártica Ártica provides online courses and consulting services focused on how to use digital technology to share knowledge and enable collaboration in @@ -2885,7 +2881,7 @@ we get from the media. “If they seek only the traditional type of success, they will get frustrated,” Mariana said. “We try to show them another image of what it looks like.” -Blender Institute +## Blender Institute The Blender Institute is an animation studio that creates 3-D films using Blender software. Founded in 2006 in the Netherlands. @@ -3041,7 +3037,7 @@ budget to reproduce what you did,” Ton said. For Ton and Blender, it all comes back to doing. -Cards Against Humanity +## Cards Against Humanity Cards Against Humanity is a private, for-profit company that makes a popular party game by the same name. Founded in 2011 in the U.S. @@ -3088,9 +3084,7 @@ game is like an entire new game unto itself. All together, these factors—the crass tone of the game and company, the free download, the - openness to fans remixing the game—give - the game a massive cult following. Their success is not the result of a grand plan. Instead, Cards Against @@ -3216,7 +3210,7 @@ Max said. “If your only goal is to make a lot of money, then CC is not best strategy. This kind of business model, though, speaks to your values, and who you are and why you’re making things.” -The Conversation +## The Conversation The Conversation is an independent source of news, sourced from the academic and research community and delivered direct to the public over @@ -3311,7 +3305,6 @@ to share it or republish it. Creative Commons help with these goals; articles are published with the Attribution- - NoDerivs license (CC BY-ND). They’re freely available for others to republish elsewhere as long as attribution is given and the content is not edited. Over five years, more than twenty-two thousand sites have @@ -3386,7 +3379,7 @@ Web link 1. theconversation.com/us/charter -Cory Doctorow +## Cory Doctorow Cory Doctorow is a science fiction writer, activist, blogger, and journalist. Based in the U.S. @@ -3572,7 +3565,7 @@ and to get them into other people’s hands and minds.” It has never been easier to think like a dandelion. -Figshare +## Figshare Figshare is a for-profit company offering an online repository where researchers can preserve and share the output of their research, @@ -3677,7 +3670,6 @@ having to develop this functionality as part of their own infrastructure. Figshare-hosted data also provides a link back to the article, generating additional click-through and readership—a benefit to both journal publishers and researchers. Figshare now provides - 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. @@ -3778,7 +3770,7 @@ Web links 2. retr0.shinyapps.io/journal\_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136 3. figshare.com/features -Figure.NZ +## Figure.NZ Figure.NZ is a nonprofit charity that makes an online data platform designed to make data reusable and easy to understand. Founded in 2012 @@ -4008,7 +4000,6 @@ future.” Lillian sees Figure.NZ’s model as having global potential. But for now, their focus is completely on making Figure.NZ work in New Zealand and to get the “network effect”— - users dramatically increasing value for themselves and for others through use of their service. Creative Commons is core to making the network effect possible. @@ -4020,7 +4011,7 @@ Web links 3. figure.nz/business/ 4. figure.nz/patrons/ -Knowledge Unlatched +## Knowledge Unlatched Knowledge Unlatched is a not-for-profit community interest company that brings libraries together to pool funds to publish open-access books. @@ -4040,7 +4031,6 @@ 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 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 @@ -4259,7 +4249,7 @@ Web links 4. collections.knowledgeunlatched.org/collection-availability-1/ 5. www.knowledgeunlatched.org/featured-authors-section/ -Lumen Learning +## Lumen Learning Lumen Learning is a for-profit company helping educational institutions use open educational resources (OER). Founded in 2013 in the U.S. @@ -4296,7 +4286,6 @@ is when they decided to create Lumen Learning. David and Kim went back and forth on whether it should be a nonprofit or for- - profit. A nonprofit would make it a more comfortable fit with the education sector but meant they’d be constantly fund-raising and seeking grants from philanthropies. Also, grants usually require money to be @@ -4419,7 +4408,6 @@ enthusiasts, and grant funders. People in their network generously increase the visibility of Lumen through presentations, word of mouth, and referrals. Sometimes the number of general inquiries exceed Lumen’s sales - capacity. To manage demand and ensure the success of projects, their strategy is @@ -4448,7 +4436,6 @@ 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 @@ -4501,7 +4488,7 @@ Web link 1. lumenlearning.com/innovative-projects/ -Jonathan Mann +## Jonathan Mann Jonathan Mann is a singer and songwriter who is most well known as the “Song A Day” guy. Based in the U.S. @@ -4627,7 +4614,6 @@ entire process really does resemble good journalism, but of course the final product of his work is a song rather than news. “There is something about being challenged and forced to take information that doesn’t seem like it should be sung about - or doesn’t seem like it lends itself to a song,” he said. “I find that creative challenge really satisfying. I enjoy getting lost in that process.” @@ -4636,7 +4622,6 @@ 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 @@ -4673,7 +4658,7 @@ successful. creative person is not ever going to feel completely satisfied because then so much of what drives you would be gone.” -Noun Project +## Noun Project The Noun Project is a for-profit company offering an online platform to display visual icons from a global network of designers. Founded in 2010 @@ -4806,7 +4791,6 @@ share is higher this time as it’s providing more service to the user. The Noun Project tries to be completely transparent about their royalty structure.2 They tend to over communicate with creators about it because building trust is the top - priority. For most creators, contributing to the Noun Project is not a full-time @@ -4885,7 +4869,7 @@ Web links 2. thenounproject.com/handbook/royalties/\#getting\_paid 3. thenounproject.com/iconathon/ -Open Data Institute +## Open Data Institute The Open Data Institute is an independent nonprofit that connects, equips, and inspires people around the world to innovate with data. @@ -5013,13 +4997,13 @@ 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. + effectively pursue their own goals if they open up their own data + too. Big data is a hot topic. - Open innovation. Many large-scale enterprises are aware they don’t - 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. + 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 cautions against having it be the sole reason for making data open. If a business is just thinking about open data as @@ -5113,7 +5097,7 @@ Web links 4. certificates.theodi.org 5. dashboards.theodi.org/company/all -OpenDesk +## OpenDesk Opendesk is a for-profit company offering an online platform that connects furniture designers around the world with customers and local @@ -5249,8 +5233,8 @@ quote at the time of 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 maker (excluding any services like delivery or - on-site assembly) + 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 @@ -5350,7 +5334,7 @@ Web links 3. www.opendesk.cc/open-making/join 4. openmaking.is -OpenStax +## OpenStax OpenStax is a nonprofit that provides free, openly licensed textbooks for high-enrollment introductory college courses and Advanced Placement @@ -5595,7 +5579,7 @@ Web links 1. news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg 2. openstax.org/adopters -Amanda Palmer +## Amanda Palmer Amanda Palmer is a musician, artist, and writer. Based in the U.S. @@ -5785,9 +5769,7 @@ Web link 1. http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/\#44e20ce46d67 -PLOS - -(Public Library of Science) +## PLOS (Public Library of Science) PLOS (Public Library of Science) is a nonprofit that publishes a library of academic journals and other scientific literature. Founded in 2000 in @@ -6030,7 +6012,7 @@ Web links 1. collections.plos.org 2. plos.org/article-level-metrics -Rijksmuseum +## Rijksmuseum The Rijksmuseum is a Dutch national museum dedicated to art and history. Founded in 1800 in the Netherlands @@ -6039,7 +6021,6 @@ www.rijksmuseum.nl Revenue model: grants and government funding, charging for in-person version - (museum admission), selling merchandise Interview date: December 11, 2015 @@ -6187,7 +6168,6 @@ Rijksstudio. The answer was that contemporary artists’ works are still bound by copyright. The Rijksmuseum does encourage contemporary artists to use a Creative Commons license for their works, usually a CC BY-SA license - (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. @@ -6264,7 +6244,7 @@ Web links www.rijksmuseum.nl/en/rijksstudio-award-2015 5. www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4 -Shareable +## Shareable Shareable is an online magazine about sharing. Founded in 2009 in the U.S. @@ -6423,7 +6403,7 @@ perfectly encapsulate just how the commons is supposed to work. Rather than a one-size-fits-all approach, Shareable puts the tools out there for people take the ideas and adapt them to their own communities. -Siyavula +## Siyavula Siyavula is a for-profit educational-technology company that creates textbooks and integrated learning experiences. Founded in 2012 in South @@ -6470,7 +6450,6 @@ textbooks available for trial use at more schools. Surveys before and after the textbooks were adopted showed there were no substantial criticisms of the textbooks’ pedagogical content. This pleased both the authors and Shuttleworth; Mark remains incredibly proud of this - accomplishment. But the development of new textbooks froze at this stage. Mark shifted @@ -6703,7 +6682,7 @@ Web links 3. cnx.org 4. www.siyavula.com/products-primary-school.html -Sparkfun +## Sparkfun SparkFun is an online electronics retailer specializing in open hardware. Founded in 2003 in the U.S. @@ -6880,7 +6859,7 @@ their products. But in the long run, it makes them a more nimble, innovative business. In other words, it makes them the kind of company they set out to be. -TeachAIDS +## TeachAIDS TeachAIDS is a nonprofit that creates educational materials designed to teach people around the world about HIV and AIDS. Founded in 2005 in the @@ -7068,7 +7047,7 @@ materials they create furthers that mission, allowing them to safely and quickly scale their materials worldwide. “The Creative Commons license has been a game changer for TeachAIDS,” Piya said. -Tribe of Noise +## Tribe of Noise Tribe of Noise is a for-profit online music platform serving the film, TV, video, gaming, and in-store-media industries. Founded in 2008 in the @@ -7237,7 +7216,6 @@ mentality and see little reason to sign with a third party or hand over some of the control. Still a small but growing group of Tribe members are pursuing a hybrid model by licensing some of their songs under CC BY-SA and opting in others with collecting societies like - ASCAP or BMI. It’s not uncommon for performance-rights organizations, record labels, @@ -7269,7 +7247,7 @@ Web links 1. www.instoremusicservice.com 2. www.tribeofnoise.com/info\_instoremusic.php -Wikimedia Foundation +## Wikimedia Foundation The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia and its sister projects. Founded in 2003 in the U.S. @@ -7436,7 +7414,7 @@ Web link 1. gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/ -Bibliography +## Bibliography Alperovitz, Gar. What Then Must We Do? Straight Talk about the Next American Revolution; Democratizing Wealth and Building a @@ -7692,7 +7670,7 @@ web.mit.edu/evhippel/www/democ1.htm (licensed under CC BY-NC-ND). Whitehurst, Jim. The Open Organization: Igniting Passion and Performance. Boston: Harvard Business Review Press, 2015. -Acknowledgments +## Acknowledgments We extend special thanks to Creative Commons CEO Ryan Merkley, the Creative Commons Board, and all of our Creative Commons colleagues for @@ -7816,7 +7794,6 @@ Wiedenhoeft, Carol Long, Carol marquardsen, Caroline Calomme, Caroline Mailloux, Carolyn Hinchliff, Carolyn Rude, Carrie Cousins, Carrie Watkins, Casey Hunt, Casey Milford, Casey Powell Shorthouse, Cat Cooper, Cecilie Maria, Cedric Howe, Cefn Hoile, - @ShrimpingIt, Celia Muller, Ces Keller, Chad Anderson, Charles Butler, Charles Carstensen, Charles Chi Thoi Le, Charles Kobbe, Charles S. Tritt, Charles Stanhope, Charlotte Ong-Wisener, Chealsye Bowley, Chelle @@ -7860,13 +7837,11 @@ Domi Enders, Domingo Gallardo, Dominic de Haas, Dominique Karadjian, Dongpo Deng, Donnovan Knight, Door de Flines, Doug Fitzpatrick, Doug Hoover, Douglas Craver, Douglas Van Camp, Douglas Van Houweling, Dr. Braddlee, Drew Spencer, Duncan - Sample, Durand D’souza, Dylan Field, E C Humphries, Eamon Caddigan, Earleen Smith, Eden Sarid, Eden Spodek, Eduardo Belinchon, Eduardo Castro, Edwin Vandam, Einar Joergensen, Ejnar Brendsdal, Elad Wieder, Elar Haljas, Elena Valhalla, Eli Doran, Elias Bouchi, Elie Calhoun, Elizabeth Holloway, Ellen Buecher, Ellen Kaye- - Cheveldayoff, Elli Verhulst, Elroy Fernandes, Emery Hurst Mikel, Emily Catedral, Enrique Mandujano R., Eric Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric Hellman, Eric Steuer, Erica Fletcher, Erik @@ -7897,7 +7872,6 @@ Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de Raad, Hans Vd Horst, Harold van Ingen, Harold Watson, Harry Chapman, Harry Kaczka, Harry Torque, Hayden Glass, Hayley Rosenblum, Heather Leson, Helen Crisp, Helen - Michaud, Helen Qubain, Helle Rekdal Schønemann, Henrique Flach Latorre Moreno, Henry Finn, Henry Kaiser, Henry Lahore, Henry Steingieser, Hermann Paar, Hillary Miller, Hironori Kuriaki, Holly Dykes, Holly Lyne, @@ -8119,4 +8093,3 @@ Yann Heurtaux, Yasmine Hajjar, Yu-Hsian Sun, Yves Deruisseau, Zach Chandler, Zak Zebrowski, Zane Amiralis and Joshua de Haan, ZeMarmot Open Movie -